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“... Modernism must be reckoned one of the lengthiest and most strenuous campaigns ever undertaken in the name of literature. Acutely conscious at once of the burden of the past – the intimidating totality of what had already been written – and of the present’s lightness, its free and easy way with burdens, its failure to be intimidated, the Modernist did not propose to carry on as before ...”

“... In the years since their publication in 1948, Ezra Pound’s Pisan Cantos have given rise to interpretative bad faith on a scale unusual even by the lofty standards of literary criticism. The reason for this is not some special failing on the part of Pound’s adherents, but rather the burden of expectation laid from the outset on a sequence of 11 poems written in the US Army’s Disciplinary Training Center in Pisa in the summer and autumn of 1945 ...”

“... Of course​ he shot the fucking elephant.’ The sharpness of Sonia Orwell’s defence of the authenticity of the event on which her late husband based one of his most famous essays tells its own story. Without the experiences enjoyed or endured by Eric Blair, Etonian, colonial enforcer, schoolteacher, down-and-out, grocer, infantryman, there would have been no George Orwell, writer ...”

“... But​ where does the Potemkin go?’ That, according to Sergei Eisenstein, was what the people who had just seen his most famous film really wanted to know. At the climax of the film, the battleship’s mutinous crew, having got rid of all its officers and intervened decisively in the first stirrings of revolt in the Black Sea town of Odessa, head out of harbour to confront the rest of the imperial fleet, which has assembled to block their escape ...”

“... much zest into a feeble allegory. In his excellent critical biography of Tati, published in 1999, David Bellos points out that less than three years before he began shooting the film (in May 1947) the Gestapo still had an office on the main square of Sainte-Sévère. And now American movies and military policemen are the problem?Many of the best scenes in ...”

“... According to Boswell, Johnson was so hostile to gesticulation that ‘when another gentleman thought he was giving additional force to what he uttered, by expressive movements of his hands, Johnson fairly seized them and held them down.’ But in restraining someone else’s gestures, he himself gestured; he gave additional force to his opinion by expressive movements of his hands ...”

“... Hitchcock​ liked assembly lines. In the long, consistently revealing interview he gave to François Truffaut in the summer of 1962, he described a scene he had thought of including in North by Northwest (1959), but didn’t. Roger O. Thornhill (Cary Grant) is on his way from New York to Chicago. Why not have him stop off at Detroit, then still in its Motor City heyday? I wanted to have a long dialogue scene between Cary Grant and one of the factory workers as they walk along the assembly line ...”

“... intervention. ‘The miracle happened in that film emulsion. Who knows why?’ Writing in 1975, David Thomson compared Garbo to Christ – there were times in their lives when all they wanted was to be left alone – before concluding with a reiteration of the same ‘mysterious truth’: ‘She was photographed. She was all in the silver.’ Whether Garbo ...”

“... books complement one another uncannily, as though the authors, like the two campus novelists in David Lodge’s Small World, had agreed to divide up the world between them. By secret treaty, as it were, O’Keeffe got to do facts, and Edwards opinions. The opinions, it should at once be said, are the fruit of immense dedication. Edwards has written widely ...”

“... One day in 1914, Ford Madox Ford, then 40 years old and feeling it, found himself for a while in the custody of the youthful Percy Wyndham Lewis, a writer whose work had appeared in Ford’s magazine, the English Review, and who was about to launch a magazine of his own, the rather more intemperate Blast. Gripping Ford by the elbow, Lewis, who was as usual in incendiary mood, poured scorn on him and his associates ...”

“... At the height of Empire, and of the literature of Empire, J.K. Stephen looked forward to a time When there stands a muzzled stripling,     Mute, beside a muzzled bore, When the Rudyards cease from Kipling     And the Haggards Ride no more. The Haggards have ridden rather precariously since the decline of Empire, if at all. But the next few years promise no end of Kipling ...”

“... There are​ more weird households per novel in the work of Elizabeth Bowen than in that of any comparable writer. She liked to imagine the nuclear family as radically estranged from itself – by the death of a parent or a child, by childlessness, by emergency or neglect. Twenty-year-old Roderick Rodney in The Heat of the Day (1948) ‘would have esteemed, for instance, organic family life ...”

“... Anyone old enough to have made use of public phone booths on a regular basis will know that they were more often than not damp, cold, filthy and foul-smelling, and while amply supplied with the phone numbers of prostitutes, practically impossible to make any sort of call from. So folk memory insists, at any rate. So literature insists too. Urban phone booths in particular have become indelibly associated in the literary imagination with urine ...”

“... Preston Sturges​ died in August 1959, when Donald Trump was thirteen years old. So it’s not his fault that the uses to which the grandiose Mar-a-Lago estate in Palm Beach has more recently been put include the development of a club of which Jeffrey Epstein was briefly a member, as well as an impromptu storage facility for state secrets. But he did rather like the atmosphere of the place ...”

“... 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 ...”