Search Results

“... the pieces are published here in English for the first time. The editors, Pascale-Anne Brault and Michael Naas, are sensitive to what might be ‘impolitic’ or ‘morbid’ about such a collection, but their introduction amply and lucidly justifies their assembly of these works, and the only snag with the book as a whole is that it makes certain rhetorical ...”

“... Julian Barnes invites us to visit what he calls a ‘tropic of grief’ that is wilder and bleaker than anything in the pages of Lévi-Strauss’s great memoir. But Barnes does not refuse the word ‘sad’, because, he suggests, one of the first things we should understand about grief is its banality, its need of ordinary old words that may seem flat but will not seem evasive ...”

“... Ferdinand de Saussure, who died in 1913 at the age of 55, sowed the seeds of structuralist thought that first took root in linguistics, then effloresced throughout the 20th century in fields as seemingly distinct as literary criticism, architecture, social anthropology and psychoanalysis. Yet, as John Joseph’s biography shows, Saussure struggled for his entire career to systematise as general theory what he had implicitly understood and put to stunningly successful use at the age of 19: that human language is the prime abstract ‘semiological’ (we now say semiotic) structure on which the possibility of interpersonal communication depends ...”

“... Nineteenth-century demographers tried to take the measure of death. Years before Emile Durkheim, they counted suicide rates as barometers of social dissolution, and their rage for mathematical precision extended into all corners of ‘mortal knowledge’. Reflecting contemporary anxieties over urban growth, urban squalor, industrial accidents, the persistence of cholera, and, later in the century, the declining birthrate and the spread of tuberculosis, the new ranks of social scientists calculated the consequences of a rapidly changing French society ...”

“... When I wrote film criticism,’ Jean-Luc Godard said in 1978, ‘I never saw the difference between talking about a film and making one.’ There was a serious difference, as he well knew, since at the time of most of this writing he had not made a film of his own. The claim is interesting, though, because Godard always liked to mix modes, and never really wanted to separate criticism from creation ...”

“... start, so criticism has been slow to gather momentum. Even the recent spate of studies – by Michael Kirkham, Stan Smith, and the contributors to Jonathan Barker’s Art of Edward Thomas – seems more fortuitous than co-ordinated. Thomas, as Robert Frost reminded him, ‘knew the worth of [his] bays’. However, it is unwise to die in war when a ...”

“... Christian attitudes to Islam, though heavily indebted to Sir Richard Southern and Professor Michael Wallace-Hadrill, gives the Crusades an ideological context which, in general histories of the movement, they largely lack. But the attempt to give a balanced treatment of Christian and Moslem experiences is not really followed through: we hear ...”

“... Some time ago the scholar Jean-Pierre Vernant reminded us that Greek gods are not persons but forces; and in Anne Carson’s Oresteia, her sharp, sceptical, often laconic version of three plays about the legacy of Atreus, one each by Aeschylus, Sophocles and Euripides, as well as in her translations of four other plays by Euripides,* I kept hearing an invitation to extend and refine the thought ...”

“... As far​ as we know, Fritz Lang’s life of crime was confined to his films, although there was some gossip about the circumstances of his first wife’s convenient death. The familiar phrase has many uses and meanings, of course, and we might say the more the better. The lives we imagine for crime may help us to see in it and around it, and thinking about crime may help us to think about other matters ...”

“... but suggestive narratives: one, from around 1996, constellates Magic Johnson, O.J. Simpson, Michael Jordan, Nelson Mandela, Malcolm X and others in a fraught tribute to Black masculinity.Tompkins’s work is attuned to all the nuances of race, gender and class that fabric can signify. When set next to each other to accentuate textural ...”

“... What is​ a ghost?’ Stephen Dedalus asks in Ulysses, and promptly answers his own question. ‘One who has faded into impalpability through death, through absence, through change of manners.’ Not a figure who is entirely unreal, just one who has become a little faint, lacking in physical immediacy. Perhaps someone who lives in the memory only, not an inconsiderable form of life after all ...”

“... an impression of Sebald’s habitual tone – measured, reflective and beautifully served by Michael Hulse’s translation – but they illustrate his tact in a wider sense. It is only at this point in the book that we have finally been challenged by an explicit reference to the Holocaust, an event adumbrated by the other narratives, casting its noisome ...”

“... All the unhurried day,’ Philip Larkin wrote, addressing a long-dead girl who had been drugged and raped in London, ‘Your mind lay open like a drawer of knives.’ All that day, and many days more, no doubt. But then presumably, since the girl later talked calmly enough to Mayhew, the drawer gradually closed, the glint of the knives softened, and life continued ...”

“... Jake Donaghue​ , the endlessly discomposed hero of Under the Net, is a careful composer when it comes to his narrative, as distinct from the life he has notionally been living. He refers to ‘earlier events related in this story’, restricts himself to what is ‘of any interest from the point of view of the present story’, and describes his feelings as they were ‘at the point which our story had now reached ...”

“... performative utterance indeed, and clearly intended to repel all invaders. (It didn’t. See what Michael Wood does with it in The Magician’s Doubts, a book, astoundingly, worthy of its subject.) Hidden motives and additional adverbs were optional, but the autobiographer’s central assertion used to be: ‘here I uniquely, truthfully stand, and no one can ...”