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“... and Farm-Poultry as emergency sources of income when his farm was doing badly. They are, as Mark Richardson drily observes, ‘surely the best poultry-stories written by a modern American poet’, but they are less about the hens than the reputations of their owners. This is not the moralist’s New England of isolated farmsteads eking out a ...”

“... Anglo-French borderlands south of Calais, into an apotheosis of conspicuous consumption. As Glenn Richardson notes in his minutely detailed book, relatively abundant surviving sources – documenting everything from the designs for the sprawling tent complexes to the provisioning of food and drink for 12,000 guests (particular attention was paid to the beer ...”

“... in the last century was not animated by impulses of this kind. On 10 March 1914 Mary Raleigh Richardson, an educated, high-minded art student (who died a year before Larkin wrote his poem) made an early morning visit to the National Gallery, smashed the glass covering The Rokeby Venus, and slashed the canvas – a protest, she claimed, against the ...”

“... and confiding in all forms of communication; but he was never as natural as he seemed.’ Sheehy, Richardson and Faggen are keen to set the record straight. Thompson, they write, ‘thought he found the poison of calculation tainting all the letters Frost addressed to editors, anthologists and critics’, but these ‘calculations’, the editors ...”

“... cool how one kind of apocalypse prevented us from acting out another). In Capitalist Realism Mark Fisher used them as a metaphor for our mindless nine-to-five-ing: capitalism is a ‘zombie-maker’ and ‘the living flesh it converts into dead labour is ours, and the zombies it makes are us.’ It’s no stretch to imagine either mode of zombification ...”

“... other than Marjorie Quennell. This is the intellectual background to Tara Hamling and Catherine Richardson’s ambitious A Day at Home in Early Modern England. Although they are firmly empirical in their approach and never cite Bourdieu or Lefebvre, they are strongly committed to the study of what they call ‘materiality’: Hamling is an authority on the ...”

“... philosophical practice are caught in this swift picture. I take these quotations from Robert Richardson’s William James, the most recent in a long run of biographies. Its predecessors were by Ralph Barton Perry (1935), Gay Wilson Allen (1967) and Linda Simon (1998). There are also fine portraits in Jean Strouse’s biography of Alice James (1980) and ...”

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“... was ‘agony for me’ when Larry ‘thinks I’m no good’. Such a public breakdown might well mark the end of an actor’s career, but while Redgrave never quite recovered the shine of his glory days, he continued to work. In 1965 he directed and acted in Turgenev’s A Month in the Country in Guildford opposite Ingrid Bergman. Reviews were not ...”

“... constructions of the biographer of a friend. The first is the more than a million words of Samuel Richardson’s novel Clarissa, whose first edition has been issued by Penguin in the guise of a slab of gold bullion. The second is by an admirer of Richardson’s novels, two generations later – Lady Louisa Stuart, whose ...”

“... deft and thoughtful study. In 1957 Watt published The Rise of the Novel: Studies in Defoe, Richardson and Fielding. Few works of criticism from the second half of the 20th century have been more influential. The Rise of the Novel, MacKay reports, ‘continues to be amplified, supplemented or attacked – it must somehow be reckoned with – by every ...”

“... her own money (which the Littlewoods managed), she sold the film rights to John Osborne and Tony Richardson’s production company for the very substantial sum of £20,000 (the equivalent of around half a million pounds today).In September 1960 Richardson directed a production of A Taste of Honey in Los Angeles; in October ...”

“... Hilary, the inflammatory tabloid columnist, who rails against Arthur Scargill and the NUM; and Mark, the arms dealer, purveyor of Zyklon B to Saddam Hussein. What a Carve Up! ends as Number 11 begins, with Britain wading into war in Iraq. The Winshaws don’t make many appearances in Number 11, but rather like the ghost of David Kelly they haunt its ...”

“... a state of constant production. ‘I am sorry to say that an edition of two thousand copies for 75 mark cannot at all satisfy me,’ he wrote to one of his publishers in 1932. ‘Sooner I would decide to make a present than to sell the copyrights for such alms.’ Hofmann says that Wassermann ‘wrote too much, too quickly, too chaotically and ...”

“... river beach With mortal longing may beseech; It cannot speak as far as this. It is the mark of the truly capacious poet that he shows us something new each time we leaf through his pages. The large poet resembles nature, in that every ramble leads to new botanical specimens. Frost passes this test. And how are we to think of Frost? He had the ...”