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“... the dedicatory poem called ‘Zueignung’, which opens Faust: Part One, are translated by John Williams as What I possess now vanishes before me, And what was lost alone has substance for me. Was ich besitze, seh’ich wie im Weiten, Und was verschwand, wird mir zu                 Wirklichkeiten. The English lines are graceful ...”

“... and Lawrence Urdang move from one dictionary house to another. Oxford (with R.W. Burchfield and John Sykes) is comparatively stable. When work began on the new Collins, Paul Procter and Della Summers were young conductors under impresario Urdang, and they later moved on to make dictionaries for Longman. Patrick Hanks was recruited to complete the Collins ...”

“... and Myres, and Stenton) and Taylor’s. I doubt if the new one will fare any better. John Roberts, the general editor, does not show his hand in detail, and we must keep our fingers crossed about the whole being greater than the parts by giving ‘an account of the development of our country in time’ – ‘our country’ meaning something ...”

“... A little over thirty years ago, John Ashbery delivered a lecture at the Yale Art School called ‘The Invisible Avant-Garde’, in which he asked whether the distinction between the avant-garde and the mainstream has become obsolete. ‘Looking back only as far as the beginning of this century,’ he remarked, ‘we see that the period of neglect for an avant-garde artist has shrunk for each generation ...”

“... intrinsically oppressive) and the latter positively (as intrinsically ‘liberating’). Raymond Williams has made a more persistent attempt to grasp the nature of this relation than any living British writer and has certainly avoided sentimentalising imagination, even if his conception of power has proved rather more equivocal. In the present volume he is ...”

“... amor vincit omnia Venus lies ahead – ball of mists and disenchanted fruitfulness, too hot for charity, too steamy for reproach, my mission crystalline as snow: to conquer what has always conquered us. Airlock doors slide open. They reveal the Mekon, president of Love Unexpurgated, a peagreen Humpty Dumpty on a flying plate, vestigial legs suggesting toxic misadventures at the antenatal stage, the sonic scalpel of his voice sharp inside my brain: Welcome to the planet humans dream of on their cold blue ball ...”

“... God, not another fucking elf!’ the English lecturer and long-time Inkling Hugo Dyson cried. John Wain, an attendee at meetings in the late 1940s, described his heart sinking as Tolkien appeared at Lewis’s door with a bulging jacket pocket, yet again. Tolkien looked down on Lewis’s Narnia, which he thought had been created with insufficient ...”

“... in a more seedily charming and futile way than in The British Museum is falling down. Nigel Williams’s Witchcraft opens with a scene in the British Library (as it now is) which neatly defines what the great British institution stands for in the late 1980s: namely, the enemy, a redoubt for Thatcher’s bureaucrat henchmen. Jamie ...”

“... since in traditional comic theatre the Dame was a transvestite role. And now Carolyn Williams, a feminist critic, has published a searching analysis of the thinking behind Gilbert’s libretti, and delivered a verdict of ‘not guilty’ on the charge of misogyny. Her book is, in its way, as unexpected and remarkable as Strachey’s compliment of ...”

“... I sometimes​ argue with my friend Heathcote Williams about his use of pornography as a means of attacking his political enemies. It seems to me an irrelevant weapon in any context, and in the hands of a man with Heathcote’s anarchistic, optimistic, nearly utopian convictions it becomes puzzlingly inconsistent ...”

“... Gordon Williams, formerly Gordon M. Williams: born 1934, educated at the John Neilson Institution in Paisley. Worked in Scotland as a farm labourer and newspaper reporter before undergoing National Service in Germany with the RAF. Has worked as a novelist for 16 years, based mainly in Soho but with a spell of rural isolation on the edge of Dartmoor ...”

“... To spend time​ with Tennessee Williams – for months on end in the case of Elia Kazan, the director who put his plays on the stage in the 1940s and 1950s; 12 years in the case of his latest and best biographer, John Lahr; or even as little as six weeks by me while reading Lahr’s absorbing Life, along with the work, and a big chunk of all the stuff Williams wrote and said about the work – is to learn and relearn how soberly Williams was speaking when he told Kazan: ‘I don’t know what it is to take anything calmly ...”

“... your twenties, facing Sampras or Philippoussis or Ivanisevic, or even Navratilova, Hingis or Venus Williams: can’t be done, no way at all even of being on the same court, much less hitting their balls back. Two decades ago, wooden rackets were replaced by high-tech instruments engineered to the utmost in hitting efficiency, and daily restrung, for ever more ...”

“... man. The coincidence is made more striking by the similarities between George Henry Lewes and John Forster. They were two of the stars of Victorian literary journalism: much in demand as editors, and absolutely reliable in their capacity to produce essays and reviews of first-rate quality on a huge range of topics at an intimidating speed. They both ...”

“... It is a surprise to find Raymond Williams, in the year of his retirement as Professor of Drama at Cambridge, editing a series called ‘Literature in History’. In a writing career that almost spans the post-war period, he has established himself as this country’s leading critic within academic English of the very concept of ‘Literature ...”