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“... with belligerence, truculence and power – the ‘aggressivity’ (agressivité, I suppose) that Fredric Jameson identifies as the ‘lifelong constant of both the form and the content of his works’. Lewis’s stories depict Breton life as merciless and ferocious; the characters are variously in battle with one another, and their machinations are ...”

“... same goes for all the other people who are here misnomers: Macauley, and Mark Kinkead-Weakes, and Fredric Jameson, and Philip Hosbaum. These phantoms have in common only that they appear in Fish’s book and should be emended into disappearance, as should a nonexistent poem by Wallace Stevens twice called ‘Anecdote of a Jar’. At least, I hope that ...”

“... of J.G. Ballard and Will Self, the dystopian multiverses of Michael Moorcock and China Miéville. Fredric Jameson, considering postmodernism, talks about the ‘hysterical sublime’: a sort of Gothic rapture in contemplation of lastness, the voluntary abdication of power to superior aliens. This was heady stuff for my own compulsive beating of the ...”

“... than it actually is. The man whom Ford describes as ‘the most peculiar of writers’, and whom Fredric Jameson in a phrase of generous understatement has called one of ‘the more aberrant moderns’, seems intransigently committed to an aesthetic of the one-off and anti-real. Roussel’s exceptionally long but tightly constructed works, Ford ...”

“... and ‘genius’ was no longer followed by ‘or an idiot’. Blue Velvet (1986) was the film Fredric Jameson got wrong. Viewers could now enjoy with impunity everything that had so upset feminists and conservatives and jobbing film reviewers. The new line was that you shouldn’t – and, anyway, couldn’t – do anything as crass as to interpret ...”

“... over.’ ‘The history of film slowly becomes History itself.’ This opening of a sentence from Fredric Jameson’s preface to Reading with Jean-Luc Godard, a collection of essays by fifty writers, could easily refer to Daney’s work. But it continues: ‘and Godard could cease to make standard “filmed” films and begin to ...”

“... sociology or Italian political science. A country that has translated scarcely anything of Fredric Jameson or Peter Wollen, and could not even find a publisher for Eric Hobsbawm’s Age of Extremes, might well be termed a rearguard in the international exchange of ideas.Yet if we turn to arts and letters, the picture is reversed. French ...”

“... start of the weightiest essay published in the USA in the aftermath of the events at Berkeley, Fredric Jameson’s ‘Ernst Bloch and the Future’. Jameson begins by remarking that in his Thomas Münzer (1921) Bloch characterises the ‘theologian of revolution’ in a manner suggestive of his own aims, and that ...”