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“... 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 ...”

“... 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 ...”

“... There’s a sexist joke, popular among theologians, in which God, a woman, is in the act of creating the world: ‘And darkness was upon the face of the deep. And God said “Let there be light”; and there was light. And God said “Er – could I just see the darkness again?”’ If this is not Pope John Paul II’s kind of God, it’s as much because of the hesitancy as the gender ...”

“... Oscar Wilde called experience the name one gives to one’s mistakes, while for Samuel Johnson it was what hope triumphed over for those who married a second time. Emerson thought all experience was valuable, an opinion not shared by the inhabitants of Guantanamo Bay. Plato and Spinoza saw it as a realm of illusion, to be contrasted with the pure light of reason ...”

“... If someone were to ask why art and culture have proved so vital to the modern age, one might do worse than reply: to compensate for the decline of religion. It is certainly a more convincing response than claiming that modern society finds art particularly valuable, as opposed to richly profitable. What modernity finds precious is less works of art, which are just one more commodity in its marketplace, than the idea of the aesthetic ...”

“... 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 ...”

“... Most aesthetic concepts are theological ones in disguise. The Romantics saw works of art as mysteriously autonomous, conjuring themselves up from their own unfathomable depths. They were self-originating, self-determining, carrying their ends and raisons d’être within themselves. As such, art was a secular version of the Almighty. Both God and art belonged to that rare category of objects which existed entirely for their own sake, free of the vulgar taint of utility ...”

“... 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 ...”

“... Utopia is the most self-undermining of literary forms. If an ideal society can be portrayed only in the language of the present, it risks being betrayed as soon as we speak of it. Anything we can speak of must fall short of the otherness we desire. Utopias rebel against the unimaginativeness of the present, and in doing so find themselves simply reproducing it ...”

“... It is one of the minor symptoms of the mental decline of the United States that Stanley Fish is thought to be on the Left. By some of his compatriots, anyway, and no doubt by himself. In a nation so politically addled that ‘liberal’ can mean ‘state interventionist’ and ‘libertarianism’ letting the poor die on the streets, this is perhaps not wholly unpredictable ...”

“... Changing the world involves a curious kind of doublethink. If we are to act effectively, the mind must buckle itself austerely to the actual, in the belief that knowing the situation for what it is is the source of all moral and political wisdom. The only trouble is that such knowledge is also desperately hard to come by, and perhaps unattainable in any complete sense ...”

“... Realism is one of the most elusive of artistic terms. ‘Unrealistic’, for example, is not necessarily the same as ‘non-realist’. You can have a work of art which is non-realist in the sense of being non-representational, yet which paints a convincing picture of the world. Conversely, Jeffrey Archer’s novels are representational but unconvincing ...”

“... For the past three decades, Mikhail Bakhtin has been more of an industry than an individual. Not only an industry, in fact, but a flourishing transnational corporation, complete with jet-setting chief executives, global conventions and its own in-house journal. In the field of cultural theory, this victim of Stalinism is now big business. Most of the mouth-filling terms he coined – dialogism, double-voicedness, chronotope, heteroglossia, multi-accentuality – have passed into the lexicon of contemporary criticism ...”

“... In​ Jude the Obscure, Jude Fawley finds himself living in Beersheba, the area of Oxford we know as Jericho, home at the time to a community of craftsmen and artisans who maintained the fabric of the university. It doesn’t take Jude long to realise that he and his fellow craftsmen are, so to speak, the material base without which the intellectual superstructure of the colleges couldn’t exist: without their work, as he says, ‘the hard readers could not read, nor the high thinkers live ...”

“... Writers are broadly classified as intellectuals, though many poets and novelists feel uncomfortable enough with the title. The split between analysis and imagination, the critical and the creative, is one of the deadliest of Romantic legacies, born of an antagonism to particular forms of bloodless cerebration (Enlightenment rationalism, Utilitarianism) and then recklessly generalised to abstract thought as such ...”