“... In the later decades​ of the last century, a new wave of ideas broke across the study of literature throughout the world. Known simply as ‘theory’, it ranged from structuralism to feminism, semiotics to hermeneutics, Marxism to deconstruction. All this was formidably abstract stuff, but it managed to be sexy as well. Its intellectual ambitiousness, along with its readiness to raise fundamental questions, attracted some of the most talented students of the day ...”

“... 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 ...”

“... Postmodernism awards high marks for non-originality. All literary works are made up of recycled bits and pieces of other works, so that, in the words of Harold Bloom, ‘the meaning of a poem is another poem.’ This doctrine of intertextuality is not to be confused with good old-fashioned literary influence. Such influences are mostly conscious and generally sporadic, whereas for Postmodernism it is impossible to open your mouth without quoting ...”

“... James Joyce valued the everyday, but only if it could be grist to the mill of his highly formal art. Yeats endured ‘the baptism of the gutter’, descending into the profane world only to gather it into the artifice of poetic eternity, and Joyce’s aesthetic was similarly redemptive. He would grub among the odds and ends of secular history so as to salvage them for an art which was concerned with nothing but itself ...”

“... Ireland has less of a tradition of literary realism than England, though for an English critic to say so may require a degree of diplomacy. It may sound like saying that Ireland is deficient in realism in the same way that a nation might be deficient in hospitality or human rights. This is because realism is one of those terms which can be both normative and descriptive, like ‘nature’ or ‘culture ...”

“... If the authors of this book sound like a firm of estate agents, it’s because they have virtuously repressed their first names as a protest against gender stereotyping. But one wonders if they have failed to carry this resistance far enough. There are, after all, several million Ewens knocking around the globe, and this particular pair might fear that their unique personalities are threatened by a blandly generic term ...”

“... 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 ...”

“... That​ James Joyce had a political life might seem surprising. The standard critical account is that he took an interest in socialism and Irish nationalism as a young man, but abandoned them after his self-exile to continental Europe in 1904. From then on it was art that preoccupied him. He made no public comment on the Easter Rising in 1916, and for the most part held himself aloof from Ireland’s struggle for political independence ...”

“... I once met a young priest in the west of Ireland who told me that he was to be sent on the missions the following day. ‘Where are you being posted?’ I asked. ‘Birmingham,’ he replied. The Irish Catholic church has always scattered its clergy abroad, and there has been a lay branch of this pastoral exodus as well – nurses, for example. There is a sense in which the Dubliners Bono and Bob Geldof are self-advertising versions of Irish missionaries ...”

“... Born around 1225 near the small southern Italian town of Aquino, Thomas Aquinas attended the University of Naples, and while in the city entered the Dominican Order. He then went north to pursue his studies under Albert the Great, also a Dominican, in Paris and Cologne. He was appointed lecturer and then professor at the University of Paris, but returned to Naples to organise the Dominican house of studies there ...”

“... The line​ between eccentricity and insanity in the English aristocracy has always been hard to draw, and perhaps never more so than in the case of John Charles Wallop, third Earl of Portsmouth. Born in 1767 at the family’s Hampshire residence of Hurstbourne Park, Wallop grew into a child who betrayed signs of being what his contemporaries would have called a simpleton ...”

“... There was once a king who was troubled by all the misery he observed about him. So he summoned his wise men and commanded them to inquire into its causes. The wise men duly looked into the matter, and reported back to the king that the cause of all the misery was him. So runs Bertolt Brecht’s parable of the founding in 1923 of the Frankfurt Institute of Social Research, a centre for Marxist studies endowed by a wealthy German capitalist ...”

“... It was the 19th-century Irish statesman Daniel O’Connell who first turned politics into mass entertainment. His so-called Monster Meetings were carnivals as much as demonstrations, and mark the beginning of mass politics in the modern age. When he wasn’t haranguing thousands of small farmers about Catholic emancipation or the repeal of the Union, O’Connell practised as a barrister, the most theatrical of the professions ...”

“... The Criterion, T.S. Eliot’s periodical, ran from shortly after the First World War to the very eve of World War Two. Or, if one prefers, from one of Eliot’s major bouts of depression to another. The two time-schemes are, in fact, related. In 1921, the business negotiations to finance the proposed journal had to be suspended when Eliot suffered a nervous breakdown; it was during his convalescence from this illness that he wrote The Waste Land ...”

“... During the half-century since 1950, Lindsay Duguid writes in an essay in this collection, ‘the lady novelist turned into the woman writer,’ the historical novel became respectable once again, crime fiction became respectable for the first time, and the English novel was reborn as the British novel. Indian novelists revealed a ‘fondness for identical twins’, while angels, giants, babies and women who pass as men grew curiously fashionable ...”