“... Novel in Late Capitalist Globalisation – which track the translation of cultural capital from London to Dublin and New York, and the emergence of a globalised fiction in which America is a base.‘Flann O’Brien was right,’ Deane says at the start of ‘Emergency Aesthetics’. ‘Joyce was invented by Americans. He was part of their foreign policy, of ...”

“... from all over southern England crammed together shoulder to shoulder without face masks in Central London, in defiance of the rules against large gatherings, would seem a display of selfishness provocative enough to justify its being broken up by the police. But what is democracy without political protest? And it was a genuine political protest. It was an ...”

“... edition includes later news taking us to the Anita Hall case and the reactions to Thelma and Louise. Yet Marilyn French’s The War against Women is the more telling book. It is brief, where Faludi is excursive; it does not wear the accoutrements of research as well (it has no index), and it is written in a much more peremptory, less immediately engaging ...”

“... whose grandmother was from Arsuk, and her collaborator, another young academic called Marie-Louise Jensen, examine the archived account books of the cryolite company to tot up how much money, in modern terms, the mine and factory made, and how this figure compares to the amount the Danish government has spent on Greenland over the years. Various figures ...”

“... skills: they sent their negatives to professional processing laboratories on Jersey or else in London or Paris. The local jobbing men managed to produce some thrilling results (one wonders what they thought of the weirder snaps). Disappointingly, however, most of the ‘art’ pictures survive only in the form of negatives and contact sheets: many more ...”

“... Flaubert enjoyed an easy access to these states of mind outside his writing life, but he scolded Louise Colet (in a letter that Roth quotes in My Life as a Man) for a poem in which personal emotion distorted her judgment: ‘You have turned art into an outlet for passion, a kind of chamberpot to catch an outflow. It smells bad; it smells of hate!’ Roth’s ...”