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“... in a chapter that compares Robert Louis Stevenson’s short story ‘The Bottle Imp’ (1891) with David Robert Mitchell’s zombie film It Follows (2014). The former was published a year after the sovereign debt crisis brought about by the insolvency of Barings Bank, the latter conceived in the aftermath of the 2008 subprime debacle. Both concern ‘gimmicks ...”

“... That E.M. Forster gave only two cheers for democracy, but three for D.H. Lawrence, on the occasion of Lawrence’s death, is well-known. Forster was upset that the lowbrows Lawrence scandalised had joined forces with the highbrows he bored to denigrate ‘the greatest imaginative novelist’ of his generation. A bored highbrow, T.S. Eliot, at once protested that he didn’t know what was meant by ‘greatest’, ‘imaginative’ or ‘novelist ...”

“... No other 19th-century artist made quite such a spectacle of the female body as Edgar Degas. Over three-quarters of his output of paintings, drawings, pastels, prints and sculptures consists of images of women, sometimes seen in the company of men or children, but more often alone or with other women. The nude figure is the subject of about a fifth of that total, from the copies and life studies he made as a young man in the 1850s through the early history paintings to the naturalistic studies of the 1870s and 1880s and beyond ...”

“... Towards the end of Radclyffe Hall’s The Unlit Lamp (1924), the heroine, Joan Ogden, who has grown miserably old in a small provincial town, overhears two young women discussing her. She recognises them as women of the same ‘type’ as her: unattached, independent, sexually ambiguous. They dress like her, and wear their hair cut in a similar style ...”

“... Dennis Brown concludes his celebration of Anglo-American Modernism with an account of Ezra Pound’s death on 30 October 1972. ‘That year I ended an obituary of Pound in a Canadian student newspaper: Pound is now dead and no poet remains of his stature. But poetry is “NEWS that stays NEWS”. READ him: Read HIM.’ The capitalisation is very much of the period, and it may he that the message is as well ...”

“... It angers me to pass a grocer’s shop,’ declares the impeccably fogeyish hero of Gissing’s The Private Papers of Henry Ryecroft (1903), ‘and see in the window a display of foreign butter. This is the kind of thing that makes one gloom over the prospects of England. The deterioration of English butter is one of the worst signs of the moral state of our people ...”

“... Modernism must be reckoned one of the lengthiest and most strenuous campaigns ever undertaken in the name of literature. Acutely conscious at once of the burden of the past – the intimidating totality of what had already been written – and of the present’s lightness, its free and easy way with burdens, its failure to be intimidated, the Modernist did not propose to carry on as before ...”

“... In the years since their publication in 1948, Ezra Pound’s Pisan Cantos have given rise to interpretative bad faith on a scale unusual even by the lofty standards of literary criticism. The reason for this is not some special failing on the part of Pound’s adherents, but rather the burden of expectation laid from the outset on a sequence of 11 poems written in the US Army’s Disciplinary Training Center in Pisa in the summer and autumn of 1945 ...”

“... When Robinson Crusoe tries to convey what it felt like to be the sole survivor of a shipwreck, he finds himself at almost as much of a loss now, in the telling, as he was then, gloomily pacing the shoreline of an uncharted and to all appearances inhospitable island; until, that is, objects come to his rescue. He cannot describe the ‘thousand gestures and motions’ he made, in his moment of crisis, without any hope of a response ...”

“... His name was Franz Kafka, and he quite often went to the movies. Some such statement constitutes both the basis of Kafka Goes to the Movies and its primary impediment: the rock it has to roll up the hill. According to Max Brod, his lifelong friend and first editor and biographer, Kafka loved the movies; at times, Brod reported, he would talk about little else ...”

“... What counts as a novel? Any ‘fictitious prose work’ over fifty thousand words was E.M. Forster’s answer, in Aspects of the Novel. It’s a broad enough definition, in all conscience, though it has begun to do some useful work by excluding a wide variety of short fiction in prose, and some long poems, such as Eugene Onegin or Vikram Seth’s The Golden Gate, which are not quite prepared to admit to being long poems ...”

“... Of course​ he shot the fucking elephant.’ The sharpness of Sonia Orwell’s defence of the authenticity of the event on which her late husband based one of his most famous essays tells its own story. Without the experiences enjoyed or endured by Eric Blair, Etonian, colonial enforcer, schoolteacher, down-and-out, grocer, infantryman, there would have been no George Orwell, writer ...”

“... If​ there is a god of small things, it could be said to have taken up residence, for a while at least, in a remote valley in the northern highlands of Vietnam. A lush forest canopy spreads evenly up the slopes of the surrounding hills. On the valley floor sits a group of five single-storey concrete sheds with corrugated iron roofs, each opening onto a broad grassy enclosure ...”

“... In​ the original film noir, John Huston’s Maltese Falcon (1941), private investigator Sam Spade (Humphrey Bogart) visits criminal mastermind Kasper Gutman (Sydney Greenstreet) in his San Francisco hotel room to discuss the delivery of a mysterious ornament. The elevator attendant points him in the direction of Room 12c. After some cagey preliminaries, Spade delivers a ferocious ultimatum ...”

“... But​ where does the Potemkin go?’ That, according to Sergei Eisenstein, was what the people who had just seen his most famous film really wanted to know. At the climax of the film, the battleship’s mutinous crew, having got rid of all its officers and intervened decisively in the first stirrings of revolt in the Black Sea town of Odessa, head out of harbour to confront the rest of the imperial fleet, which has assembled to block their escape ...”