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“... of an eccentric view of Donne. To understand that view, here documented in full and supported by John Haffenden’s conscientious and adulatory commentary, one point at least is essential. Empson found it all but impossible to believe that any intelligent and honest person could be a Christian. A lot of his work is devoted to showing that even writers ...”

“... support to most of the claims being made for ‘narrative poetry today’ – should have told John Haffenden in an interview for Viewpoints that he found Robert Frost’s fable of imagined unlived lives, ‘The Road Not Taken’, exemplary. If Fenton’s distinction between the narrative kinds is just, so is the note of regret and rebellion that he ...”

“... I thought I had best begin by expressing some old-buffer prejudices in general,’ Empson told the British Society of Aesthetics in 1961: ‘but now I will turn to English Literature, which it is my business to know about, and try to examine the fundamentals, the basic tools.’ As he turns to literature, he shelves the old-buffer prejudices and begins to display instead the rationalism which spoke habitually of the ‘basic tools’ of imagination, and the sensitivity to language which enabled him to examine and test those tools ...”

“... more available on tseliot.com, and many thousands yet to come. Edited for the most part by John Haffenden, the edition builds on the collection made by the late Valerie Eliot and on many archives (especially those of Faber). Occasionally, there’s a page with only a couple of lines by Old Possum on it, and about fifty lines of small-print ...”

“... completed) drama of modern life called ‘Sweeney Agonistes’, as well as a translation of Saint-John Perse’s prose poem Anabase, which didn’t appear until 1930. ‘I thought my poetry was over after “the Hollow Men”,’ he acknowledged later. It was some years before he discovered that this wasn’t the case. Overwhelmingly, these letters give us ...”

“... will my flailing material assume?’ Carter, one gathers, felt the opposite to Welty. She told John Haffenden, in 1984, that in The Passion of New Eve, she created Tristessa, the transvestite movie star, ‘in order to say some quite specific things about the cultural production of femininity’. Her training in medieval literature had given her a ...”

“... as a poet. ‘It is all a battle,’ he announced to his friend and partner in art, the painter John Minton. He and Dunsmuir lived in conditions of spectacular inconvenience: a poky caravan for some years and later a cottage to which the word ‘spartan’ doesn’t really do justice – ‘a leaking roof, no cooking stove, no electricity, an outside toilet ...”

“... Beasts in interest. The volume has a valuable seventy-page introduction and some useful notes by John Haffenden, who arranges the material as far as possible in chronological order. The play or melodrama, Three Stories, was written when the poet was 20, and performed, with him in the cast, by the Cambridge ADC. Long supposed to have been lost as Empson ...”

“... also a question of how buoyant one can be in the face of such things. In an early interview with John Haffenden, Muldoon was asked: ‘Why do you think the notion of alternative lives is peculiarly fetching, philosophically attractive, to your imagination?’ He replied: ‘I think it’s central. One of the ways in which we are most ourselves is that ...”

“... Church. ‘I don’t think it’s much to do with Christianity,’ he cheerfully explained to John Haffenden in an interview, ‘Irish Catholicism is continuous with something older than Christianity.’ That had been a powerful idea in earlier literary nationalism: Daniel Corkery’s The Hidden Ireland (1924), for instance, posited an underlying ...”

“... appreciated.He did not think much of the Irish. ‘Apart from the fact,’ he wrote to his friend John Hayward, ‘that the Irish have a certain respect for poetry and religion, theirs is a tiring society; and the kind of war nerves they are suffering from – not really daring to make up their minds what they think, and not being really prepared for anything ...”