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“... with the activities of his dynamic father. On Capri he was to see himself as Byron, D.H. Lawrence as Shelley and Francis Brett Young as a more retiring kind of Keats. And Lawrence was fascinated by him, found him sympathetic and good company, and made him the model in his story called ‘The man who loved ...”

“... on Flaubert, Hélène Cixous on Joyce, Harold Bloom on Wallace Stevens, J. Hillis Miller on Henry James. Some theorists are slapdash readers, but so are some non-theoretical critics. Derrida is so perversely myopic a reader, doggedly pursuing the finest flickers of meaning across a page, that he exasperates some of his opponents with his supersubtlety, not ...”

“... turn’ in an essay published in Social History in 1992, a tempest ensued. Jon Lawrence and Miles Taylor, two of Stedman Jones’s recent PhD students, insisted that Mayfield and Thorne had entirely misunderstood their mentor’s work, which they felt should be judged not in terms of its theoretical affiliations but according to an ...”

“... of tumultuous military, diplomatic and economic events – defined the pashas’ world, but, as James Mather points out in this engaging study, two features of their enterprise stand out: the pre-eminent role of the individual trader and the company’s deep involvement in politics in Constantinople and London. English trade to the Ottoman Empire really ...”

“... landscapes of Rubens (including their bovine staffage, which no one else has had any use for) was James Ward. The Tate exhibition of Ward’s Gordale Scar with the whole range of studies and drawings for that picture (unluckily, too close to megalomania to be taken seriously as the masterpiece which, as a painterly performance, it undoubtedly was) revealed ...”

“... writings of Confucius and Ovid’s Metamorphoses the only safe guides in religion’), and D.H. Lawrence seems to be on similar ground in his famous rejection of ‘the old stable ego of the character’ in favour of ‘another ego, according to whose action the individual is unrecognisable and passes through, as it were, allotropic states’. I like to ...”

“... has come since, except the literature on the river, which Powell presides over as a kind of god. James Lawrence Powell’s Dead Pool tells the story of the Colorado well and moves it forwards to speculate on what the era of climate change will bring. He isn’t optimistic: in his account climate change is just one more factor that the engineers and ...”

“... of early fame after Sons and Lovers, and of the publication of The Rainbow and its banning, and of Lawrence’s violent and despairing reactions to the war. He was already a fully recognised writer, a probable genius, and his more intimate correspondents include Cynthia Asquith, Ottoline Morrell, Bertrand Russell, Edward Marsh, Middleton Murry and Katherine ...”

“... Lawrence’s maxim ‘we shed our sicknesses in books’ is usually applied to Sons and Lovers, where he disposed of his nearly fatal over-attachment to his mother. But Women in Love is a cathartic novel too, though here the sickness is less easy to cure. The sickness itself is obvious enough: it is misanthropy, a continuous rage at almost everyone around ...”

“... R.L. Stevenson (‘Epic (and Chivalric) America’), H.G. Wells (‘Futuristic America’), D.H. Lawrence (‘Primitive America’), W.H. Auden (‘Theological America’), Aldous Huxley (Psychedelic America’), and Christopher Isherwood (‘Mystical America’). As the chapter titles suggest, each of these writers is supposed to see America as if it were ...”

“... art (which, in this case, is literature). John Buchan belongs to that group of writers – T.E. Lawrence in this country, St Exupéry and Malraux in France, D’Annunzio in Italy – who created their personalities out of their reading and then acted out these literary personalities. The difference was that he was also a practical man. John Buchan started ...”

“... socially and sexually, from his contemporaries; and many of them seized the opportunity, D.H. Lawrence no less than Jane Austen. That establishing and disengaging of the self became in the 19th century more and more a part of the classic writer’s instinct, and merges with the novel’s own unique form of self-therapy. Dickens explores himself through it ...”

“... That E.M. Forster gave only two cheers for democracy, but three for D.H. Lawrence, on the occasion of Lawrence’s death, is well-known. Forster was upset that the lowbrows Lawrence scandalised had joined forces with the highbrows he bored to denigrate ‘the greatest imaginative novelist’ of his generation ...”

“... to Ike and his staff. Today’s TV weather presenter has a single source of information, but poor James Stagg had three, sometimes hotly divergent views to harmonise. Knowing little about forecasting, he was astounded to discover that, despite all the scientific expertise simultaneously available on his phone, an agreed forecast never emerged easily, even ...”

“... But the plucking out of harsh views on friends and fellow writers (as with Leonard Woolf’s and James Strachey’s edition of Virginia Woolf’s correspondence with Lytton Strachey) was inevitable. The truth is that Murry added nothing to Katherine’s writing that was not already there, that he made her popular, and that he kept her work continually in ...”