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“... H.R. Hays, from Ed Dorn and Gordon Brotherston, from Michael Smith and Valentino Gianuzzi, from Margaret SayersPeden and now from Margaret Jull Costa. None is the English Vallejo. What frustrates their enterprise is an inability to decide what matters and what doesn’t. They end ...”

“... Octavio Paz occupies a unique position in the Spanish-speaking world. He is the foremost living poet of the language as well as being one of the most authoritative interpreters of the Hispanic situation, a pensador in the tradition of Unamuno, Ortega y Gasset, Rodo and Mariategui. Poetry, however, has always been the vital source of his ideas. His work as cultural historian, political essayist and editor of Vuelta, the most influential journal in Latin America today, is rooted in his belief that the poetic conscience must be brought to bear on the central issues of contemporary history ...”

“... Carlos Fuentes is one of those unusual novelists who would make the International Who’s Who even if he had never written a novel. As a public man, Fuentes’s career has been directed to Mexico’s uneasy relationship with the outside world – he was Mexican Ambassador to France from 1975 to 1977. As a novelist, he explores the internal character of his country, in Where the air is clear, his first novel, originally published in 1958, in The Death of Artemio Cruz and in Terra Nostra ...”

“... Perhaps all verse translation must begin and end with a version of the Aeneid, or with an essentially Virgilian concept of art’s relation to society? In these islands, the first translator of Virgil was Gavin Douglas, whose Eneados was completed in 1513. Although my Concise Oxford Dictionary of English Literature appropriates Douglas as the earliest translator of the classics ‘into English’, his version was of course written in Scots and is an ennobling monument to Scotland’s separate cultural identity ...”

“... Troubled countries usually cause troubled minds in their writers, as do troubled families or systems of belief: but while being so troubled may be a powerful incitement to literary production, it may equally get in the way of real achievement. Writers can find themselves facing a dilemma, a choice between fidelity to their own passionate confusions and the possibly spurious lucidity of analytic detachment ...”