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“... short life, big talent and last dollar were all just about exhausted when the young writer Joyce Glassman bought him a dinner of hot dogs and beans on a Saturday night in New York City in January 1957. Glassman understood he was broke, but the rest she learned only later. She thought Kerouac was beautiful, with his blue eyes and sunburned skin. He had ...”

“... Homer and Virgil and Chaucer accompanied Stendhal and Jane Austen, Dickens and Tolstoy and Henry James; and near the end was one poem that certainly might, in its intensity, be described as ‘short’ – Coleridge’s Rime of the Ancient Mariner. This almost token poem, a magnificent simple affair that most of us did at school, is the world’s most ...”

“... slowly part of the way home in his Armstrong Siddeley. In the car he produced a book of poems by James Joyce from the pouch in the door and told me that he read them when he was stuck in traffic jams. He asked, ‘Did you never think of killing yourself?’ but answered the question himself: ‘You would not know whom to kill.’It is astonishing to ...”

“... intimate occasions of which this is not true.)’ In the jacket photograph she was decked out as James Joyce, with a felt-tip monocle over one eye. ‘The picture of you on the back rather turns my head,’ Murdoch wrote. ‘You dazzling creature.’ (Years later, she tried a new tack: ‘I am not a great writer. Neither are you.’)After Brophy’s ...”

“... In a letter dated 22 January 1934 to his protégé James Laughlin, Pound makes passing reference to R.P. Blackmur, who had written a long unflattering essay, ‘Masks of Ezra Pound’, in an issue of the periodical Hound and Horn (which Pound renamed Bitch – Bugle). Next day he refers to it again – ‘24 depressing pages ...”

“... the word, or the deed, but the face. ‘Darkness was upon the face of the deep,’ runs the King James Version in the second verse of the opening of Genesis. ‘And the Spirit of God moved upon the face of the waters. And God said, Let there be light: and there was light.’ Two uses of ‘face’ in one verse, and a third implied face, surely: God’s ...”

“... into their writing, perhaps even more than the soldier writers, its lessons for our civilisation: Joyce, Eliot, Lawrence. These were the older generation to whom we looked for examples. They did not reflect in their work the conditions of the Western Front, but they shared a generalised despair about Western civilisation. In the masterpieces of ...”

“... Richard Ellmann’s Life of Joyce, generally regarded as the best literary biography of our time, was the work of his middle years. The last third of his own life was largely given to this biography of Wilde, which was in some ways a very different sort of undertaking. There were surviving acquaintances of Joyce, but nobody who knew Wilde is available for questioning; the material, though copious, must be sought in libraries ...”

“... truthfulness’ better than fantasy; and he wrote a respectful but dismissive report on Joyce’s Portrait of the Artist, saying it needed a lot of work. It was ‘too discursive, formless, unrestrained’, despite its, so to speak, Hogarthian truthfulness; and this is easiest of all to understand, for he sensed in ...”

“... enough. Writers are innocent. Tolstoy was certainly innocent. Even Proust was innocent. Even Joyce was innocent.’ One of the sponsors of Amis’s pessimism, whether he knows it or not, is Schiller’s supple essay, Simple and Sentimental Poetry, written in 1795 (usually translated as Naive and Sentimental Poetry). This, for all its dialectical ...”

“... to do more than ensure consistency, Plato was returning to a point at which he started. In Ulysses James Joyce quotes (or misquotes) Maeterlinck as saying: ‘If Socrates leave his house today he will find the sage seated on his doorstep.’ The same, I have urged, can be said about Plato; or even about ...”

“... a chapter that devotes far more of its time to writers like the Sitwells than it does to Joyce, Pound and Lawrence, all three of whom receive no more than a handful of glancing allusions in the book as a whole. There is a single brief reference to Pound’s Cantos and four mentions of Wyndham Lewis. Sylvia Plath’s name surfaces only twice. The ...”

“... was all set, in its competent and agreeable fashion, to carry on as before. According to Henry James, in 1899, the novel had become a universally valid form, ‘the book par excellence’; according to Ford Madox Ford, in 1930, it was still indispensable, ‘the only source to which you can turn to ascertain how your fellows spend their entire ...”

“... the one side and honestly unserious Wodehouse or Ian Fleming, say, on the other – Waugh, Greene, Joyce, you name it – will have for him something of the status of kitsch or poshlost, will be fundamentally untrue, in some way. The problem for the critic is not just that the Tolstoyan or Shakespearean or Pushkinian ideal is an impossibly high one (even ...”

“... and he asks: ‘Might we not distinguish in kind between literary promotion, such as Pound’s for Joyce, in war or peace, and advocacy such as Pound’s for Mussolini in war rather than peace?’ Well, so we might, but we might also think that ‘literary promotion’ is an inadequate description of Pound’s sustained and inventive activities on behalf of ...”