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“... thing, and to Lawrence, such sickness represents the fatal flaw of the modern novel. He described Mann as ‘the last sick sufferer from the complaint of Flaubert. The latter stood away from life as from a leprosy. And Thomas Mann, like Flaubert, feels vaguely that he has in him something finer than ever physical life ...”

“... as ‘a person without an alternative’, the very worst fate that can befall anyone in a Henry James novel, and all he thinks about is his neighbour’s legacy, or more precisely ‘what old Frank would have done with the fruits of his swindle, on the occasion of the rupture that had kept them apart in hate and vituperation for so many years’. It’s a ...”

“... which might have come as something of a surprise to Chaucer or Pope. For liberals such as Henry James and David Lodge, it represents a venture into individual consciousness of unique worth – so valuable, in fact, that in this new novel Lodge suspects it may be the summum bonum. ‘Consciousness’ – the very term has an inescapably reifying ring to it ...”

“... are not long sentences, purring and humming, those magnificent oceangoing structures launched by James or Mann or Proust: they are sentences that have forgotten to stop. Anyone who has seen elderly, broken-backed dachshunds being walked in parks with rollerskates supporting their middles will get the picture, but there are ...”

“... and John Barrymore, thought him more remarkable than any of them. On screen, his name appeared as James Stewart, and he worked hard at every detail. He was a canny businessman. Before the Second World War, he invested in a small airline. Soon after the war, taking advantage of the new freedom from studio contracts, he was one of the first actors to arrange to ...”

“... an interview at the bank was to display knowledge of the great European authors, especially Thomas Mann. (The other requirement was to submit a sample of handwriting for analysis by Warburg’s intimate friend, the graphologist Theodora Dreifuss. Ferguson is understandably sceptical about this unusual interest of Warburg’s but is partially converted by the ...”

“... of the disaster into the open. Genius is the attempt by a skilled and elegant science writer, James Gleick, to present the facts of Feynman’s life and achievements. Unfortunately, the latter are quite elusive, which is surprising given the mystique that has long surrounded Feynman. His fellow physicists held him in an awe that seems to have transcended ...”

“... of the social sciences have the confidence to invoke the ideals of Herbert Spencer and Henry James simultaneously. In his second volume, Runciman proceeds to his own substantive social theory. He remarks at the outset that he will here be concerned only with the explanatory segment of his overall prescriptions. But this involves no shrinkage of horizon ...”

“... to succeed in the small and still male-dominated enclave of SF, the talented woman who writes as James Tiptree Jr was obliged to keep her femininity a close secret.) In the 20th century, genre, or ‘category’, fiction has often enforced pseudonymy for the commercial reason that the author’s name must chime harmoniously with the product. Thus, in the ...”

“... sometimes, in the 20th, that Continental essayistic tradition which permits a writer like Thomas Mann or Jacques Rivière to produce a kind of fattened philosophy. During the Fifties, Murdoch exchanged her Existentialism for a loosely Christian Platonism, which has been the fabric of her worldview ever since. (Her Gifford Lectures, published as Metaphysics ...”

“... Henry James writes of a very grand lady that she had ‘an air of keeping, at every moment, every advantage’. Paradoxically, the same would be true of the literary personality of Elias Canetti. Behind its approachable modesty, its avoidance of every publicity and image-making process, there is a loftiness, an assurance, a stance of absolute superiority ...”

“... With the deaths of Thomas Mann in 1955 and of Bertolt Brecht and Gottfried Benn in 1956, a major era in the history of German literature comes to an end. These three are not only the greatest writers of their age, they are also its witnesses. Each of them worked in a different genre: Thomas Mann in the convoluted, partly essayistic prose of his novels, Bert Brecht in the drama and narrative poetry of social dialectics, Benn in the lyrical poetry of radical Modernism ...”

“... have been more misleading than this one. Nor is it just a question of writers like Proust and Mann, who may be said to belong to the last flowering of the 19th century. In the 1980s the tradition of setting a certain kind of novel ‘one generation back’ in time remains as vital as ever. We are accustomed to the paradox that most people’s notions of ...”

“... In 1929, on his 70th birthday, he received a Festschrift, with tributes from Thomas and Heinrich Mann, Musil, Schoenberg, Herman Hesse, Gorky, the first President of Czechoslovakia, Tomás Masaryk, and Gide. Five years later, in 1934, he received tributes only from Goebbels and from a crowd of lesser German writers who are now forgotten outside Germany. In ...”

“... Miller reflects on the difficulty posed nowadays by the introduction of devils and hell. Thomas Mann, modern enough, has his Faustian character succumb to syphilis and madness, and evokes hell in terms, chillingly authentic, of the concentration camps. In their appearance as Romantic heroes, rebels against religious law, social convention or political ...”