“... There must exist somewhere a secret handbook for post-colonial critics, the first rule of which reads: ‘Begin by rejecting the whole notion of post-colonialism.’ It is remarkable how hard it is to find an unabashed enthusiast for the concept among those who promote it: as hard as it was in the Sixties or Seventies to find anyone who owned up to being a structuralist ...”

“... The dust-jacket of this book carries the assertion, outlined in a box for those who like their facts highlighted, that Many people in government and the media tried to stop the publication of this book so that you could not read it. But now you can. Or at the very least, now you may. I telephoned the publicity department of HarperCollins to inquire who had tried, and how, to ‘stop the publication’ of Newt’s fruits ...”

“... In 1973​ , when George Balanchine was asked by his biographer Bernard Taper to appraise the previous decade of his life, he replied: ‘It’s all in the programmes.’ He meant that the most important information was already onstage: in the new ballets he made, the old ones he revived and the dancers he chose to perform them. ‘You have to look everywhere, everything, all the time,’ he told the dancer Ruthanna Boris, when she asked him how to be a choreographer ...”

“... Yuri Slezkine​ , a master stylist as well as a first-class historian, is the least predictable of scholars. Still, it comes as a surprise to find that the book he has now produced, after long gestation, is a Soviet War and Peace. True, Slezkine says he is writing history, whereas Tolstoy’s War and Peace is generally treated, if somewhat gingerly, as a novel; and Slezkine’s subject is not so much war and peace as that curious state between the two that existed in the Soviet Union from the October Revolution of 1917 to the Second World War ...”

“... On 9 November last year, the anniversary of Kristallnacht, the philosopher Manfred Frank was invited to give the principal address at the memorial service which is held annually in the Paulskirche in Frankfurt. The Paulskirche was the home of the first democratically elected German national assembly, which flourished briefly amidst the revolutions of 1848-9, and, in keeping with this setting, Frank refused to limit himself to a ‘retrospective ritual of mourning ...”

“... Mr Ruslan lmranovich Khasbulatov must be taken seriously, though it isn’t always easy to do so: he can be so self-regarding and flatulent, so biased in his handling of the Russian Parliament, of which he is the Speaker, and so contradictory in everything he says. But he has become one of the most important men in Russia; and because of the state of that country, and the great danger it will pose for the rest of the world if its reform movement implodes and sets off a chain of internal and external conflicts, he is a critically important world figure ...”

“... In the days of the Boxer Rebellion, when Chinese wore pigtails and exposure to foreign values was compulsory, they knew that Westerners were Chinese upside-down. As Yang remarks in The Miraculous Pigtail, which is set in that period: ‘Chinese shave their heads, foreigners their faces; Chinese write from right to left, foreigners from left to right; Chinese call the compass the “needle for fixing the south”, foreigners call it the “needle which points north”; Chinese have their tea-cup lids on top, foreigners have their, tea-cup lids underneath ...”

“... Borges died on 14 June, in Geneva – which bare fact virtually calls for an ‘English papers please copy,’ as they used to say, so complacently scant and grudging were the notices which we were given to read at the time. There was much Englishness about him, starting with his mother’s family, which was English, but obvious also in the plain way that he wrote, and in the humour with which he used to deprecate his own high literary standing ...”

“... Recently​ a happy accident put me in possession of a rarely seen film by Andrzej Wajda, Smuga cienia, from 1976. It is an adaptation of Joseph Conrad’s short, openly autobiographical novel The Shadow-Line (1916). Wajda conceived the film as a modest docudrama based on Conrad’s last mission at sea. The British government, in the thick of the First World War, had enlisted the ageing celebrity for a brief, hopefully not too dangerous foray in the North Sea to hunt for German U-boats ...”

“... The​ protagonist of Fake Accounts, Lauren Oyler’s first novel, is a thirty-something writer with a job in digital media. She spends ‘all day on the internet, and especially on Twitter, ostensibly looking for stories but mainly just looking’. It’s January 2017, just after Donald Trump’s election, and something’s up. She’s suspicious of Felix, her boyfriend of eighteen months: ‘Felix had revealed himself to be completely unrevealing, insisting over and over as I baited and nagged and implored him to tell me his innermost hopes, fears and childhood-formed biases either that there was nothing to tell or, conflictingly, that he’d told me everything already and it wasn’t his fault if I didn’t remember ...”

“... In Holloway prison​ , in March 1909, Constance Lytton decided to carve the words ‘Votes for Women’ across her chest. She had been locked up for taking part in suffragette protests but found that, as an aristocrat, she was receiving preferential treatment from the prison officers, and she didn’t like it. Lytton had serious establishment connections ...”

“... One of the under-appreciated tragedies of our time has been the sundering of our society from its past,’ Michael Gove announced at the Tory Party Conference last October: Children are growing up ignorant of one of the most inspiring stories I know – the history of our United Kingdom. Our history has moments of pride, and shame, but unless we fully understand the struggles of the past we will not properly value the liberties of the present ...”

“... In 1991 the art critic Louisa Buck rang me up – she was my sister-in-law and in those days we didn’t text – and said I really should go along to Bond Street and see the butterflies hatching in some disused premises that the artist Damien Hirst had rented. ‘It’s a truly beautiful installation,’ she enthused. She described it: the dishes of melting nectar, the chrysalises stuck to the walls, and the startling epiphanies as the creatures unfurled, fluttered – tropical, iridescent, huge, ineffable ...”

“... Something​ very strange happens in the middle of The End, the sixth and last volume of Karl Ove Knausgaard’s titanic work of self-description. At around page 482, the book swerves away from scenes of family and social life, and plunges, like a car crashing through a safety barrier, into a prolonged reflection on Adolf Hitler. For 360 pages Knausgaard discusses Hitler’s youthful longing and seriousness, his love for his mother, his struggle with an authoritarian father, his refusal of the destinies prescribed for him by convention ...”

“... 13 January. Having supper in the National Theatre restaurant are Lindsay Anderson and Gavin Lambert. ‘I suppose you like this place,’ says Lindsay. I do, actually, as the food is now very good. I say so and Lindsay, who judges all restaurants by the standard of the Cosmo in Finchley Road, smiles wearily, pleased to be reassured about one’s moral decline ...”