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1 " In the end it comes down to two rival versions of the English middle afternoon. Post-Barrett, Pink Floyd kept on in a middle-afternoonish vein, but they fell in love with the idea of portentous storm clouds in the offing somewhere over Grantchester....Barrett's afternoonishness was far more supple and engaging. It superimposed the hippie cult of eternal solstice on the pre-teatime daydreams of one's childhood, occasioned by a slick of sunlight on a chest of drawers....His afternoonishness is lit by an importunate adult intelligence that can't quite get back to the place it longs to be....Barrett created the same precocious longing in adolescents."I remember 'See Emily Play' drifting across a school corridor in 1967...and I remember the powerful wish to stay suspended indefinitely in that music...I also remember the quasi-adult intimation that this wasn't possible.[from the London Review of Books for January 2, 2003] "
― Jeremy Harding
2 " We think of agents, traffickers and facilitators as the worst abusers of refugees, but when they set out to extort from their clients, when they cheat them or dispatch them to their deaths, they are only enacting an entrepreneurial version of the disdain which refugees suffer at the hands of far more powerful enemies – those who terrorise them and those who are determined to keep them at arm’s length. Human traffickers are simply vectors of the contempt which exists at the two poles of the asylum seeker’s journey; they take their cue from the attitudes of warlords and dictators, on the one hand, and, on the other, of wealthy states whose citizens have learned to think of generosity as a vice. [from the London Review of Books Vol. 22 No. 3 · 3 February 2000] "
