“... It’s hard to think of a writer who publishes a book every ten or twenty years as garrulous, or of a person who produces his fourth novel at the age of 72 as prolific; but we need some such terms if we are to begin to describe the extraordinary work of William Gaddis, born 1922, the author of The Recognitions (1955), JR (1975), Carpenter’s Gothic (1985) and now A Frolic of His Own ...”

“... Logic is doubtless unshakeable,’ Joseph K. thinks towards the end of The Trial, ‘but it cannot withstand a man who wants to go on living.’ He is wrong, of course, since he is killed within a page by the brutal logic of the novel he is in. But there is a logic that resists such logic, and one of its masters is Joseph H., author of Catch 22 and other objections to the absurdity of dying ...”

“... If it’s December 1941 in Casablanca,’ Humphrey Bogart moodily asks in a famous movie, ‘what time is it in New York?’ The answer is not as obvious as it looks. Time, especially political time, has snags, hitches, runs; lags behind in some places, suddenly catches up. Reading translations, which have often travelled to us across all kinds of odd delays, we could do worse than adapt Bogart’s question to our texts ...”

“... The dead writers,’ Eliot said, ‘are that which we know.’ They are also, Peter Ackroyd might want to add, that which we don’t know we know or wish we knew better, agents of prodigious but incomplete hauntings. From The Last Testament of Oscar Wilde to Chatterton, Ackroyd has shown himself an adept in the speech of such ghosts. Indeed his gift for their speech is so great that it can be distracting: we forget to wonder if the ghosts have anything to say ...”

“... Remember the Maine’ was the slogan, but what exactly was to be remembered? That the US warship of that name sank in Havana harbour on 15 February 1898? That the Spanish blew it up? That such things will happen as long as there are remnants of old empires in the Western hemisphere? That North Americans, always too trusting and too kind, need to get a little tougher? ‘Remember the Maine, to hell with Spain’ was the complete couplet, printed in William Randolph Hearst’s New York journal on 18 February ...”

“... They used to go to Paris when they died. Now good Americans simply shift from one plane of fiction to another, leaving the Dallas of Lee Harvey Oswald, say, for that of J.R. Or so it is suggested in Gore Vidal’s joky novel Duluth, where characters die in one imagined work only to pop up in another. They are just words, you see, easily reassembled ...”

“... What a chapter of chances,’ Tristram Shandy’s father says, ‘what a long chapter of chances do the events of this world lay open to us!’ The thought is echoed in the closing pages of Clive James’s Brilliant Creatures, whose author-hero is said to be a ‘chapter of accidents’, and in the title and precarious plot of Anthony Powell’s O, How the wheel becomes it! The wheel is Ophelia’s, and suggests the incessant circlings of fortune, but quickly, in Powell’s hands, comes to hint at roulette and the dodgy hazards of English literary life ...”

“... Robert Altman’s Short Cuts is a long, loose-looking movie, but the looseness is an effect, carefully worked for. Plenty of themes recur throughout – insecurity, chance, rage, damage, the long, bruising war between men and women – and although there are fourteen or fifteen stories here (based on extrapolated from ten stories by Raymond Carver – the handouts and the introduction solemnly say nine stories and a poem, but the so-called poem is also a prose narrative), they are intricately stitched together, like a miniaturised Comédie humaine set in Los Angeles ...”

“... Perhaps all books are messages from other times and places, even the ones written yesterday and just down the road. But these three works by Kenzaburo Oë, who won the Nobel Prize for Literature in 1994, have an unusual flavour of missives cast into the sea long ago, only now arriving on our island beach. Nip the Buds, Shoot the Kids was published in Japan in 1958, and is now translated for the first time ...”

“... In the old times, long before the birth of the Irish Free State, a young woman called Brigid McLaughlin went down from Derry to work in southern Donegal. Her job was to look after two children, a girl and a boy, aged nine and seven, orphans. ‘The children were beautiful,’ we are told, ‘especially the girl. She was dark, the boy was fair. They spoke Irish only ...”

“... The reviews and the hype hadn’t prepared me for Malcolm X at all. I expected it to be dull and worthy, a straight and long-winded retelling of a famous life. I found it lively, pretty dramatic, not all that much too long. It is a glossy parable of the sinner who came to virtue, found fame and power, was threatened and killed: the work, death and glorification of St Malcolm Martyr ...”

“... Céline​ was not a great admirer of Proust. He called him a ‘half-ghost’, far too preoccupied with the doings of an even ghostlier French aristocracy. For this and many other reasons it’s hard to imagine Céline enjoying the thought of their sharing a sudden posthumous literary limelight. Still, there are ways of winning even late games. When significant missing manuscripts by both writers were discovered in 2018 and 2021, the Proust trove amounted to 76 pages, published as Les Soixante-Quinze Feuillets (that was their name before they vanished ...”

“... A certain monotony characterises saints’ lives, at least when viewed from the outside, and the same goes for writers. The chosen career flattens out the visible differences. If it wasn’t for the lion who traditionally accompanies St Jerome, Italo Calvino suggests in The Castle of Crossed Destinies (1973), you could hardly tell him from St Augustine ...”

“... The ordinary slips away from us. If we ignore it, we lose it. If we look at it closely, it becomes extraordinary, the way words or names become strange if we keep staring at them. The very notion turns into a baffling riddle. Shall we say that the ordinary doesn’t exist, or that it exists only when we don’t look at it closely? Stanley Cavell has been thinking about the ordinary (although not only about that) for the whole of his philosophical career, and he knows the riddle inside out ...”

“... Grief has its reasons, or rather its mode of reasoning. The premises are wild, but the logic is irresistible. This is what Joan Didion means when she writes, in her title and on the page, of ‘magical thinking’: ‘thinking as small children think, as if my thoughts or wishes had the power to reverse the narrative, change the outcome’. She also calls it ‘disordered thinking’, ‘delusionary thinking’, and speaks of a ‘fund of superstition’, of ‘occasions on which I was incapable of thinking rationally ...”