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“... The only reason​ Werner Herzog hasn’t yet made a film about the Ancient Mariner may be that, having already inadvertently incorporated so many elements of the poem into his own work, he has become him. Herzog certainly shares Coleridge’s interest in the physical and spiritual toll taken by epic voyages into uncharted waters. There are several rafts as well as a phantom schooner stuck up a tree in Aguirre, the Wrath of God (1972), the film about a berserk conquistador which established him as a leading figure in German New Wave cinema; and a steamboat hauled over the isthmus separating two tributaries of the Amazon, and then flushed down a flight of rapids, in Fitzcarraldo (1982), the film about a 19th-century rubber baron and opera fanatic which sealed his international reputation ...”

“... the notion that some themes are ‘higher’ than others. There is a linguistic context too: thus Michael Hofmann, introducing his translation of Metamorphosis, quotes Klaus Wagenbach to the effect that ‘the characteristic purity of Kafka, the sober construction of his sentences and the paucity of his vocabulary are not understandable without his ...”

“... in 1845, the result of a private subscription set up by Sir James Clark (the Queen’s physician), Michael Faraday and the Prince Consort. Its first director, recruited from Germany, was August Wilhelm von Hofmann. Perkin became a student there in 1853. Hofmann was already investigating ...”

“... fatherland, the only one I have ever had’. ‘His birthplace had been ceded to Poland,’ writes Michael Hofmann, ‘his country – the supranational Dual Monarchy comprising 17 nationalities – was a figment of history, and he lived off his wits, out of a couple of suitcases.’ My uncle lorded it over the Indians until they quit the empire, yet he ...”

“... characteristically abrupt: ‘When I was 15, I got hepatitis.’ That was in 1958. The narrator is Michael Berg, the son of a professor of philosophy. One day on his way home from school he throws up and nearly faints. A woman takes him into the courtyard of her apartment block, sluices him down at the pump, then sluices down the pavement. He is crying, so she ...”

“... campaigners generating the stories. Early in his survey of ‘the new science of psychedelics’, Michael Pollan talks to Rick Doblin of the Multidisciplinary Association of Psychedelic Studies (MAPS), pioneers of therapeutic research into MDMA, LSD and ayahuasca, who is candid about his choice of the medical paradigm as ‘a means to a more ambitious and ...”

“... the camp inmates call the milk ‘you’ throughout. In other translations (by John Felstiner and Michael Hamburger, for example) and in the German text, they start by calling the milk ‘it’ and then move to ‘you’. I like the (incorrect) intimacy from the start, and confess that I had to look at several editions to find out what is happening. I ...”

“... first time I saw, or looked repeatedly at, a painting by Frank Auerbach was in the art historian Michael Podro’s living room – it must have been in 1968. The painting was Primrose Hill, Autumn Morning. I’d barely heard of Auerbach at that point (modern painting for me was French and American), and I certainly didn’t have a clue who had done the ...”

“... not deterred the blurb-writers or big-name eulogists. Among the extreme claims made on his behalf, Michael Hofmann’s recent hailing of Brodsky as the true successor to Robert Lowell and great American poet of our age has at least the virtue of unambivalence. We may not agree with it, but the terms are clear. Hitherto, through no fault of his own, the ...”

“... a Swiss chemist took a dose of a drug he was developing to help with breathing. When Albert Hofmann cycled home afterwards, he saw kaleidoscopic swirls. Later, he felt very anxious. That was LSD. The study of brain chemistry was off to a colourful start. Around the same time, a French military surgeon was working with a drug company to develop an ...”

“... he wrote for non-specialist audiences. What he wrote for his books on Miró, Matisse and Hans Hofmann were introductions to the illustrations in those volumes, not scholarly monographs. His output as a reviewer was a far more significant aspect of his career. He wrote mostly for the Nation in the 1940s, stepping away only for occasional contributions to ...”

“... drugs had been “dope”, of interest only to bohemians, foreigners and criminals’ – the Michael Pollan of his time.*In the aftermath of The Doors of Perception, the cactus experience appeared in the emerging literature of the Beats and the pages of the New Yorker. Peyote buttons were circulating in Greenwich Village and among anthropology students ...”