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“... One​ of the inhabitants of Middle England, the title and the setting of Jonathan Coe’s last novel, part of a location that is also called ‘merrie’, ‘deep’ and ‘old’, thinks that she and others ‘might be living cheek-by-jowl in the same country, but they also lived in different universes’. The language in which these universes fail to communicate is politics, and one of the great insights of the novel is that politics is so often just that: a language and not a topic ...”

“... Jean Giono​ was closely associated with Provence. He lived there his whole life (1895-1970), scarcely travelling anywhere else. It was the setting of his many novels, and he wrote regularly of local geography and weather. And yet Walter Redfern could say, in 2010, that Giono was ‘not a regional novelist’. It’s an interesting claim and alerts us to all kinds of criss-crossing puzzles ...”

“... A friend asks me how old Edward Said was when he died. I pause, do the little sum, and say: ‘He was 67, a few months older than I was.’ Then I catch the weird tense. ‘Than I am.’ Both tenses are true, of course. I’m still 67, but a piece of me is past.I don’t like to use the word ‘unbearable’ because I’m conscious that too many people are bearing what seem to be unbearable hardships every day ...”

“... When I wrote film criticism,’ Jean-Luc Godard said in 1978, ‘I never saw the difference between talking about a film and making one.’ There was a serious difference, as he well knew, since at the time of most of this writing he had not made a film of his own. The claim is interesting, though, because Godard always liked to mix modes, and never really wanted to separate criticism from creation ...”

“... Look within,’ Virginia Woolf said, but she wasn’t thinking of brain surgery. Memories of Amnesia is a black joke about inner landscapes, or more precisely, about a mind turned inside out. Subjectivity, that spreading territory of so much modern writing, becomes a sort of intellectual circus, an arena where hectic and unanswerable arguments cross like missiles in the night ...”

“... Proust said he didn’t understand how critics could divide literary works into good and bad patches, admiring the first half of a novel by Gautier but not the second, praising everything to do with Goriot in Père Goriot, damning everything to do with Rastignac. He was thinking of Emile Faguet, but we might think of F.R. Leavis performing the same sort of operation on Daniel Deronda ...”

“... It is fatal for a woman,’ Virginia Woolf wrote, ‘in any way to speak consciously as a woman.’ Fatal for her as a writer, Woolf meant, but even so, not many people will now agree with this view. Not all that many, perhaps, will understand it straight off. How could it be fatal? How could you not write or speak as a woman if you were one? Except by pretending to speak or write as a man ...”

“... This intimately funny and desperately sad novel opens with a parade of visitors to Ilya Ilich Oblomov’s Petersburg flat. Most of them are introduced, in this new translation, by the phrase ‘in walked’, which creates a wonderful sense of flatness, repetition and invasion. All but one of the visitors are busy in some way or other, full of talk of the world, parties, work, the latest literary news ...”

“... In 1950 André Breton published a prose poem by Octavio Paz in a surrealist anthology. He thought one line in the work was rather weak and asked Paz to remove it. Paz agreed about the line but was a little puzzled by the possibility of such a judgment on Breton’s part. He said: ‘What about automatic writing?’ Breton, unperturbed, replied that the weak line was ‘a journalistic intromission ...”

“... Structures​ don’t take to the streets’ was a famous Paris slogan of 1968, ‘Les structures ne descendent pas dans la rue.’ The implication was that structuralists didn’t take to the streets either, that current thought and theory represented only quietism. There was an echo here of a grand debate between Sartre and Lévi-Strauss, in which Sartre represented himself as engaged in history and Lévi-Strauss as a mere aesthete, dedicated to just watching things ...”

“... There is a touch​ of Shylock in this,’ John Kerrigan says of a moment in King Lear. There are touches of Shylock in many places outside The Merchant of Venice, and indeed outside Shakespeare altogether, but this one is of unusual interest. It is in Cordelia’s speech responding to her father’s question about which of his daughters loves him most – well, to be precise, which of his daughters he is to say loves him most ...”

“... In​ 1968, when not too many people outside Portugal had heard of Fernando Pessoa, now regarded as one of the great Modernist poets, the linguist Roman Jakobson, in collaboration with Luciana Stegagno-Picchio, wrote an essay centring on Pessoa’s use of oxymorons. The piece was a complex formal study of a poem from Mensagem (1934), the single volume of verse Pessoa published in Portuguese in his lifetime ...”

“... becomes a capitalised Garden, ‘zoological or mythological’, and although it is called a wood, it’s more than that for the narrator, for whom ‘it fulfilled a purpose foreign to the life of its trees.’ It created in him an ‘exhilaration’ quite different from anything inspired by the beauties of autumn that he came out to see. A question of ...”

“... It’s a good answer, and Ayckbourn no doubt took it kindly and got the point. But it bothers Michael Billington, who can’t tell the story without cleaning it up, indeed turning it into a testimonial. ‘That was not brusqueness or rudeness – Ayckbourn testifies that Pinter was an extremely nice guy – but simply an absolute belief in the self ...”

“... the camp inmates call the milk ‘you’ throughout. In other translations (by John Felstiner and Michael Hamburger, for example) and in the German text, they start by calling the milk ‘it’ and then move to ‘you’. I like the (incorrect) intimacy from the start, and confess that I had to look at several editions to find out what is happening. I ...”