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“... Cesare Pavese kept a diary from 1935, when, aged 27, he was ‘exiled’ to Calabria for anti-Fascist activities, until 1950, when he committed suicide. During those years he became a successful poet and novelist, translated many celebrated American and British novels and, as chief editor at Einaudi, was responsible for publishing some of the most important writers of his time ...”

“... Put real people​ in a work of fiction these days and you immediately face libel and privacy issues. The publishers will demand a legal report; every correspondence between your story and reality will be scrutinised. It won’t be enough simply to change names or avoid unpleasant aspersions; the mere idea that someone might recognise themselves and feel aggrieved will set alarm bells ringing and have editors demanding revisions ...”

“... For Italians​ , I’ve found after 33 years in Italy, to belong to a family, a group of friends, a city, a region, a corporation or trade union, a church, a political party, is generally more important than to be morally unimpeachable, or free and independent, or even successful and powerful. The strongest positive emotions come from being instrumental to your family or group, the strongest negative emotions from feelings of abandonment ...”

“... What a pleasure​ to return to Thomas Hardy. For about a hundred pages. Then the torment begins, and we’re not even halfway through. From now on each turn of the page will expose the reader to greater unhappiness. There’s a moment in The Return of the Native where the main character, Clym, already deeply troubled by his mother’s mysterious death, goes out of his way to find a little boy who may be able to tell him exactly what happened ...”

“... The life story of the Italian writer and political activist Secondino Tranquilli, alias Ignazio Silone, is both disquieting in itself and a serious challenge for anyone who believes that the value of a work of literature can be entirely separated in our minds from the character and behaviour of the person who produced it. Essentially, there are two versions of the Silone story ...”

“... What options are available to you if you yearn to belong to your place of origin, indeed to be one of its leading figures, yet simultaneously feel threatened and diminished by it? One answer might be to move far away while constantly reminding those back home of your existence, your ambitions, your still being one of them. How might you do that? Perhaps you could write about the place critically, portraying it as a zone of suffocating limitation, spiritual death even, somewhere any sensitive intellectual would have to abandon, but write with an insistence, a passionate attention to detail, a capacity to transform the squalid into the lyrical such as to create an atmosphere of intense attachment and nostalgia ...”

“... At the turning point of this second volume of Beckett’s letters, which is also the turning point of his professional life, the moment when, after so many years of ‘retyping … for rejection’, his best work is finally to be published with enthusiasm by editors determined to let the world know what they have discovered, the author’s partner, Suzanne Déchevaux-Dumesnil, writes to Jérôme Lindon at Editions de Minuit to advise that Beckett does not wish his novel to be entered for the Prix des Critiques ...”

“... In 1850 Dickens invented a little game for his seventh child, three-year-old Sydney, the tiniest boy in a family of short people. Initially, in fun, Dickens had asked Sydney to go to the railway station to meet a friend; innocent and enterprising, to everyone’s amusement the boy set off through the garden gate into the street; then someone had to rush out and bring him back ...”

“... Can this beautiful young model be thinking?’ Tim Parks asks at one point in this book. ‘One hopes not,’ the argument continues, as Parks’s narrator looks through an airline magazine, ‘You do not think, I thought, seeing pictures of people pleasure-making on the beach, perhaps in an advertisement for rum or Martini ...”

“... At some point in his mid-forties, the novelist Tim Parks developed a terrible pain, near-constant and located in embarrassing places: his lower abdomen and crotch. ‘I had quite a repertoire of pains at this point: a general smouldering tension throughout the abdomen, a sharp jab in the perineum, an electric shock darting down the inside of the thighs, an ache in the small of the back, a shivery twinge in the penis itself ...”

“... When Tim Parks reviewed Salman Rushdie’s latest novel, The Ground beneath Her Feet, in the New York Review of Books he grumbled ‘that the sheer quantity of events that crowd these 575 pages is such as to overwhelm any depiction of inner life or any mind’s attempt to grasp the half of them’. By the end of his piece he is thoroughly exasperated: ‘By making the double gesture of appearing clear-sighted and then filling his pages with supernatural incident and metaphysical muddle that could mean anything or nothing, Rushdie, and many like him [my italics], play to those who, while understandably unwilling to subscribe to any belief so well defined as to be easily knocked down, nevertheless yearn to have all the mystical balls kept perpetually spinning in the air before them ...”

“... Tim Parks’s latest novel opens in the forests of the South Tyrol, where a group of white-water enthusiasts are taking a kayaking holiday. The river is overflowing with melt water from a thawing glacier, and the kayakers find themselves endangered by the force of the current, as the river runs ever faster and fuller ...”

“... This is Tim Parks’s sixth novel. He has also done some serious translation – Moravia, Calvino, Calasso’s The Marriage of Cadmus and Harmony – and written a lively book about his life in Italy. And now, by way of explaining the highly technical lexicon of Shear, he tells us in an Author’s Note that he did ‘years of work for the Italian quarrying industry’: consequently ‘a huge burden of geological/mechanical vocabulary ...”

“... Italo Calvino was born in 1923 and came to prominence in post-war Italy as a writer of neo-realist and politically committed short stories, some of them published in the Communist paper L’Unità. A major social-problem novel set in contemporary Italy was naturally expected of him, but he found himself unable to write it. Instead, as he subsequently explained, he ‘conjured up’ the sort of books he himself would have liked to read – ‘the sort by an unknown writer, from another age and another country, discovered in an attic ...”