Saturday Night and Sunday Morning (1960)

Provided You Don't Kiss Me: 20 Years with Brian Clough by Duncan Hamilton (Harper Perennial 2007)

He wasn't satisfied with the eulogies written about Taylor. Not because each one did not describe him generously, but because in Clough's eyes none did Taylor sufficient justice or apportioned enough credit for the work he had done in the partnership. It was as if he'd become the guardian of Taylor's posthumous reputation.

'Your obit on my mate was crap, utter crap,' he yelled at me, his face flushed, the voice rising in protest. 'You're all the same, you journalists - crap. Every paper missed the point, the real story. No one showed him the way he was. No one managed to give him the send-off he deserved. He was funny - you know that. He was intelligent - you know that too. He had a football brain - everybody could see it. And he was my mate. And we had some great times. And now . . .'

Clough slumped into a chair. He seemed to be stringing together in his mind all the bright days he had shared with Taylor.

'What a waste,' he said after a long pause. 'All those years when we could have been sitting together having a beer. All those years when he could have come, as an honoured guest, to watch us play. All those years without the laughter he was capable of providing. No one - absolutely no one - has made me laugh like him. I always missed that, and now . . . he's gone. I can hear his voice . . . telling joke after joke. But all we did at the end was slag one another off. Oh, fuck.' He shook his head slowly, his eyes staring at the floor.

Cold in Hand by John Harvey (Harcourt Books 2008)

For the first time in a long while, Resnick's heart failed to lift as he neared the ground, Graham Millington and himself part of the small crowd turning off London Road and crossing the canal, a bright sky but the air suddenly cold enough to catch their breath. Once inside, Millington, more a creature of habit even than Resnick himself, stood in line for cups of Bovril and a brace of meat-and-potato pies. Their seats were close to the halfway line, some ten or twelve rows back, the grass an almost luminous green promising something special, something magical.

The first fifteen minutes of mistimed tackles and misplaced passes soon gave lie to that, the crowd saving most of their invective - officials aside - for the perceived shortcomings of their own team. Never bad enough to occasion a chorus of "You're Not Fit to Wear the Shirt," but close. Not that the visitors were a whole lot better, a mixture of superannuated cloggers and earnest youngsters, none of them showing much wit or ambition, until, the interval not far off, they went close with a twenty-five yard volley which the Notts goalkeeper did well to tip over the bar.

"Bloody hell!" Millington said. "That was a near thing." And then, glancing sideways, "Come on, Charlie, they're not playing that badly."

Resnick was sitting there, shoulders hunched, tears running soundlessly down his face.

Now's The Time by John Harvey (Slow Dancer Press 1999)

Music has always been important for Charlie, you fancy - as background and as entertainment, as a way of easing a stressful life, papering over emptiness, and more positively, helping him to measure and assess emotion, helping him to understand. And where it had begun for him, this musical affiliation, this need? A tailoring uncle, returned from the States with a pile of chipped and scratched 78s and Charlie, in his early teens, open-minded and keen-eared, set loose amongst them. Bing Crosby. The Ink Spots. Sinatra. Dick Haymes. The Mills Brothers. Ella Fitzgerald's 'A-Tisket, A-Tasket' and 'Stone Cold Dead in the Market'. Teddy Wilson and his Orchestra with Billie Holiday (vocal refrain).

(John Harvey writing about his creation, Charlie Resnick, in the chapter entitled, 'Coda'.)

The Ragman's Daughter (1972)

The Loneliness of the Long Distance Runner by Alan Sillitoe (Plume/Penguin 1959)

Sitting in what has come to be called my study, a room in the first-floor flat of a ramshackle Majorcan house, my eyes move over racks of books around me. Row after row of coloured backs and dusty tops, they give an air of distinction not only to the room but to the whole flat, and one can sense the thoughts of occasional visitors who stoop down discreetly during drinks to read their titles:

"A Greek Lexicon, Homer in the original. He knows Greek! (Wrong, those books belong to my brother-in-law.) Shakespeare, The Golden Bough, a Holy Bible bookmarked with tapes and paper. He even reads it! Euripides and the rest, and a dozen mouldering Baedekers. What a funny idea to collect them! Proust, all twelve volumes! I never could wade through that lot. (Neither did I.) Doestoevsky. My god, is he still going strong?"

And so on and so on, items that have become part of me, foliage that is grown to conceal the bare stem of my real personality, what I was like before I ever saw these books, or any book at all, come to that. [From The Decline And Fall Of Frankie Buller]