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“... It seems safe to infer from his now majestically large oeuvre that John Updike’s ultimate ambition is to get the whole of America, its geography as well as its history, the fluctuations of its spiritual as well as of its material wellbeing, into his books. The contribution of the four Rabbit volumes to the realisation of this plan (one volume per decade since 1960) is easily recognised, but many other novels, though less clearly devoted to the annotation of historical change, have a similar purpose ...”

“... According to its dust-jacket, Jack Maggs is ‘by the author of Oscar and Lucinda’. It is in some respects unlike that novel, being shorter, darker and less furiously though still adequately inventive. Its economy may shock some folk, for Peter Carey is known to be an exuberant novelist, copious, various and fantastic. It is possible to admire his books for their lack of respect for boundaries, for the qualities they share with the work of modern Latin American novelists ...”

“... William Sherlock’s Practical Discourse concerning Death, published in 1689 and known familiarly as Sherlock on Death, was a bestseller in its day and long after. Dr Johnson commended Sherlock’s style as ‘very elegant’. There was a long tradition of ‘how to’ books about dying, and, as his fuller title suggests, Sherlock was offering a modern approach to the problem ...”

“... This book describes itself on its jacket as ‘a retelling of the life of Jesus’ and also as a book about ‘how stories become stories’; which might lead one to expect some sort of refined Jamesian experiment, for it was James who thought a novel, if thoroughly ‘done’, was as much about itself as about its ostensible topic. The Good Man Jesus and the Scoundrel Christ, however, is a game of an older kind ...”

“... Very few schoolboys know that of the four Gospels only two offer any account of the conception and birth of Jesus, and even those schoolboys probably care little that Matthew and Luke, the two which do provide Nativity narratives, fail to agree about many important details. Moreover, there are received ideas about the Nativity narrative that have no warrant in either version ...”

“... As befits an undisputed chef d’école, Stephen Greenblatt includes in this latest collection an account of his own ‘intellectual trajectory’, which features a decisive revulsion from his teachers at Yale, a submission to ‘the intellectual power and moral authority’ of Raymond Williams at Cambridge, and the almost inadvertent invention of the New Historicism, the école in question ...”

“... Writer’s block must be thought of as a disease even more specific to a particular occupation than housemaid’s knee or weaver’s bottom. You can have those without being a housemaid or a weaver, but you can’t have writer’s block without being a writer, and a real writer, meaning one who is known at some stage to have written something of substance ...”

“... Attitudes to Ford Madox Ford (né Hueffer) vary; some think he wrote some very good novels, and some do not; some aren’t bothered by his lies, and some are. And while some find his personal conduct endearing others demur. He was in many respects a mess, a creator of chaos. Ezra Pound, who liked and admired him, once said ‘that if he were placed naked and alone in a room without furniture, I would come back in an hour and find total confusion ...”

“... 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 ...”

“... The qualities these Australian writers have in common, apart from their nationality, are exotic industry, autobiographical fluency and, to adapt what somebody once said about Ford Madox Ford, a desire to write well so strong that it shows. According to his own listing, this is James’s 24th book. So at 50, despite his relatively inauspicious start and his obvious determination to obey the master’s injunction and live all he can, he is only about seventeen titles behind his namesake at that age ...”

“... Lewis Dabney, editor of the Portable Edmund Wilson, makes the slightly surprising claim that Wilson’s ‘reputation continues to grow’. I had supposed that it was, at least temporarily, in abeyance, and for reasons that Wilson would have easily understood. Mr Dabney remarks that Wilson’s work ‘reminds students of literature and history of their heritage from a time when these were the joint concerns of educated men rather than separated fields in the academy ...”

“... Forty years ago, Roy Fuller was taking a close look at himself and finding the image unsatisfying, already a little disappointed. This one is remembered for a lyric. His place and period – nothing could be duller. In his new book of poems there is one called ‘On Birkett Marshall’s Rare Poems of the 17th Century’: Coppinger, Pordage, Collop, Fayne, Fettiplace, Farley, Chamberlain – They could be the darling poets of my youth: I almost search among the names for mine ...”

“... Thanks to​ the work of Norman Cohn, Christopher Hill, Eric Hobsbawm, Keith Thomas and others, we have, over the past few years, acquired a lot of information about millenarianism as a social and historical force. The belief that the end is nigh, or that a new series of times is about to begin, is very ancient, but it is also modern. It is, moreover, a belief upon which people are liable to act, often with disastrous consequences to themselves and others ...”

“... This is a collection of essays by one of our best literary critics, in fact exactly the kind of thing one would expect from him; it simply continues the good work in the manner of his last two books. Why, then, do the reviewers shy like frightened cab-horses? Because Professor Lodge not only includes about seventy-five pages of ‘structuralism’, but actually uses the word in his title, and suggests that it is possible for an English professor to get along with it ...”

“... Literary criticism seems to be putting on weight in its old age – Margaret Anne Doody’s book is well over three hundred thousand words and loaded with learning, which may appal the fainthearted, but they should take into account that throughout its length it is written with verve and wit, and is by any standard an extraordinary and idiosyncratic achievement ...”