The collection was arranged thematically, not chronologically,[3] with the political first section followed by a second, more cultural part, 'What I Believe', containing Forster's reflection on art in general, as well as on particular artists ranging from John Skelton to Syed Ross Masood.

[4] Part One saw Forster struggling to articulate his quiet liberalism,[5] and his concern for the individual,[6] in the face not only of continental totalitarianism, but also of both right-wing xenophobia and left-wing extremism at home.

Seen widely as out-of-step and ineffective at the time, his writings have perhaps worn better than many of their more strident counterparts--Stanley Cavell for example praising him a half-century later for the honesty of his concrete efforts to weigh up the competing ethical claims of public and private spheres, country and friends.

In Part Two, Forster both enunciated and exemplified his belief in the arts and culture as an (inner) ordering principle in life[9] - providing it with a celebratory sense of meaning.

[10] As he himself put it:[11] I have found by experience that the arts act as an antidote against our present troubles, and also as a support to our common humanity.