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“... If the preferred style in American fiction of the last two decades could be summed up in a single title, it would surely be ‘Lost in the Funhouse’. John Barth’s short story, published in the Atlantic Monthly in 1967, was a composite text in which an account of a family’s visit to a fairground was spliced in with what appeared to be a set of instructions from a fiction-writer’s manual ...”

“... Is there a law of gender among fictional narratives, according to which some types are characteristically male and others characteristically female? This question – posed by some recent critics – is answered almost too neatly by the first two novels under review. Alan Sillitoe’s Life goes on is a rampant adventure-tale of a male rogue, or rogue male, on the loose between two marriages ...”

“... Here is the note of a quite distinctive sort of English novelist: Not everybody in Britain on that night in November was alone, incapacitated, or in gaol. Nevertheless, over the country depression lay like fog, which was just about all that was missing to lower spirits even further, and there was even a little of that in East Anglia. All over the nation, families who had listened to the news looked at one another and said, ‘Goodness me,’ or ‘Whatever next,’ or ‘I give up,’ or ‘Well, fuck that,’ before embarking on an evening’s viewing of colour television, or a large hot meal, or a trip to the pub, or a choral society evening ...”

“... See Naples and die,’ the old saying has it. But a better motto would be: ‘See Naples and go underground.’ Tourists since the 18th century have enthused over the subterranean wonders of this part of Italy. In 1818, Mary Shelley and her husband visited the cave of the Cumaean Sibyl, and eighty years later, H.G. Wells joined the throng of sightseers at the entrance to the Blue Grotto of Capri ...”

“... I belong to the Beardsley period’, said Max Beerbohm, thereby beginning one of criticism’s most imperious habits. The authors of scholarly books such as The Shakespearean Moment, The Pound Era or The Auden Generation are following Beerbohm’s precedent in appropriating a cultural epoch under the name of a single artist. Yet, as D.L. LeMahieu points out, the great majority of their contemporaries had never heard of, still less read, these totemistic figures ...”

“... Last September, at the very moment when hundreds of thousands of teenagers began to follow the first GCSE courses under the National Curriculum, the Education Minister John Patten infuriated the teaching profession by announcing an immediate review of the Statutory Order for English. No sooner had the review been announced than Mr Patten and his fellow ministers did their best to pre-empt its outcome ...”

“... Here, in these three novels, are three representations of the state of the art. In The Satanic Verses the narrator, who may or may not be the Devil, confides that ‘what follows is tragedy. – Or, at least, the echo of tragedy, the full-blooded original being unavailable to modern men and women, so it’s said.– A burlesque for our degraded, imitative times ...”

“... entertainer’.(Dickens was stigmatised with the same term by F.R. Leavis in The Great Tradition.) Patrick Parrinder has been opposing such anti-Wellsian prejudice for the best part of a quarter of a century. His opposition takes the form of scholarly works which patiently mount the case for critical respect. ...”

“... of the first four volumes of the series covered earlier critics that fall within the scope of Patrick Parrinder’s study. Authors and Authority in turn is an expansion of a 1977 book that stopped with the beginning of the 20th century. Now nearly twice its original length, it comes all the way down to the Yale Deconstructionists, the American ...”

“... author who died after 1925. The proposed reform is particularly tantalising for scholars like Patrick Parrinder, who has been working for some years on a revised team-edition of H.G. Wells (died 1946, by old UK regulation due to enter the public domain in 1996; by new EU Directive, 2016). There is, ...”

“... do, however, engage Kermode’s thought in a fairly serious way: John Stokes, George Hunter and Patrick Parrinder. Two ways of doing so were possible. Either Kermode’s general view of the critic’s task or his ideas concerning specific texts or groups of texts could have been the focus of attention. Stokes and Hunter choose the second of these ...”

“... field rather than a serviceable set of working assumptions that enables critical commentary? In Patrick Parrinder’s account of this major change in contemporary culture, the theorist is seen as a presumptuous upstart who has forgotten his place. The traditional role of the critic is to act as middleman between author and reader – ‘making ...”

“... patient, it holds out against every effort of good will. Nothing Joyce said about it is much help. Patrick Parrinder’s book is a fairly straightforward introduction to Joyce, based on two congenially related emphases. The first is that Joyce’s work as a whole, and Ulysses in particular, feature ‘a poetics of the body’. In a letter of 1921, Joyce ...”

“... by more than a few readers with a special interest in him or his times? Raymond Williams advised Patrick Parrinder against reading the novels in the winter, as ‘a tactful and tolerant supervisor solicitous about my emotional health’, as Parrinder puts it. Scandal and an absolutely efflorescent unhappiness are to ...”

“... solid, mischievous’; Charles Swann, ‘wheezing with his awful respiration’; Patrick Parrinder, ‘silent, smiling, ironic’, the best-dressed of the party; Tariq Ali with ‘lustrous brown eyes’ but (Inglis claims) ‘a bit out of it all’. As a narrative device it is brilliant, setting the scene for what is to be a bleak ...”