“... 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 ...”

“... 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 ...”

“... 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 ...”

“... We all know what a Euro-novel is. It’s clever and shallow, full of allusions to fashionable figures, and elaborately interested in its own making. The home product, by contrast, is solid and deep, staunchly unaware that there are any other cultural products in the world, and firmly convinced that the art which conceals art is the next best thing to having no art at all ...”

“... When asked what part of the Middle West he comes from, Jay Gatsby says: ‘San Francisco.’ This is usually taken as a sign of his shaky geography or his eagerness to cover up his origins, or both. But the response seems too blunt and broad for that – too blunt and broad for either Gatsby or Fitzgerald. If Gatsby were at all given to making jokes, we might think this was one ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”