Publishing used to be a dirty business. I’m talking not only about the ink-stained fingers of disreputable writers, but also about the filthy hands of those who actually put the words on the page: the devils and cutters who worked with metal type.

This is a compelling and timely book. It is compelling, because the reader shares Mark Vernon’s sense of excitement as he delves deeper and deeper into William Blake’s imaginative world and the way in which Blake’s visionary poetry also gives us vision: helps us see more deeply into the dilemmas and mysteries both of our own lives and the age in which we live.

‘The moon wanes and waxes, it is never steadfast’, wrote the author of Ancrene Wisse, a 13th-century guide for English anchoresses, ‘and signifies therefore worldly things that are as the moon ever changing.’ For anchorites immured in their cells, the moon represented everything they had rejected, the material pleasures and temptations they had overcome.

It’s twenty years since James Shapiro published 1599: A Year in the Life of William Shakespeare, which fused literary criticism with political and social history in bravura fashion. Shapiro vigorously debunked the Romantic notion that Shakespeare was an artist who transcended his own era.

Once the province of the art historian, the country house has become the focus of all manner of scholarly investigations over the past forty or fifty years. Everything from the economics of estate management and the lives of domestic servants to the Jewish country house, the queer country house and the country house’s links to colonialism has come under scrutiny.

Britain isn’t working – for different reasons, voters across the political spectrum affirm this view. You don’t need to subscribe to the more dystopian accounts of the country’s state to recognise its validity.

As the title suggests, Williams focuses on the period after the Western-inspired regime change which led to the assassination of Muammar Gadaffi and threw Libya into years of turmoil and destruction.

‘The English cannot assimilate any nation,’ declared the narrator of a French travelogue set in India and published in the aftermath of the uprising of 1857. ‘They can only dominate with brutality, squeezing every last drop of blood from the veins of the oppressed.’

In Geoffrey Household’s superlative thriller Rogue Male, from 1939, an English assassin-adventurer takes a potshot at Adolf Hitler and then flees for his life. An assassin’s intended victim is usually a “Hitler” of some sort. In July 2024, in Pennsylvania, an American youth aimed a rifle at Donald Trump from a rooftop and pulled the trigger.

Light on Darkness: The Untold Story of the Liturgy is an illuminating journey through the affective resonances of Christianity’s rites and rituals. Cosima Clara Gillhammer argues that liturgy is not the relic of a bygone age but a living tradition which has shaped the grammar of western culture, from Michelangelo’s Pietà to the Marvel Universe. It is a small treasure of a text.