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“... Fein? There are also the volumes, notably The Aleph (1970) and Dr Brodie’s Report (1972), which Norman Thomasdi Giovanni translated in collaboration with Borges. Well, which of these versions do you prefer? ‘I come from a vertiginous country where the lottery forms a principal part of ...”

“... The freckled drawing on the cover of Günter Grass’s latest novel shows a hand just emerging from a rubble of old stones and holding a quill. The quill is lightly and sensitively poised, the hand could be meaning to draw or to write as Grass himself both writes and draws. It is, that is to say, the hand of a writer who in his writing is an artist, and the drawing asks in effect: in a harsh or devastated world, what should such a hand write, and what chances does it have? It is a drawing which, with different implications, could serve equally for all the books here reviewed ...”

“... To vanish from sight; be traceable no farther; cease to be present; be lost, especially without explanation.’ The verb in question normally behaves intransitively, but in Argentina after 1976 it learned to take a direct object as the military regime disappeared between nine and twenty thousand people. Humberto Costantini and Omar Rivabella both write about this, but their approach is so different that their books in fact complement each other ...”

“... his friendships than in his loves. In 1967, in the United States, he met the translator and writer Norman Thomasdi Giovanni, then in his mid-thirties. Over the next few years, as he moved to Buenos Aires, di Giovanni co-ordinated the translation of Borges’s poetry into ...”

“... in Cambridge, dictated his will. He was to be buried alongside a former master of the college, Thomas Legge, who had died twenty years earlier. Gostlin had commissioned a memorial to his friend which you can see on the south wall of the college chapel. Legge kneels in prayer. Beneath him hands clutch at a blazing heart. ‘Love joined them while they ...”