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“... black super-detectives – but they are no less tendentious. Several attack or parody the novelist Richard Wright, whom Micheaux evidently regarded as a rival, and warn against Communist-inspired ‘race-mixing’. A striking element of Micheaux’s work is the harshness of his judgments of the Negro masses who, he maintains, lack initiative, ‘that ...”

“... darkness’ homeland? Yet Harris’s ‘thank you’ is not just a perversity. It finds an echo in Richard Wright’s question: ‘What does an African facing an African American see?’ It also finds an echo in Manthia Diawara’s answer: I see Toni Cade Bambara, I see Kamau Brathwaite, I see James Baldwin, I see Bob Marley, I see James Brown, I see ...”

“... and Alison Smithson, who displayed a series of found objects in a post-apocalyptic mirrored shed. Richard Hamilton’s group presented a funfair vision that launched the British Pop Art movement. Robby the Robot, star of the science-fiction movie Forbidden Planet, opened the show because, according to the critic Reyner Banham, he was much ‘easier to book ...”

“... hunter’ and drinker; W.H. Auden; Edith Sitwell; Henry Miller; Janet Flanner; Richard Wright, who praised McCullers for her complex, realistic portraits of Negroes; the American composer David Diamond, who had a triangular love affair with McCullers and Reeves that ended unhappily for all; the film director John Huston, who directed ...”

“... history. Most striking was the impetus given to the careers of black authors: Zora Neale Hurston, Richard Wright and Ralph Ellison were given their first chance by the FWP. Its ambition was to create – or rather to discover – a great American epic in the acts and words of ordinary men and women: to draw from the disregarded speech and customs of the ...”

“... diplomats, writers and other extraordinary figures who lived in the city. (Ralph Ellison and Richard Wright were also supported by the programme, though McKay was never close to either.) FWP resources allowed McKay to produce Harlem: Negro Metropolis (1940), a sociological study of cults, occultists and street-corner orators that includes ...”

“... and pictorial detail that allows Davis to claim (I borrow the formulation from a famous remark of Richard Wright about horror) not that he has invented magic realism, but that Southern Californian magic realism has invented him. But sometimes, it now seems, the image that lodges with such conviction in Davis’s mind and in this book has undergone ...”

“... inhabitants as McCullers, W.H. Auden, Benjamin Britten, Gypsy Rose Lee, Paul and Jane Bowles and Richard Wright. (Auden seems to have been an especially terrible housemate, complaining about excessive use of toilet paper and telling people their colds weren’t physical but mental.) Carson was one of the original members; she arrived during her first ...”

“... would have been pleased by the comparison, citing Steinbeck, along with Theodore Dreiser and Richard Wright, Nelson Algren and Sherwood Anderson, as influences. All of them deployed melodrama to drive home the failure of America to live up to its ideals; all of them wrote to expose inequality and economic Darwinism. The Magic Kingdom is Banks’s ...”

“... in Paris. She would borrow Resnais’s apartment, investigate Blanchot for her translator friend Richard Howard, go to see the latest Godard film or visit the catacombs with her son. In the late 1960s, she fell in love with Nicole Stéphane, who had acted in Jean-Pierre Melville’s films but now produced her own. Stéphane, who was descended from the ...”

“... my life I woke up wanting to do something to make it happen faster.’ As a schoolgirl Ypi reads Richard Wright, learns about the capitalist enemies who want to turn her beloved country into a shopping mall, and encounters odd European tourists, some of whom seem to pity her and some of whom treat her like a precious specimen. Small anxieties balloon in ...”

“... The label “Wright of Derby” is likely to be permanent, although it inevitably has provincial connotations which now seem inappropriate.’ So Judy Egerton writes in her introduction to the catalogue of the exhibition of his work which runs until 22 April at the Tate. ‘Inappropriate’, I suppose, because ‘provincial’ suggests pictures which cannot stand metropolitan comparisons – something which Wright’s work, from the time of the exhibition of the Orrery and the Air Pump, did very successfully ...”

“... wrote about what he could see through his first-floor window: the three protruding masts of the SS Richard Montgomery, an American Liberty ship that ran aground and broke in two in August 1944, a mile and a half off Sheerness beach. The ship was carrying 1400 tonnes of explosives – enough to wipe Sheerness off the map, along with Southend and parts of the ...”

“... It may not be remembered in the current mammoth Frank Lloyd Wright retrospective at the New York Museum of Modern Art, but in May 1939, just after the German occupation of Czechoslovakia, Frank Lloyd Wright paid a significant visit to England. His purpose was to deliver four lectures to the RIBA; lectures that he supplemented by showing 16 mm colour films of life at Taliesin West, the Arizona winter home of his peripatetic architectural family ...”

“... centre which Wertham opened in a church basement in Harlem in 1946 with help from Ellison and Richard Wright. Six years later Wertham was called as an expert witness for the NAACP in one of the cases reviewed in Brown v. Board of Education. With the evidence of his experiences treating traumatised children in Harlem, he persuaded a federal judge that ...”