For Henry James, class was 'the essentially hierarchial plan of English society' which was 'the great and ever-present fact to the mind of a stranger; there is hardly a detail of life that does not in some degree betray it'.

Kitty Kelley's method, already perfected in her unauthorised and unflattering biographies of Frank Sinatra and Nancy Reagan, is to write bestsellers that take what she describes as an 'unblinking look' at their subjects - which might, of course, mean that her eyes are permanently open or permanently closed... the result is a work so bad that Britons cannot realise how fortunate they are in being unable to buy it. The great mistake with this book is not that it has been published in Britain, but that it has actually been published anywhere else.

In the early 21st century, it is easy to condemn the Bond books for being racist and imperialist, sexist and misogynist, elitist and sadistic. But this is merely another way of saying that we cannot understand the Bond books without reference to the personality, the outlook and the 'Tory imagination' of the man who wrote them, and to the time in which he wrote them; and that we cannot understand the 1950s and 1960s without some reference to them, and to him.

It is impossible not to be moved by the verve, courage and elan with Churchill attacked his last and ultimately invincible enemy, old age and infirmity. As in all his campaigns, he assailed his adversary with endless high spirits, expert advice, ample helpings of brandy and champagne, and the loving and long-suffering support of his wife.

Prince Charles's concern for the underprivileged and disadvantaged has not exactly endeared him to the Conservative Central Office. As Norman Tebbit replied, it is not surprising that the Prince is so sympathetic towards the unemployed: he is by way of being one of them himself.

For those who reject it, the Victorian experience is something to feel embarrassed about, to apologise for, to escape from, and never to repeat. But to those who remain enthralled, it is a fabulous story of oustanding success and splendid achievement, by comparison with which Britain's 20th century records seems at best unimpressive, and often distinctly lacklustre.

Like sex, poverty and power, suicide may always be with us. But like them again, the actual form is takes is essentially time-specific and culture-bound, not only in the past but in the present too. The people who took their lives, the paths which led them to that end, and the experience of dying in this way were deeply influenced by specific historical circumstances. Only by making a greater effort at historical understanding can this most secret house of death be made to yield up more of its confidences.