“... Profonde Albertine’, the narrator writes close to the end of Proust’s novel. By ‘deep’ – profonde – he means ‘unreachable’. She was mostly that when she was alive, and has assumed this quality as a permanent attribute now that she is dead. But he can still be tortured by his memories of all he didn’t know, for a while at least: ‘For, after death, Time leaves the body, and the memories … are effaced from her who no longer exists and soon will be from him whom at present they still torture ...”

“... A young woman is shaken in her understanding of who she is and what she wants. The walking holiday she and her husband have planned now seems, Ian McEwan says, ‘a pointless detour from her uncertainty’. The phrase is full of trouble, of precise and elusive implications. Uncertainty is a path, a destination, a need. Of course we may not like the thought, and many of us will prefer to see our detours as chosen directions, uncertainty as something to be shaken off rather than returned to ...”

“... Reviewers are always sternly instructed to check page proofs against finished copies of books, and I do, I will. But the proofs of Anthony Powell’s A Writer’s Notebook provide, along with numerous unimportant oddities of phrase and spelling which seem to be errors of transcription from script to voice to type to print (‘I would like to thank my wife, who read the manuscript book onto tape, and also Helen Gould, who typed it’), one lovely new alignment which ought not to be allowed simply to vanish into its own correction ...”

“... He’s a clever, lively director whose work lacks feeling or passion or grace or elegance.’ This is Pauline Kael on Billy Wilder’s One Two Three (1961). Wilder himself seems to agree about this film. ‘It’s a kind of sporadically good picture.’ And: ‘It was not funny. But just the speed was funny.’ Of The Private Life of Sherlock Holmes (1970) he says, rather more fondly, that it was ‘a wonderful picture, too long’, and that it was ‘the most elegant picture I’ve ever shot ...”

“... What was it Proust said about paradise? That all paradises are lost paradises? That the only true paradise is a lost paradise? That it isn’t paradise until it’s lost? That paradise is a name for a favourite form of loss? He can plausibly be read as saying any of these things, and perhaps more than one at once. But the propositions are not identical, and it’s not easy to choose among them ...”

“... Baudelaire pretended to be surprised that anyone could think of Balzac as a realist. It had always seemed to him, he said, that the novelist was ‘a passionate visionary’. The only perverse element in this claim is the suggestion that Balzac was not a realist as well as a visionary, and more broadly, that realism is not a vision. At one of the founding moments of European realism, in the early pages of Le Père Goriot, Balzac describes, or rather keeps saying he can’t describe, the miserable Paris boarding-house where much of the novel is set: The first room exhales an odour for which there is no name in the language, and which should be called the ‘odeur de pension ...”

“... In a famous poem by Hopkins, a child called Margaret is rebuked for grieving over the fall of leaves. Leaves fall; stuff happens; we get over it; or, to stay with Hopkins’s idiom, the heart ‘will come to such sights colder/By and by’. The child will one day find better reasons for her tears, including the fate of humankind, falling and falling again since its first lapse in Eden: ‘You will weep and know why ...”

“... You step up to the wooden door, a heavy, rustic affair set in a brick arch, and you peer through two small holes conveniently set at around head height. You do this not because you are a snoop, but because this is an installation at the Philadelphia Museum of Art. Even so, you feel like a snoop, and worse. As Calvin Tomkins says, no amount of practice or mental preparation will diminish the complicated shock of what you see on the other side of the door ...”

“... The story so far is this. Johann Wolfgang (not yet von) Goethe, the prodigiously talented son of a prosperous Frankfurt citizen, startles his compatriots with a furious and rambling play, Götz von Berlichingen (1771), which effectively inaugurates modern drama in Germany. He then writes The Sorrows of Young Werther (1774), a melancholy novel in letters, and becomes an immensely influential European figure, a provoker of fashions in dress and suicide, a sort of Byron before Byron ...”

“... The grisliest scene in Reservoir Dogs concerns the torture of a policeman by Mr Blonde, played by Michael Madsen. The violence is funny, but it’s also hair-raising, haunting in insidious ways, not like the thuggishness of the moment I mentioned in Pulp Fiction. ‘I don’t know anything!’ the policeman says. ‘You can torture me if you want ...”

“... If the world could write by itself,’ Isaac Babel said, ‘it would write like Tolstoy.’ The remark is quoted at the head of Richard Pevear’s introduction to this handsome new translation of War and Peace. I should like to think Babel meant that if the world was given to intricate thematic contrasts and parallels among its materials, to careful cross-cutting between city and country, high society and hunting, the salon and the racetrack, home and abroad, it would have written War and Peace and Anna Karenina ...”

“... Current films are full of regrets and second chances, none more so than the recent work of Clint Eastwood. In the Line of Fire, which opened last month, has him playing an American Secret Service man haunted by his failure to protect John Kennedy on the day everyone remembers. Now another assassin, John Malkovich no less, is stalking another President: a risk for the incumbent but a chance of redemption for our hero ...”

“... I can’t say he’s reasonable,’ a colleague remarked of Stanley Kubrick, ‘I can only say he’s obsessive in the best sense of the word.’ Because he was obsessive without being crazy, many people have thought Kubrick was a genius, but the word is chiefly a gesture of admiring incomprehension. What Kubrick’s films suggest is that he was some kind of meticulous master, but a master of the obvious, and anyone who is surprised by the ponderousness of his new work, Eyes Wide Shut, must have forgotten what the other films were like ...”

“... He has enormously increased the difficulties of being a novelist.’ Perhaps only a writer of very High Modernist tendencies would take this remark as a compliment, but Thomas Mann certainly did, and it wasn’t even addressed to him. He found it in Harry Levin’s little book on Joyce, which he read in 1944. He was also much drawn to another sentence in the same work: ‘The best writing of our contemporaries is not an act of creation, but an act of evocation, peculiarly saturated with reminiscences ...”

“... Studio Vingt-Huit – high up a winding street of Montmartre, in the full blasphemy of a freezing Sunday; taxis arriving, friends greeting each other, an excitable afternoon audience’. The description is Cyril Connolly’s, the occasion a showing of Luis Buñuel’s first film, Un Chien andalou. The audience seemed baffled at the end, and some of its members were angry, unprepared no doubt for what Connolly called the ‘destructive reverence’ of the film ...”