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“... A critic has a good nose for a natural writer, but he usually pays for it by not being able to write naturally himself. It seems likely that Philip Toynbee would have given anything to be a real novelist and a real poet, but in his ‘experimental’ novels – Tea with Mrs Goodman and The Garden to the Sea – and in the gargantuan poem Pantaloon which occupied him for so many years, the words seem always to be getting in the way, too keen to be doing their work, like dogs jumping up all over the reader and distracting him ...”

“... A famous passage in Henry James’s Life of Nathaniel Hawthorne laments the absence for the writer in America of every relation and institution which made writing socially viable – an army and a navy and a church and a court, and classes and village squires and evening parties. James’s view of the materials available to the writer may strike us today as somewhat old-fashioned and unenterprising, but there is a basic shrewdness in what he says ...”

“... How and why do some writers’ characters live from the word go? It may not be necessary that they should; it may not even be to the writer’s purpose and advantage. Shakespeare’s minor characters often have a life which the drama as such has no real use for and no way to deal with. And yet Hamlet would never have become the universally significant figure that he has if he were not immediately and locally real to the audience as he stands in black in the king’s presence chamber ...”

“... In a slight but revealing sketch, written well after his Soldiers Three tales and never published in his collected works, the soldiers Kipling invented are imagined discussing their author, and pointing out with tolerant contempt that he has simply got them all wrong. Kipling was well aware of the fact, and no doubt aware, too, that it was precisely because they were so well ‘done’ that Mulvaney, Ortheris and Learoyd – the three contemporary musketeers whose sentiments and background seemed so unflinchingly realistic – were in fact totally bogus ...”

“... mostly Scottish, and Hughes partly Welsh. The presidential or father figure of the group would be John Buchan, another Scot, whose innings was over before the younger ones started to play, although he was still around as they became famous. This English angle was partly suggested to me at the time when Hughes’s penultimate novel, intended as the first of a ...”

“... done, and says: ‘It’s not those misfits I’m worrying about, it’s you.’ ‘Me?’ said John. ‘Why?’ ‘You’re getting too fond of bullying,’ said Veronica, ‘it interferes with your charm, and charm’s essential for your success.’ She went out to make the coffee. What Veronica said was very true, thought ...”

“... realities – is part of all fairy tale. So that it does not surprise us, at the beginning of John Collier’s ‘The Chaser’ (he wrote that droll novel His Monkey Wife, which is much better than David Garnett’s Lady into Fox), when we meet a very nervous and ordinary young man in search of a love potion. He finds it of course, and is recommended by ...”

“... exactly proper to an important occasion. Nearly forty years later he was writing on the suicide of John Berryman with just the same suitability. I have heard the sigh Of Berryman as he Exhaled his everlast- ing breath and leaped out- ward and down. That sigh hangs in the air I breathe for ever and will hang. Fellow bards with connoisseurship will admire the ...”

“... critics, like Maurice Morgann in 1777 with his Essay on the Dramatic Character of Sir John Falstaff. A cheerful legally-minded diplomatist and civil servant, Morgann did what I suppose no good judge or defence counsel should do: he first fell for the plaintiff – fell virtually in love with him indeed – and then undertook to defend him in court ...”

“... being in the right place, as in Arnold Bennett and J.B. Priestley, and it moves rather close to John Wain’s posthumous novel, in his Bildungsroman series about a young man growing up in Oxford – a trifle ironical in view of Amis’s strongly-expressed disdain for Wain’s mode and temper of writing. Both novels join in a mood of mellow ...”

“... Fanny Burney and Jane Austen, should have taken their feminine image from Richardson-Clarissa. As John Mullan shows in his useful and scholarly book, the early prestige of Richardson went underground, his ‘fairer and better sex’ taking on its vulgar Victorian form, but also appearing metamorphosed in George Eliot’s measured approval (‘we have fallen ...”

“... a year as Literary Editor for the Nation, doing so well at matching books and reviewers that John Crowe Ransom said he deserved a Pulitzer Prize for it. ‘Not since Poe had an American poet laid down the law in quite such a carnival spirit.’ In those days of talented amateurs the Eng Lit business was still the Gay Science. Used by Nietzsche, and as a ...”

“... her best to mend her father’s shaky finances, writing on his behalf to Byron’s old friend Sir John Hobhouse, and almost, if not quite, soliciting him for a handout. She was close to her father, probably much closer than she ever was to either of her husbands, or to the lover who succeeded them. Her marriage to Meredith went wrong almost from the start, as ...”

“... else does. Christopher Sykes attributed Waugh’s dislike of Duff to sexual envy and jealousy, and John Charmley agrees that it exhibits Waugh ‘in an oddly unfamiliar light’. Waugh may well have been frustrated and made to feel small by not knowing what the Cooper protocol was really like, or what Diana Cooper was about. She did not behave as he thought ...”

“... The poet’s mind used to make up stories: now it investigates the reasons why it is no longer able to do so. Consciousness picks its way in words through a meagre indeterminate area which it seems to try to render in exact terms. Most contemporary American poetry wants only to offer what Helen Vendler has called ‘an interior state clarified in language ...”