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“... if he lived all he could, did so in what seems to have been an altogether more sedentary fashion. Conrad, who lists only nine previous books, is nevertheless a long way ahead of his somewhat late-developing Polish namesake, but then going to sea is among the few aids to introspection he seems not yet to have tried. Manifestly well though this James and this ...”

“... however, could never withstand much critical scrutiny. It certainly doesn’t receive much in Peter Conrad’s encyclopedic new study of artistic creation. For one thing, God’s act of creation is from nothing, which can scarcely be said of Mansfield Park or Dead Babies. Like cooking or carpentry, art requires raw materials. ...”

“... now as drearily familiar a discourse as the Elizabethan world picture, if somewhat more accurate. Peter Conrad’s monumental study of Modernism falls foul of such platitudes from time to time, not least in its tendency to a kind of newsreel history. ‘The 19th century, powered by the internal combustion engine, was a time of hectic, propulsive ...”

“... they intended to find. Though he doesn’t mention Rosenberg, or any other critic for that matter, Peter Conrad, Fellow of Christ Church, Oxford, is convinced that a similar destiny was in store for the English writers of the 19th and 20th centuries who ‘imagined’ America during their visits to it. They imagined it not freely but in obedience to ...”

“... of de Kooning’s paintings does it appear as subject-matter (or at least give title-material). Peter Conrad, whose subject is versions and visions of New York, thus has no place for Rothko or de Kooning in his book: with the Pop artists – like Oldenburg – he finds work which can illustrate his theme. In each of his chapters he shows how different ...”

“... Tasmania’s prodigal son, Peter Conrad, suggested recently that his island-state had ‘unwritten its own history’ in accordance with ‘a self-protective incuriosity about origins’. Tasmania’s origins lay in an act of genocidal conquest and a penal experiment, both of which were so recent and so omnipresent in their effect as to make recollection intolerable ...”

“... Last week, in another part of the city, a human head turned up.’ The severed head which opens Peter Conrad’s first novel suggests that contemporary fiction might be defined by its increasing convergence with the weird tale, the story based on a deliberate disruption of the natural order. The head is anonymous, sealed in a plastic bag, and being used as a football by a group of boys ...”

“... of Kipling). Indeed, the last essay in Bartleby in Manhattan is an attack on an English critic, Peter Conrad, for trying his hand at just this sort of thing. In these American observers and explainers two characteristics recur. The first is a close attention to the significance of detail (‘no ideas but in things’) which is often left to speak for ...”

“... with the feast of colour in the gallery. ‘Emerging from Turner’s heliocentric cathedral,’ Peter Conrad wrote in the Observer, ‘I felt I had cataracts: it takes time to re-accustom your dazzled eyes to the wan, monochrome mock-up we call reality.’ Turner, and his great advocate Ruskin, would surely have sighed with impatience at these ...”

“... Greene, Claire Tomalin on Coleridge, Anthony Burgess on Fielding, other reviews by Anita Brookner, Peter Conrad, Roy Foster and Hilary Mantel), and as the limits on the new paper’s resources became apparent I thought how hard it would be to put together pages of comparable stature. There was one solace: the Independent on Sunday would be run by ...”

“... Joseph Conrad was a thoroughgoing racist.’ This quotation is taken from ‘An Image of Africa: Racism in Conrad’s Heart of Darkness’, a lecture delivered by the Nigerian novelist Chinua Achebe as long ago as 1974 and now collected in Hopes and Impediments. In City Without Walls, W ...”

“... up his sleeve. This was an illusion he encouraged, and there was some pleasure in sharing it. Peter Conrad’s Orson Welles: The Stories of His Life does not treat the actual life of Welles or its salient circumstances: his collaborations with John Houseman and Joseph Cotten and Michéal Mac Liammóir; his affairs with Dolores Del Rio and Lena ...”

“... think I don’t need to. My first reading, before any reviews appeared, concurs with what I took Peter Ackroyd to be saying on Kaleidoscope, that the bulk of the narrative can be read and enjoyed in a moderately literal way as a mystery story set in London, even though the mystery turns out to be not soluble at this level. My second reading was helped by the ...”

“... there in these millennial times ought not to surprise us. This batch of studies finds, in the USA, Peter Plan and T.G. Bishop combing the plays for miracles and James Biester finding the key to Renaissance courtly poetry in its strategies for eliciting astonishment. Back home, Jonathan Bate is gobsmacked by the sheer Genius of Shakespeare. It’s perhaps as ...”

“... just as American mythology loses the Vietnamese as anything other than shadows in a psychodrama. Conrad’s Kurtz is the emissary of light who discovers the ancient darkness in himself – or in the less primitivist reading the novella also allows, discovers that within himself there is nothing at all, that he is entirely hollow, has no interior. His last ...”