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“... Julian Barnes invites us to visit what he calls a ‘tropic of grief’ that is wilder and bleaker than anything in the pages of Lévi-Strauss’s great memoir. But Barnes does not refuse the word ‘sad’, because, he suggests, one of the first things we should understand about grief is its banality, its need of ordinary old words that may seem flat but will not seem evasive ...”

“... It’s easy enough to prove that the external world exists. Doors, rocks, other people, we keep running into them. But that’s not much of a proof. It doesn’t show that any particular piece of the world exists when we are not there to perceive it, and it doesn’t show why its existence should matter. It’s just in the way. The proof helps us still less with Stephen Hawking’s question, adduced on the first pages of Jim Holt’s book: ‘Why does the universe go through all the bother of existing?’ Mattering and bothering are important issues in Holt’s quest, but they tend to be treated as entailments and sidebars, marginalia to the big stuff: the ‘profound … mystery of being’, ‘the deeper question’, ‘the deepest of all questions’, namely, ‘Why is there something rather than nothing?’ Holt has a religious temperament, if not a religion, and he thinks the notion of God is a possible explanation of the mystery of being rather than the reverse or the refusal of one ...”

“... There are​ some wonderful rhymes in Cole Porter’s song ‘I get a kick out of you’: if-whiff-terrif, high-guy-sky with the first syllable of i-dea. And, even better:When I’m out on a quiet spreeFighting vainly the old ennuiAnd I suddenly turn and seeYour fabulous face.We wonder why ‘fighting vainly’ is subtly better than ‘vainly fighting’, we are pleasurably uncertain what ‘a quiet spree’ might look like, and ‘the old ennui’ impeccably captures a rather boastful world-weariness also known as the ‘mal du siècle’, whatever century you have in mind ...”

“... This is the Nile and I’m a liar.’ These are the opening words of an amazing play by Anne Carson, first performed in 2019. The statement is in one sense correct. The speaker is nowhere near Egypt and about three thousand years too late for the Trojan War. J.L. Austin listed being ‘said by an actor on the stage’ as one of the ways in which an utterance might be ‘hollow or void’, and for a moment Carson’s speaker takes exactly this line ...”

“... of China (1999), is exactly the same as Frisch’s: ‘You are the task. No pupil far and wide.’ Michael Hofmann, in The Zürau Aphorisms of Franz Kafka (2006), has ‘task’ too, but adds the word ‘exercise’, and his pupil is a student. I did once read, though I can’t remember where and can’t find in any of the probable books, a more ordinary, less ...”

“... the pieces are published here in English for the first time. The editors, Pascale-Anne Brault and Michael Naas, are sensitive to what might be ‘impolitic’ or ‘morbid’ about such a collection, but their introduction amply and lucidly justifies their assembly of these works, and the only snag with the book as a whole is that it makes certain rhetorical ...”

“... in the first part of T.S. Eliot’s first Quartet.Frost says ‘Two roads diverged in a yellow wood’, and recounts his regret that he ‘could not travel both/And be one traveller’. He looked at one road, then took ‘the other, as just as fair/And having perhaps the better claim,/Because it was grassy and wanted wear’. The better claim rests on ...”

“... Most of our current nostalgia goes to the Fifties and Sixties when it doesn’t go to some Victorian never-never land. The Seventies! How could we forget them? Or remember them? Were they anything other than time on the clock? There was a lot of supposed recovering from the Sixties, and of denying the Sixties ever happened. It was an age of narcissism, some said, but we were too self-absorbed to notice ...”

“... The writer, grizzled, sun-tanned, wearing only desert boots, shorts and sunglasses, sits outdoors in a wicker chair, checking a page in his typewriter. The picture appears on the covers both of Ian Hamilton’s Writers in Hollywood and of Tom Dardis’s Some Time in the Sun and instantly announces several elements of a familiar legend. Even in black and white the image is full of warm shadows, and the uncropped version fills out the legend a little further ...”

“... The earlier plays of David Mamet seemed to spring from a meeting between Arthur Miller and Harold Pinter, as if the characters from The Caretaker or The Homecoming had caught the American anxieties of Death of a Salesman. Pinter is also never far from the later plays, and he directed Oleanna in London; but other, more oblique influences now hover in the air ...”

“... Movies tend not to age gracefully. If they’re not still fresh, they look decrepit, or just dead. It’s hard to distinguish between the damage done to the old Frankenstein by Young Frankenstein, to say nothing of The Munsters, and the damage done by time and change on their own. Certainly when Dwight Frye, as Frankenstein’s crippled assistant Fritz, scuttles off down a hill, doubled over his very short walking-stick, it’s hard not to think of Marty Feldman and Gene Hackman and to murmur ‘Walk this way ...”

“... Some men get the whole world,’ Kim Basinger says. ‘Others get an ex-hooker and a trip to Arizona.’ The camera pauses on the man who has got the world, an ambitious, heroic, decorated and promoted policeman. The actor is Guy Pearce, his face narrow and eager, all sharp planes and angles. He doesn’t look too pleased. The film ends. One of the many attractions of LA Confidential, a glossy, atmospheric movie based on a James Ellroy novel, is its unembarrassed pleasure in this kind of stuff ...”

“... Asked in 1933 what his favourite among his own poems was, Wallace Stevens said he liked best ‘The Emperor of Ice-Cream’, from Harmonium (1923). The work ‘wears a deliberately commonplace costume’, Stevens said, ‘and yet seems to me to contain something of the essential gaudiness of poetry’. He didn’t remember much about writing the poem except ‘the state of mind from which it came’: ‘I dislike niggling, and like letting myself go ...”

“... One of the great attractions of James Fenton’s verse is the way it manages so often to be both plain and cryptic at once. It urges us to think about what we can’t quite know, and it favours certain strategies for doing this. ‘It is not the houses,’ Fenton writes in ‘A German Requiem’. ‘It is the spaces between the houses.’ He repeats this logical rhythm several times within the poem sequence and closes the work with it: It is not what they say ...”

“... you will go under if you don’t fight back Surely you must see that?It is perhaps worth having Michael Hamburger’s version here, just to hear a slightly different lilt: And I always thought: the very simplest words Must be enough. When I say what things are like Everyone’s heart must be torn to shreds. That you’ll go down if you don’t stand up for ...”