Adam Mars-Jones

In her approach​ to story-writing Lydia Davis might almost have taken a vow of chastity, of the aesthetic sort publicised by the Dogme 95 group of filmmakers. Dogme principles included shooting on location, recording the soundtrack at the same time as the images (so as to exclude music other than what the characters could hear), using natural sources of light and a hand-held camera....

If there’s a spectrum of Celtic moods then my father tended towards its capricious end. Though he saw himself as rock-solid in the consistency of his principles, you could never quite tell how he would react to anything. The mixture of gravitas and unpredictability made him a remarkable judge, but it was less of a winning formula in the domestic setting of kitchen or sitting room. This was something I had to try to anticipate when I realised, in the late 1970s, that I would have to break the news to Dad that I belonged to the category he hated and feared.

Lisa Dwan​ has been performing Samuel Beckett’s immensely demanding Not I since 2005. What audiences saw at two short London runs this year, at the Royal Court in January and the Duchess Theatre in February (the production now tours), differed markedly from the published text, though this is not a body of work where experimentation is welcomed. A literary estate is more like a guard...

Claudia Roth Pierpont met Philip Roth at a birthday party in 2002. She was a fan, but managed not to alienate him with clumsy enthusiasm. A couple of years later he sent her a photocopy of a newspaper article he thought she might be interested in. They met for coffee and became more relaxed with each other. Later he recruited her as a member of the small rotating committee of friends, an editorial micro-minyan, to whom he sent drafts of his books. Roth Unbound has his blessing but wasn’t vetted by him, and Pierpont feels free to criticise his work.

Hindsight is the way we make sense of the world, and the events and impressions of the morning are reworked any number of times before evening, with the result that any historical novel is bound to be as processed as spray-on cheese. What makes a narrative come alive is the Stendhal touch, a flick of the tail that propels the reader up past the rapids to a pool where things haven’t...