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“... Sausages and sneezes​ both have small but significant parts to play in Homer’s Odyssey. Sausages (or blood-puddings, or ‘paunches full of blood and fat’ as more literal translators call them) figure occasionally as food. But they also pop and fizzle their way into a simile that describes Odysseus’ behaviour the night before he slaughters his wife Penelope’s suitors, which Peter Green translates like this: As a man cooking a paunch chockful of fat and blood on a fierce blazing fire will turn it to and fro, determined to get it cooked through as fast as he can, so Odysseus tossed this way and that, trying to work out how he was going to lay hands on the shameless suitors, one man against so many ...”

“... The quatercentenary of Milton’s birth was in 2008. The celebratory shenanigans – the conferences, public lectures, biographies and privy pieces of self-promotion that in our wicked age accompany all major anniversaries – are over. But one key question remains unanswered. How is it possible to like Milton? There is certainly a great deal to dislike ...”

“... If Homer had walked the English soil in 1597 he would have felt that he had lived in vain. At that date no English poet had a substantial knowledge of either the Iliad or the Odyssey. Although the statutes of grammar schools made proud boasts that Greek was studied in the higher forms, it’s likely that by the end of the 16th century only a handful of schoolchildren could read more than a few lines of Homer in the original ...”

“... When a lie is discovered it isn’t just that trust has been betrayed: it’s not simply that Colin’s wife discovers that Colin has been in the arms of a glamorous Russian spy rather than (as he said) in the library. The lie-ee is made to see herself and her desires as manipulable and herself as credulous. The fury of ...”

“... In​ Jill Paton Walsh’s novel Goldengrove (1972), set shortly after the Second World War, the adolescent heroine, Madge, goes on holiday to Cornwall. She falls a little in love with a professor of English literature who has been blinded in action, and reads aloud to him. One of the passages he has her recite is an analysis of Donne’s ‘A Valediction: Of Weeping’:Weep me not dead means: ‘do not make me cry myself to death; do not kill me with the sight of your tears; do not cry for me as for a man already dead, when, in fact, I am in your arms,’ and, with a different sort of feeling, ‘do not exert your power over the sea so as to make it drown me by sympathetic magic’; there is a conscious neatness in the ingenuity of the phrasing, perhaps because the same idea is being repeated, which brings out the change of tone in this verse ...”

“... Harold​ Bloom, who died at the age of 89 just before the publication of The American Canon, made his name in 1973 with The Anxiety of Influence. It was a great title, which soon became a catchphrase. The book itself used a crazy-paving of vocabulary drawn from the Kabbalah, Gnosticism, Lucretius and Freud to explain how Romantic and post-Romantic poets relate to their predecessors ...”

“... What​ a difference six inches can make. George Orwell was shot in the neck on 20 May 1937 while fighting in the Spanish Civil War for the POUM (roughly translatable as ‘The Workers’ Party of Marxist Unification’). He was six foot two. If he’d been five foot eight the bullet would have gone through his head. If that had happened, what would the world think of him now?We wouldn’t have the word ‘Orwellian’ in the OED’s sense, ‘characteristic or suggestive of the writings of George Orwell, esp ...”

“... Virginia Woolf​ could be cruelly accurate in her assessments of people. On 24 April 1925 Robert Graves visited her unexpectedly and stayed too long. She described him as ‘a nice ingenuous rattle headed young man’, and declared ‘the poor boy is all emphasis protestation and pose.’ By 1925 Graves had good reason to be ‘rattle headed’. He had survived Charterhouse school, which he hated ...”

“... and includes the best treatment I know of both homosexuality and autobiography in the sequence. Colin Burrow, editor of the Oxford Complete Sonnets and Poems, is in Kerrigan’s league as a scholar and an editor: both are erudite, critically and philosophically sophisticated, and treat textual issues with the seriousness they require. But ...”

“... been familiar with both sides of this disciplinary regime; and his references to schoolboys, as Colin Burrow observes, ‘tend to go along with sighing, crying or peevishness’, suggesting that ‘the acquisition of learning [was] a painful business.’ In The Merry Wives of Windsor, Parson Evans attempts to show off William Page’s learning to his ...”

“... has to survey this vast body of scholarship without becoming overwhelmed.This is the challenge Colin Burrow has set himself in Imitating Authors: Plato to Futurity, a long and dense book that in less expert hands would be much longer and denser. Burrow’s home turf is early modern English literature, but he is an ...”

“... up looking for the life in the work is another matter. Some, of course, are already persuaded. Colin Burrow scrupulously resisted biographical readings in his 2002 edition of Shakespeare’s poems, and, reviewing Stephen Greenblatt’s Will in the World: How Shakespeare Became Shakespeare (2004) in the LRB, he deplored ‘the heuristic poverty of ...”

“... In Shakespeare and Classical Antiquity (reviewed in the LRB by Michael Neill, 19 March), Colin Burrow described the way Seneca’s blood-soaked play about Medea haunts not only Macbeth, King Lear and The Tempest, but even A Midsummer Night’s Dream. Seneca tilts the audience’s response towards not pity or empathy but horror – hence the ...”

“... The​ Netflix series Colin in Black and White, about the early life of the NFL quarterback and civil rights activist Colin Kaepernick, begins by comparing American football to slavery. We are shown a group of Black football players having their bodies prodded and measured by white coaches, as they decide who fits the bill and who gets tossed on the scrapheap ...”

“... A story, as John Burrow says of his own History of Histories, is selective. It looks forward ‘to its later episodes or its eventual outcome for its criteria of relevance’. Hence a difficulty: The impulse to write history has nourished much effective narrative, and narrative – above all in Homer – was one of the sources of history as a genre ...”