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“... the Madison suite of Sacha’s Hotel in Manchester (motto: ‘Sacha’s Only Looks Expensive’), Paul Williams recalls an unrewarding encounter with Bob Dylan: ‘But I shook his hand which was ... and this was at the beginning of the tour ... and things changed significantly during the tour ... he became more sociable, I’ve been talking to a number ...”

“... discussion as to why the world is caught up in a ‘global rush to commemorate atrocities’, as Paul Williams puts it in Memorial Museums (Berg, £19.99). There is no doubting the evidence. A non-exhaustive list at the beginning of the book includes 24 museums, sites or artefacts marking atrocities, disasters and ‘crimes against humanity’, of which ...”

“... to conduct seminars to his groupies on the Dylan family’s garbage; fervent hagiographers like Paul Williams; politicians (Jimmy Carter was always quoting Dylan when on the stump), rock journalists, music historians, cultural historians, hard-core fanzine-types; and even an English international fast-bowler – Bob ‘Dylan’ Willis changed his name ...”

“... that her presence saved the lives of the other staff on several occasions. Norman Cigar and Paul Williams argue that war crimes prosecutions are necessary not simply for the well-rehearsed reasons – ending cultures of impunity, achieving ‘closure’, restoring faith in due process – but because they seek to establish individual responsibility ...”

“... The final section of Paul Bowles’s most famous novel, The Sheltering Sky, is prefaced by a quotation from Kafka that encapsulates the narrative trajectory of just about everything Bowles has ever written: ‘From a certain point onward there is no longer any turning back. That is the point that must be reached.’ With obsessive frequency Bowles’s short stories and novels feature characters propelled beyond the boundaries of their own cultural milieux towards realms they can neither control nor comprehend, and in which even their sufferings become meaningless ...”

“... makes one think of France. The splendid conception of the Hayward exhibition, and the design by Paul Williams, remind one continually that the musée imaginaire need not be imaginary – in fact, cannot be. The content, the senses and perceptions of the art it brings together, are about exactly those values that we can only hold before the eye and in ...”

“... that love and writing have little to do with each other, one is inclined to believe him. Hugo Williams, who has a good poem about the sticky relationship between making love and making verse (LRB, 8 December 1988), is one of the few contemporary English poets who makes a good showing in both the Whitworth and the Fuller. That particular poem appears in ...”

“... his tink tink, tink tinkbespeaking a familiarity with the science of iron-carbon alloysthe Chinese developed alongside the Dao,he’s believed to anticipate the licethat will infest his nest by stitching intoits brush-pile the egg sacs of lice-eating spiders.This ‘time-release packet’ is just one example of what Muldoon describes elsewhere in the collection as ‘future-proofing’ (‘Once we relied on a hoard//of seed that had been sacked/and saved ...”

“... Bernard Williams’s new book is the nearest thing to a systematic and comprehensive discussion of moral philosophy we can hope for from someone who thinks a yearning for systematic and comprehensive discussion is the main defect of moral philosophy today. The author identifies ethics as the subject constituted by certain kinds of attempt to answer Socrates’s question: how one should live ...”

“... One night in Miami,’ Raymond Williams wrote in 1973, ‘still dazed from a week on an Atlantic liner, I began watching a film and at first had some difficulty adjusting to a much greater frequency of commercial “breaks”.’ Things didn’t get any easier for him. Trailers for two other movies began to appear as inserts; the one he’d started with, about a crime in San Francisco, was interrupted not only by advertisements for cereal and deodorant, but by a romance set in Paris and then the roar of a prehistoric monster laying waste to New York ...”

“... records. People of the Black Mountains is in part an attempted answer to a question which occupied Williams throughout his creative life. How is history made? ‘Actual stories are told by both winners and losers. Yet what becomes history is a selection by the winners. This is trustingly read back into earlier times.’ Questioning this trust, ...”

“... Rightly admired as a critic, an interpreter of ‘culture and society’, Raymond Williams was disappointing as a writer of fiction. The Eggs of the Eagle is the second volume of ‘People of the Black Mountains’, his uncompleted ‘historical novel’. There are 17 short stories or sketches, rather dismal slices of life in south-eastern Wales, between the Wye and the Usk: they are set in six different centuries, from AD 82 to 1415 ...”

“... Madison, is 34 miles north-west and Milwaukee about 60 miles away, east-northeast. Jonathan Williams, of Jargon Press, visited Niedecker in 1962, a year before her second marriage to Albert Millen and subsequent move to Milwaukee: Miss Niedecker, I guess in her fifties by now, lives in a tiny green house out at Black Hawk Island . . . Right out in back ...”

“... the insular world of SF could give, but recognition from outside kept growing, especially after Paul Williams’s 1975 profile in Rolling Stone. Dick’s final years – less prolific but by no means sterile – brought attempts to explain ‘2-3-74’, in essays, in the more careful prose of the last novels and in the mammoth, unpublishable ...”

“... with us two hundred years later. It was reinforced the following year by the more readable Caleb Williams, Godwin’s first novel. The tyranny of society in general is symbolised by the aristocratic monomaniac Lord Falkland, the good sense and misery of its common people by the aristocrat’s servant, the narrator, who spends much of the book in ...”