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“... He operates out of unremarkable premises. The smell of peardrops comes from the spray-and-body shop. On the other side it’s paintball: NEMESIS. Come in. Please be careful. Mind your step. He keeps them in the dark. It stinks, I know. Like a stable or a paddock. Perspective slackens like an ankle rope in a gallery. Carpets sleep off the world, digesting its flash and glamour, its royal visits and movie premiers ...”

“... The Lapse When the cutting edge was a sleight, a trick of time, we blinked our way through Jason and the Argonauts, thrilled by the stop-motion universe, its brazen Talos grinding like a Dock Road crane, and the Hydra’s teeth sown into studio soil by Harryhausen, who got between the frames like a man who comes in bone dry from a downpour by stopping the world and snapping out a path through glassy rods right up to his front door ...”

“... From a Weekend First One for the money. Arrangements in green and grey from the window of an empty dining-car. No takers for this Burgundy today apart from me. I’ll raise a weighted stem to my homeland scattering by, be grateful for these easy-on-the-eye, Army & Navy surplus camouflage colours that seem to mask all trace of life and industry; a draft for the hidden dead, our forefathers, the landfills of the mind where they turned in with the plush and orange peel of yesteryear, used up and entertained and put to bed at last; to this view where everything seems to turn on the middle distance ...”

“... Even Pindar, Horace and Ovid threw down the gauntlet to oblivion: come and get me if you can. Paul Farley and Michael Symmons Roberts are poets and professors of poetry, and the authors of a previous collaboration, Edgelands, which took as its subject the dejected spaces that buffer suburban developments, industrial parks, highways and airports. They ...”

“... intimations of an English pastoral afterlife. When at the party Glyn Maxwell, or perhaps it was Paul Farley, asked him what it was to be a ‘Caribbean’ poet, he lapsed into silence, the chorus of insects and birds answering on his behalf. The two British poets were putting the questions as I held the microphone and watched the sound levels: the ...”

“... be barely noticeable: they wouldn’t register as a subject. The poets Michael Symmons Roberts and Paul Farley published a book in 2011 called Edgelands, including chapters titled ‘Cars’, ‘Paths’, ‘Dens’, ‘Containers’, ‘Landfill’, ‘Sewage’, ‘Wire’; but this was a series of essays, championing the overlooked at unnecessary ...”

“... There’s​ a scene in Paul Murray’s novel Skippy Dies (2010) in which a science teacher called Mr Farley talks about the word ‘amphibian’. He says that it refers to an organism able to survive both on land and in water, and that it comes from the Greek for ‘double life ...”

“... appreciative of language. The colours were too bright perhaps.7 March. Read and enjoy Edgelands by Paul Farley and Michael Symmons Roberts about the lure of in-between places and the edges of cities and other communities. I feel I was on to this years ago in my play The Old Country, when Hilary, a spy in the Foreign Office, describes the venues where he ...”

“... in more mainstream periodicals. It also published work by the left-wing American photographers Paul Strand and William Klein, and ran photographic features intended to inspire subsequent movies, for example Carlo Cisventi’s ‘Chronicles from the Lower Po Valley’ and studies of Bussana Vecchia (a ghost-town near Genoa), Chiara Samugheo’s series of ...”

“... over-the-top performance, to imagine he has made a pact to exchange murders, to kill Farley Granger’s estranged, pregnant wife and then to haunt Granger to get him to return the favour and kill his father. Chandler’s discomfort with Strangers led him to argue for the superiority of writing over motion pictures: films anaesthetise the ...”

“... music. One of these venues – on the rue Huchette – called itself La Discothèque. Then Paul Pacine opened the Whiskey a Go-Go, where dancers would hit the floor accompanied by records played by disc jockeys on a phonograph. Pacine went on to open other clubs in Europe, while in Paris Chez Régine opened in 1960, catering to the self-styled ...”