Search Results

“... The pale child gives a faint wave of his hand. He is saying goodbye to his Jewish friend, about to be taken from school to die in Auschwitz, but there is also a whole history of helplessness in the gesture: not only the boy’s but that of his class and time and culture and place. The gesture occurs at the end of Louis Malle’s Au revoir les enfants, 1987 – the year of the story is 1944 – but it has echoes and relatives everywhere in French films since the war, and in French fiction of the same period ...”

“... We have all kinds of images of the modern poet, little mythologies made out of snatches of the life and work and reputation. The figure is hieratic and austere, like Mallarmé and Valéry, inward and intricate like Eliot and Pessoa, serenely eccentric like Marianne Moore, public and overflowing like Neruda and Pound. One of the strangest and most tantalising of these images is that of Yeats, both worldly and spiritualist, silly like us, as Auden said (sillier, some would say), and yet wonderfully hard-headed ...”

“... Proust’s unpublished work does not exist,’ Bernard de Fallois wrote in 1954. Provocative words, since he was introducing a whole volume of such material, and two years earlier had brought out Jean Santeuil, an unfinished novel Proust worked on between 1895 and 1899. De Fallois was trying to suggest, with a little too much bravado, that all Proust’s writing, early and late, published and unpublished, should be considered part of his great novel, À la recherche du temps perdu ...”

“... How often in my life have I said those words, and yet?’ John Banville, Shroud ‘I had jumped​ ,’ Conrad’s Jim says of his abandonment of his ship, adding a moment later: ‘It seems.’ Marlow, the narrator of the novel who is listening to Jim’s story, says: ‘Looks like it.’ This is one of many instances where Marlow’s language is drier and tougher than his thought, which is unwilling to condone Jim’s act but very sympathetic to the difficulty of living with the memory of it ...”

“... Lewis Carroll seems an obvious precursor of James Joyce in the world of elaborate wordplay, and critics have long thought so. Harry Levin suggested in 1941 that Carroll’s Humpty Dumpty was ‘the official guide’ to the vocabulary of Finnegans Wake. Why wouldn’t he be? He was the inventor of the portmanteau word (‘You see it’s like a portmanteau – there are two meanings packed up into one word’), an inspired parodist of what Saussure later called the arbitrariness of the linguistic sign (that is, its being grounded in nothing but convention) and extremely proud of his ability to ‘explain all the poems that ever were invented – and a good many that haven’t been invented just yet ...”

“... The last piece in L’Eté, a collection of Camus’s essays first published in 1954, ends on a characteristic note of risk and grandeur: ‘I have always had the impression of living on the high seas, threatened, at the heart of a royal happiness.’ The high seas and the happiness frame and reduce the threat, perhaps even make it part of the glamour, part of the flourish ...”

“... Frank Kermode is too multifarious a writer to have anything as dogged as a theme for his critical work; too sane and stealthy to boast of anything as limiting as an obsession. But there are persistences, continuities, as he calls them in the title of one of his books. There is an interest in difficulty, for example, and especially the difficulty of understanding – either oneself or others ...”

“... When Jorge Luis Borges was dying in Geneva in 1986, a friend committed an elegant Freudian act of homage. He mentioned Borges’s book of poems The Golden Coin and was instantly corrected: The Iron Coin. The friend was embarrassed but Borges reassured him: ‘Don’t worry. You did what alchemy was unable to do.’ The remark perfectly catches Borges’s quickness, grace, learning and love of precision ...”

“... A new novel by J.M. Coetzee is always an event, although often a disconcerting one. ‘Disconcerting’ will be too polite a word for many readers, who can’t bear the chill that emanates from these works, especially Disgrace (1999), Elizabeth Costello (2003) and Slow Man (2005). The same chill can be picked up in Coetzee’s critical essays, where it is likely to appear as offhand authority ...”

“... In Anita Desai’s recent novel Fasting, Feasting, there is a delicately framed moment of what looks like reconciliation. An unmarried daughter has seen her last chance of a career and a life independent from the family vanish into the demands of her mother’s real or feigned illness. Feigned, the daughter is sure: the crafty parental stranglehold ...”

“... The mind is a scoundrel,’ Dostoevsky wrote in his notes for The Brothers Karamazov, ‘but stupidity is straight and honest.’ This wasn’t what he himself thought, or rather, it was only one of the things he thought. In the novel the line is given to Ivan Karamazov, who explains to his younger brother Alyosha that he began their conversation about religion ‘as stupidly as possible ...”

“... Because what’s history?’ a character asks rhetorically in Philip Roth’s astonishing new novel. ‘History is everything that happens everywhere. Even here in Newark. Even here on Summit Avenue.’ And is history also what people are afraid of, even on Summit Avenue? In a material sense it can’t be, since we fear, by definition, what hasn’t happened yet ...”

“... I have often had a fancy,’ G.K. Chesterton wrote in his book Orthodoxy (1908), ‘for writing a romance about an English yachtsman who slightly miscalculated his course and discovered England under the impression that it was a new island in the South Seas.’ The man would arrive, ‘armed to the teeth and talking by signs’, and try to plant the British flag on the Brighton Pavilion ...”

“... The event​ was ‘foreseeable and scandalous’, a wonderful combination in its way, and we might apply the phrase to many incidents in our world. I didn’t find it in yesterday’s newspaper, though. The historian Marcel Thomas uses it in his remarkable book, published in 1989, on Charles Marie Ferdinand Walsin Esterhazy, the man who was the spy that Alfred Dreyfus wasn’t ...”

“... Jake Donaghue​ , the endlessly discomposed hero of Under the Net, is a careful composer when it comes to his narrative, as distinct from the life he has notionally been living. He refers to ‘earlier events related in this story’, restricts himself to what is ‘of any interest from the point of view of the present story’, and describes his feelings as they were ‘at the point which our story had now reached ...”