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“... de Charrière’s ‘The Nobleman’, is still plot-heavy and without psychological nuance. Charles Perrault’s ‘Bluebeard’ seems at home in this cardboard company.Perhaps not all tales are short stories. These early examples are rudimentary as to motive and situation. McGuinness’s wide-angle introduction (the same in both volumes) argues that ...”

“... malignant state, and you can see why modern readers prefer the acrid, misanthropic company of Baudelaire or Flaubert. Taste in fact recoiled from him soon after 1900, in France and in this country, too, where, Anglophobe though he made no secret of being, he had long been looked on as the French writer of the 19th century. In the new age of suspicion, he ...”

“... to throw on more negatives). As for ‘Caligula 1’ – that’s a revision of a translation of Baudelaire’s ‘Spleen’ that first appeared in Imitations. And so on, and so on, and so on. ‘You didn’t write, you rewrote,’ is the epigraph for Bidart’s introduction. I can’t imagine the blizzard of a paper-chase required of Lowell and Bidart; it ...”

“... département. Robb understands the value of the view from below: sometimes literally so, as with Charles-Axel Guillaumot, who from 1777 spent ten years propping up Paris to stop it falling in on its own centuries of quarrying and excavation (he also supervised the reburying of the dead which produced the wittily ghoulish Catacombes at ...”

“... instead of ‘with’ and ‘thru’ instead of ‘through’: Emily Dickinson via Charles Bukowski; Artaud and Bataille laced with American me-first and can-do. Like many rock acts, she’d had years to dream up her world-shut-your-mouth arrival, then suddenly had no time at all to patch together a follow-up. Only ten months on from ...”

“... modern man of late 19th-century fiction – a contemporary of Paul Montague and a predecessor of Charles Gould. The ‘delinquents, vagabonds’ and ‘mercenaries’ with whom he signs up to fight for the Dutch are another, brutal expression of this modernity: ‘true “moderns”’, Steinmetz suspects, among whom Rimbaud can pass incognito, in a world ...”

“... University in Baltimore in 1933. At that time his main reason for being in America was to give the Charles Eliot Norton Lectures at Harvard, duly published as The Use of Poetry and the Use of Criticism. In a year that would have seemed laborious even to a writer not suffering from marital disaster and general ill-health, Eliot added to his Harvard commitment ...”

“... This remark in this context – fine wines, fine linen, old furniture, a child reciting Baudelaire, a man playing an accordion, a venerable grandfather, a spectacular verandah view over the river – offers ‘another dimension’, as Coppola says. But it is another dimension of the insight we have already grasped. These old-world colonists may be ...”

“... Galas identified her as ‘a keeper of the flame of our blood brothers, Nerval and Artaud and Baudelaire.’ She ended by quoting, in farewell, a stanza of Baudelaire’s about a sailor setting out on a voyage. It was one dimension of Acker’s work – the tale of the damned, the voyager, the outsider – but not the ...”

“... had just published The Yellow Book, a collection of long-lined, sophisticated poems steeped in Baudelaire and the fin de siècle. Praising its ‘opulence of means and melodies, the pleure dans le coeur, the combination of buoyancy in the verse and ballast in the feeling’, Heaney concludes: ‘I see Milosz calls poetry a dividend from ourselves: high ...”

“... settled: the woman of independent means who has done quite well for herself, as Carter described Charles Perrault’s version of the figure, who waves wands and make things happen, transcending biological relatedness and bourgeois property law. Carter, Sage proposes, ‘birthed herself’ into that position through years and decades of intellectual and ...”

“... unromantic Hooper, who nevertheless seems all set to inherit the earth; but then on the last page Charles thinks of the light burning in the sanctuary of Brideshead chapel, ‘the flame which the old knights saw from their tombs’ and which remains ‘burning anew among the old stones’. So the closing note is hopeful if unaccompanied. The Sword of Honour ...”

“... we move: from Paolo Sarpi through Augustine, Cicero, Vasari, Winckelmann, Flaxman, Hegel, Heine, Baudelaire, Semper, Scott, Riegl, Feyerabend, Simone Weil and Adorno, ending with Roberto Longhi. In another, from Viktor Shklovsky through Tolstoy, Marcus Aurelius and popular riddles of Roman times, Antonio de Guevara and the transmission of medieval tales to ...”

“... of English Poets”!’ he wrote to Emily Hale in February 1933, halfway through his year as Charles Eliot Norton professor at Harvard. The lecture included the following considerations (transcribed by his brother Henry):The desire to write a letter, to put down what you don’t want anybody else to see but the person you are writing to, but which yet ...”

“... to think deeply about 19th-century London without Dickens or 19th-century Paris without Balzac or Baudelaire. That said, Levi’s claims for his subject are, relatively speaking, modest. In his writing much of what we take to be the uniqueness of the ‘Holocaust’, the essence of its cosmic, trans-historical, metaphysical portent, is missing. He has no ...”