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“... Rich and eccentric, Edward Perry Warren was used to indulging his whims. After seeing Rodin’s The Kiss in 1900, he was determined to have a replica carved by the sculptor himself. It was to be exact in every respect except one. He asked Rodin to provide a full view of the nude man’s genitals. Four years later the piece was completed and delivered to its new owner ...”

“... and autumn of last year. The biographers are Norman Sherry, Anthony Mockler, Leopoldo Duran and Michael Shelden. The actual information they provide must by now be common knowledge among those who are at all interested in Greene, including those who have simply read the many highly communicative reviews, and in the basic respect of the facts imparted ...”

“... The writing is genuinely alive with what Connolly called ‘erotic nostalgia’. Both Powell and Michael Shelden emphasise his capacity for self-inspection, elevated to a comic art, on the subject of his own tastes and weaknesses (‘MESSAGE FROM THE ID: “If you would collect women instead of books I think I could help you” ’), and the acceptance ...”

“... than her own, and its even more terrible consequences.’ Clearly, a dreadful experience. But Michael Shelden, George Orwell’s biographer and in Spurling’s view one of those responsible for disparaging Sonia, has a slightly different take on the event. Interviewing her sister and half-brother, he claims that fearing for her life in the struggle ...”

“... many documents and interviewed dozens of helpful people, many of them now dead. But the assiduous Michael Shelden has found lots more paper, and interviewed not only the survivors on Crick’s list but others whom his predecessor did not come upon. His book is as long as Crick’s and inevitably repeats much that is in the earlier work, so it was all the ...”

“... marriage – well, more about Eileen – but the relationship is still something of a puzzle. Michael Shelden, in his 1991 biography, had various theories and was confident that both Eileen and Orwell had extra-marital affairs – she more than he, perhaps. And Orwell, in a letter published here in full, explicitly confirms this general ...”

“... for cinematography – and the scene is much the most powerful in the film. It almost makes Michael Nyman’s hyperbolic score (the music in Planet of the Apes is subtle by comparison) tolerable. In all such scenes of epiphany (Charlton Heston breaking down at the sight of the half-buried Statue of Liberty at the end of Planet of the Apes is ...”