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“... In October​ 1958, I became a student of F.R. Leavis at Downing College, Cambridge. I had taken the entrance exams the previous December, including the ‘dating paper’, which involved matching passages of English poetry and prose as closely as possible with their dates of composition. This was Leavis’s special creation, for which I had been coached pretty intensively by teachers at my grammar school in Purley ...”

“... What is the new world order?’ a Saudi preacher asked me the other day. Order is something the Saudis like the sound of. The world is an entity from which many Saudis are isolated. ‘New’ is a word which for Arabs has a suspicious, dangerous ring about it. I tried to explain what President Bush might have meant by the phrase, referring to the context in which it first appeared ...”

“... First, the necessary caveat. If anyone killed Salman Rushdie, it would be an evil act, a murder that should be condemned by all sane and law-abiding people. It would be a devastating blow at freedom of speech, a disgraceful manifestation of bigotry and fanaticism. May it never happen. Now some less dramatic thoughts about Mr Rushdie’s predicament ...”

“... This is a book about the advances made in the treatment of cancer, especially in its management by medical means – a branch of medicine known as medical oncology. Anyone who writes a book about cancer must bear in mind that many of its readers will be patients who have the disease or their relatives and close friends. Some of them will read it in fearful anticipation of what they will learn and of the loss of hope it may entail ...”

“... According to legend, when Paul Samuel-son left the room after his PhD oral, one of the reputed economists examining him turned to the others and asked: ‘Did we pass?’ A reviewer confronted with this collection of papers by Amartya Sen is likely to feel much the same. The author has a mind like a search-light, illuminating his material with an intense lucidity; he has a gift for looking at assumptions his colleagues have long taken for granted, and finding them defective ...”

“... One comes back so often to the question of what it means. The skill of the performance no less than the ambiguity of the material provokes such a response – a doubt about this novel. In other novels, Patrick White has offered the reader something more obvious to fix the attention, such as Voss’s intense and dominating will. In the absence of an obvious meaning nothing so fixes the attention in The Twyborn Affair ...”

“... A good piece of writing on film, produced by a major literary figure, is as rare as a successful film adaptation of a major literary work. The fear and condescension felt towards the medium by most writers do not encourage clear thinking or relaxed appreciation. There is, of course, extensive commerce between the cultures of film and the word: many successful Hollywood writers, whose lifestyles are the envy of literary people, were formerly novelists in fact or intention; many serious novelists eagerly adapt their work for the screen ...”

“... I know no problem,’ the White House head of Psychological Operations says in Hervé Le Tellier’s delightfully confounding thriller The Anomaly, ‘that can resist the absence of a solution.’ She could easily be talking about the novel she’s in, which poses problems designed as much for the writer’s pleasure as the reader’s, problems that might have an infinitude of solutions, not one of which is quite right ...”

“... It’s not hard to describe the editorial career of Dave Eggers: he came to prominence in the late 1990s as founder of the literary magazine McSweeney’s, which is still publishing after 15 years and more than 40 issues. The influence of McSweeney’s on contemporary fiction can’t be overestimated. Its early aesthetic of mild experimentation, monochrome typographic clutter and wilful, crypto-absurdist obscurity launched dozens of careers and spawned many imitators ...”

“... John Franklin (1786-1847) was the most famous vanisher of the Victorian era. He joined the Navy as a midshipman at the age of 14, and fought in the battles of Copenhagen and Trafalgar. When peace with the French broke out, he turned his attention to Arctic exploration, and in particular to solving the conundrum of the Northwest Passage, the mythical clear-water route which would, if it existed, link the Atlantic and the Pacific Oceans above the northern coast of the American continent ...”

“... best minds of his times and so many of its most gifted poets, including Pound, Wallace Stevens and Robert Lowell. Santayana was important because he really did understand the modern age; he was no stick-in-the-mud traditionalist. He read Freud and Faulkner and Lowell with zest and perception. He was a philosopher whose work and whose life made a place for the ...”

“... in a language that was not their first. Native language matters more than native place. Robert Frost was a Californian who entrenched himself in New England. T.S. Eliot, for all his Russell Square papistry, came from St Louis. These poets grew to be associated with the territories they adopted and which adopted them. The idea that a place or ...”

“... Younger Scottish writers seem to be preoccupied by gender. It is a theme crucial equally to Duncan McLean’s novel Bunker Man and to Kathleen Jamie’s poetry collection The Queen of Sheba. It is insistent in W.N. Herbert’s poem ‘Featherhood’ and Janice Galloway’s Foreign Parts. It bridges writing as different as the poetry of Carol Ann Duffy, Kate Clanchy or David Kinloch, and the fiction of Christopher Whyte or A ...”

“... There is nothing either good or bad, but thinking makes it so.’ Perhaps rather carefully, the words at the head of Graham Greene’s new novel are ascribed to William Shakespeare rather than to Hamlet, but inevitably it’s Hamlet they bring to mind. Very Hamlet, this complete scepticism – but not, surely, very Graham Greene; and what has it to do with a novel on the theme of Don Quixote? Turgenev brought Hamlet and Don Quixote together, in an essay on the Russia of his time, in order to contrast the man who thinks like Hamlet and therefore cannot act, and the man impelled by his dreams to act like Don Quixote ...”

“... In Shikasta, some months ago, Doris Lessing engaged with space fiction at its most apocalyptic, covered aeons of time and used scores of characters, and left some doubt about her meaning. All is comparatively clear and simple in The Marriages Between Zones Three, Four and Five, which has the form of a fable – one where values are quite explicit, characters few and the action limited to a single episode in history (history at least as it has passed into the archives of Zone Three, whose chronicler tells the story ...”