“... Just as some faces are a gift to the photographer (Artaud, Patti Smith), so certain lives are a gift to the biographer. These are, broadly, of two types: the hard and gemlike, abbreviated, compressed, intense; and the lengthy, implausible, exfoliated, whiskery, picaresque. Vehement or even violent emotion is good, overt drama, prominent contacts or associations, sudden changes of orientation, movement through different societies and settings ...”

“... So irregular, appealing and – if one may say – so pitiable a figure is the Swiss writer Robert Walser (1878-1956) that he comfortably resists summary description. Even his biographer, Robert Mächler, begins by warning himself, via a feisty sentence of his subject’s: ‘No one is entitled to behave towards me as if they knew me.’ It’s not that writing about Walser can’t be done, it can be done endlessly and beautifully, but it seems unlikely to achieve anything much, although he offers so much scope for true statement, insight and original expression ...”

“... The​ Soft Machine drummer, Robert Wyatt, his Cockney tenor cracking with fervour, once sang:I’m nearly five foot seven tallI like to smoke and drink and ballI’ve got a yellow suit that’s made by Pamand every day I like an egg and some teabut most of all I like to talk about me.The American poet Wallace Stevens liked his tea – he took to it in connoisseurship and prudence, ‘imported tea’ every afternoon, ‘with some little tea wafers’, partly in order to ease himself off martinis (Elsie, his ‘Pam’, disapproved of his drinking) – but otherwise everything is different ...”

“... One​ doesn’t think of Rainer Maria Rilke writing poems on subjects that might otherwise appear in newspapers and books of social history – on anything like emigration or poverty or unemployment. Even by the standard of unworldly poets, he is like one of those cabinet ministers who doesn’t know the price of milk. To some extent, this is a misapprehension ...”

“... It was reading Robert Lowell that brought me to poetry at the age of 19, in 1976. I had borrowed a friend’s omnibus edition of Life Studies and For the Union Dead, and something in me said: ‘This is it!’ I don’t remember the poem I first had that response to, but most likely it was in Part IV of Life Studies, ‘Dunbarton’ or ‘For Sale’, or perhaps ‘Waking in the Blue ...”

“... The summer​ lay there, waiting to finish. Autumn was when the strangers were expected, the hop merchants from Austria, Germany and England, the rich men off whom many people in our town made their livings. The summer lay there, and it spawned various illnesses. People got belly-aches and died from eating rotten fruit, the water ran out in the wells, a couple of pine forests burned down, and the dry grass on the steppes caught alight ...”

“... The acrimony in Michael Hofmann’s book is that of a son towards his father. Like a family photograph album, the sequence ‘My Father’s House’ records the son’s growth from childhood to manhood, and the father’s from early to late middle age: each poem denotes some new phase, and usually low point, in the relationship ...”

“... This German novel has waited nearly forty years for its English translator. Michael Hofmann fell in love the moment the Good Fairy told him about it, and set out to liberate it from the thorn hedge of neglect. The Good Fairy, in this case, was a Berlin bookseller ‘who First recommended Koeppen’. Wolfgang Koeppen is 86 ...”

“... the age of 48, after thirty years of lecturing on German literature and writing radio plays, Gert Hofmann began to produce disconcerting novels. Michael Hofmann, his son, the poet, confronted him head-on in his collection, Acrimony, and in 1987 wrote in the LRB (25 June) about the second of the novels to be translated ...”

“... Dante was translated to a higher sphere and left our days of dung. It’s my opinion my friend Michael Hofmann is a wizard. Every page of German, Hofmann eats a gizzard, Translates the untranslatable Words, words, words. Worst when it’s poetry – But even Joseph Roth’s Radetzkymarsch. Mandelstam could ...”

“... I was not myself. I was just anyone.’ The person who says ‘I’ in Michael Hofmann’s earlier poems is uncertain, diffident, angry; he seems both gnarled and youthful, like some hoary child out of Hardy, although rather better treated: Most evenings I was aphasic, incapable of speech, worn down by tolerance and inclusion ...”

“... to All Quiet on the Western Front. But he died in 1970, leaving it unfinished: a massive stub. Michael Hofmann, his translator, recalls some other unfinished fictions. But this is not The Mystery of Edwin Drood or The Man without Qualities. Those two books lack their ends, but what remains doesn’t feel raw or rough; they simply break off. The ...”

“... Michael Hofmann’s poetry is a lament for a lost world. Some years ago, in an article on Frank O’Hara, he talked about New York no longer being the thrilling place it had been in the days when O’Hara and the gang could go downtown to the Blue Note and hear John Coltrane or uptown to hear Billie Holiday. This kind of nostalgia can be tiresome: better for each generation to invent a new idea of the new – to enlarge the temple ...”

“... at the time. Stamm’s second novel, Unformed Landscape (translated like Stamm’s other books by Michael Hofmann), told the story of a 28-year-old Norwegian woman called Kathrine who leaves her second husband and son and, dipping below the Arctic circle for the first time in her life, travels first to Jutland, then to Paris and eventually to Boulogne in ...”

“... Barbara Trapido, Anthony Thwaite, Anne Stevenson, Alan Brownjohn, Helen Simpson, Andrew Motion, Michael Hofmann, Alan Sillitoe, Louis de Bernières and Geoff Dyer are ten of them, and ‘new’ isn’t the first word that springs to mind. But there are plenty of good reasons, too obvious to need repeating, for the inclusion of well-known writers, and ...”