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“... kinds continues at an unflagging pace, often getting by without puns and politics. For example, Peter Thomson’s Shakespeare’s Professional Career is an exceptionally lively and up-to-the-minute introduction to ‘Shakespeare’s job’. It leans slightly towards the view that his family, and he himself residually, was Catholic, and argues with more ...”

“... even Neville Chamberlain might have blushed. We learn this not from Blair’s memoirs, but from Peter Mandelson’s, which provide a much more complete account of the Blair/Brown relationship (they are also much easier to read, since Mandelson has no problem telling his story in chronological order).* Mandelson reveals that Blair frequently pledged to ‘do ...”

“... direct ‘sensuous’ enjoyment and the central means to political understanding and intervention. Peter Brook once said he himself had no sense of history as a reality: ‘History to me is a way of looking at things, and-not one that interests me very much’; the artist’s vision is concerned with the present. This view, whatever may be said for it, is very ...”

“... artificers “I” remains enigmatical, presenting only the words on the page.’ Veronica Forrest-Thomson has been trying to rescue Sylvia Plath’s ‘Purdah’ from the critics who think the poem is a straightforward confession of her desire to avenge herself on Ted Hughes. ‘Why she should have bothered to write poems if this was what she wanted to say is ...”

“... This is the first full-length study of James Thomson’s life and work since Henry Salt’s in 1889. Thomson’s poem The City of Dreadful Night is known by name to many but has seldom been reprinted or discussed. Histories of literature say more about an earlier James Thomson (1700-48) who wrote The Seasons and ‘Rule Britannia’ and got into Johnson’s Lives of the Poets, though Johnson says his diction was ‘florid and luxuriant ...”

“... pleasure that remains to me: I indulge in reading about movies with undiminished enthusiasm. David Thomson has written about his disappointment with contemporary cinema, about how the franchise movie and the blockbuster are killing Hollywood and his hopes, and because I am one of the legion of Thomson’s devoted fans, it ...”

“... revived folk-song festivals, a weapon already used against Tsarism – hence the title of Clare Thomson’s book. It was the rumour that the Prague police had clubbed a student to death that spelt the end of the Husak regime: Civic Forum’s twin in Slovakia is called Public Against Violence. It was the threat of the East German regime to crush the Leipzig ...”

“... David Thomson​ is best known for a series of surveys of the history of cinema as Olympian in scope as they are in evenness of tone, the most notable being his indispensable Biographical Dictionary of Film from 1975, subsequently updated in a series of editions as the New Biographical Dictionary of Film. His latest book, The Fatal Alliance, is every bit as commanding in its succinct description and analysis of a wide variety of films, good, bad and (mostly) indifferent ...”

“... Where Jim Crace’s Harvest refused all the conventions of the historical novel, Rupert Thomson’s Secrecy seems to run eagerly towards them, and yet the effect once again is of a genre being unpicked and rewoven.* A superabundance of signposts, it turns out, can be as disorienting as their absolute absence. Exposition of period and person is almost caricaturally lucid in Secrecy, with ‘The year was 1701’ the book’s second sentence, and the narrator (of what is in fact a frame rather than the story proper) addressing herself helpfully on the second page: ‘at least I’d lived ...”

“... 1985, and Robert Bearman’s Shakespeare in the Stratford Records, 1994) but by the work of Peter Thomson and Andrew Gurr on the fortunes of Elizabethan acting companies, or of Douglas Bruster on Troilus and Cressida and the language of Jacobean economics, or of R.A. Foakes and Stephen Greenblatt on the contexts of King Lear. This is one biography ...”

“... of twelve consonants apiece’ and ‘several Englishmen of pith, / Sixteen call’d Thomson and nineteen named Smith’, whose deaths go unrecorded by the epic muse and who are so numerous that Byron has to leave most of them to be listed in the official necrologies. Byron’s Don Juan is full of Homeric allusions, both loyal and jeering, and ...”

“... and a lot more people die. There’s plenty of blood to look at, and a longer glimpse of Peter Fonda’s entrails than most people will be eager to have (he’s a bounty hunter who’s been shot during the robbery of a coach). In the fantasy style required of current cinema, his body, open entrails notwithstanding, shows no sign of human ...”

“... For 27 years Michael Wharton has written the ‘Peter Simple’ column in the Daily Telegraph. He was only 43 when he secured this good, steady job and now he has published an autobiographical account of his 43 apprentice years – dissident, drifting, bohemian years, marked by a lack of will-power, what the Greeks called aboulia ...”

“... a dozen biographies of Brando, or memoirs that depend on his presence. The weightiest of these is Peter Manso’s, published in 1994, when Brando still had ten years to live. (Mann hurries through those last years out of kindness as much as weariness. The killing of Drollet, the imprisonment of Christian and Cheyenne’s subsequent suicide left Brando a ...”

“... film’s stars, Warren Oates, had a fling with Becky, though she ended up marrying its other star, Peter Fonda. And then McGuane saw Margot Kidder. It’s like a libertarian Bonnie and Clyde – ‘we rob banks,’ without quite needing the money – and the mood is vital to the 1970s: the people to love faithfully are those you never quite have.Cue Tuesday ...”