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“... I dreamed last night I was hanged,’ W.B.Yeats once announced, ‘but was the life and soul of the party.’ It is impossible with such oracular Yeatsian pronouncements to separate mask from reality, the poseur from the sincere eccentric. Auden called Yeats ‘silly like us’, but he was really just being polite: this table-rapping, spirit-summoning Rosicrucian was a lot sillier than most of us ...”

“... All over the world, postgraduate students of English who might once have written on Wordsworth or Mrs Gaskell are now turning out theses on vampires, monsters, sado-masochism and mutilation. Most of this can be put down to Post-Modern faddishness, though vampires have a more venerable pedigree, as Richard Davenport-Hines notes in his agreeable romp through Gothic art from Salvator Rosa to Damien Hirst ...”

“... Walter Benjamin once remarked that what drove men and women to revolt was not dreams of liberated grandchildren but memories of oppressed ancestors. Visions of future happiness are all very well; but happiness is a feeble, holiday-camp kind of word, resonant of manic grins and multicoloured jackets, not least when compared with the kind of past which, as Marx commented, weighs like a nightmare on the brains of the living ...”

“... After publishing a prize-winning volume of short stories and an accomplished early novel, Dermot Healy won the plaudits of the literary world with A Goat’s Song, one of the most powerful pieces of fiction to emerge from Ireland in the past few decades. It was published in 1994, just as the Celtic Tiger was starting to roar, but belonged in spirit to an earlier, less well-heeled and self-assured society ...”

“... In the great lineage of classical realism from Stendhal to Tolstoy, a whole history is summarised in the fortunes of a particular family or set of characters. Individuals are portrayed in all their idiosyncrasy, but are made to represent more than themselves. Things are at once unique and exemplary. A belatedly flowering example of the species is The Leopard, in which the slow decay of a Sicilian nobleman coincides with the clamorous rise of bourgeois Italy ...”

“... Many authors begin writing in childhood, but that the Brontës did so seems peculiarly apt. There is something childlike about their sensibility, with its merging of fantasy and reality, its mixture of rebelliousness and awe at authority, its blending of submission and self-assertion. Like the Brontës, children can be passionate and impulsive, but they also crave a certain discipline and appreciate the need for order ...”

“... Hegel​ believed that happiness was largely confined to the private life, a view that would scarcely survive a reading of the modern novel. A lot of fiction since the early 20th century takes it for granted that families will be dysfunctional, individual lives unfulfilled and relationships cockpits of gladiatorial combat. Almost all the characters in Anne Enright’s superb new novel are spiritually damaged in one way or another, but we are not told exactly how they landed up like this, and it would seem churlish to inquire ...”

“... D.J. Taylor​ is the most charitable of critics. However absurd, third-rate or pretentious the authors he examines, he can always find something to say in their favour. In this latest study, he even puts in a good word for the preposterous Sitwell family, having first given them a roasting for their insufferable self-importance, on the grounds that Edith, Osbert and Sacheverell were at least serious about literature ...”

“... Sex began in academia a decade later than it did for Philip Larkin. From the rise of the women’s movement to the postmodern cult of the perverse, few themes have been more persistent in literature departments than sexuality. For most people, writing about multiple orgasms is known as pornography; in academia, it can win you a chair. Sexuality is not to be confused with sex ...”

“... Enrique Vila-Matas’s new novel centres on Bloomsday, the annual celebration in Dublin of the day on which Joyce’s Ulysses is set. Many nations celebrate mythical events, but Ireland commemorates a fictional one. It is as if Britain were to dedicate a feast day to Falstaff or to the Artful Dodger. For some in Ireland, Bloomsday is a useful alternative to memorialising the Easter Rising or the United Irish Insurrection: honouring uprisings against the British has been controversial ever since the shadow of the IRA hung over the country ...”

“... Early modern Europe was awash with cases of demonic possession. Thousands of men, women and children conversed in languages of which they had no knowledge, tore at their own flesh and uttered blasphemies and profanities. They vomited vast quantities of nails, pins, blood, feathers, stones, coins, coal, dung, meat, cloth and hair, and grunted and barked like animals ...”

“... In 1976, a good many people in the West thought that Marxism had a reasonable case to argue. By 1986, most of them no longer felt that way. What had happened in the meanwhile? Were these people now buried under a pile of toddlers? Had Marxism been unmasked as bogus by some world-shaking new research? Had someone stumbled on a lost manuscript by Marx confessing that it was all a joke? We are speaking, note, about 1986, a few years before the Soviet bloc crumbled ...”

“... All literary works are anonymous, but some are more anonymous than others. It is in the nature of a piece of writing that it is able to stand free of its begetter, and can dispense with his or her physical presence. In this sense, writing is more like an adolescent than a toddler. I might pass you a note at a meeting, but a note is only a note if it can function in my absence ...”

“... It would be surprising if millions of ordinary people turned out to be familiar with the Platonic Forms or Spinoza’s doctrine of nature, yet millions of waiters, nurses and truck drivers have a working knowledge of Aristotle’s distinction between substance and accident. This is because they are Roman Catholics, and the Council of Trent drew on Aristotle’s teaching to account for how the bread and wine of the Eucharist are changed into the body and blood of Christ despite continuing to look and taste like bread and wine ...”

“... One of the many things that Adorno admired about Beckett’s writing was its ‘scrupulous meanness’, to borrow Joyce’s description of his own literary style in Dubliners. Beckett’s works take a few sparse elements and permutate them with Irish-scholastic ingenuity into slightly altered patterns. Complete dramas are conjured out of reshuffled arrangements of the same few scraps and leavings ...”