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“... Auden’s reputation couldn’t have got off to a faster start. In January 1930 Eliot printed ‘Paid on Both Sides’ in the Criterion, and let it be known that he thought its author an especially promising poet. In September 1930 Auden’s Poems came out. ‘Dare I spot him as a winner?’ Naomi Mitchison asked in one of the earliest reviews. A few months later William Empson wrote at some length about ‘Paid on Both Sides ...”

“... Orwell took little care of his manuscripts. He didn’t anticipate that collectors of such things would pay real money for them, and that universities would think it a privilege to turn a writer’s bits and pieces into an archive. The typescript used in the printing of Nineteen Eighty-Four is in the Orwell Archive at University College London. There are also preliminary drafts of the novel – pages of handwritten and typewritten material, with corrections and additions – which correspond to a little less than half of the published text: 44 per cent, according to Peter Davison’s estimate ...”

“... A year or two ago, Geoffrey Hartman urged literary critics to declare their independence. They should not regard criticism as an activity secondary to the literature it addressed, but as an art in its own right. Think of Pater, Valéry, Blanchot. Hartman’s advice seemed bad to me, and I preferred to abide by T.S. Eliot’s assumption that the aim of criticism should be ‘the elucidation of works of art and the correction of taste ...”

“... It is good to have the second volume of Sean O ‘Faolain’s short stories. The first brought together seven stories from Midsummer Night Madness (1932), 14 from A Purse of Coppers (1937), and 13 from Teresa, and Other Stories (1947). Now the second has ten stories from The Stories of Sean O’Faolain (1958), 11 from I remember! I remember! (1961), and ten from The Heat of the Sun (1966 ...”

“... In 1591 the Corporation of Dublin set aside as the site for a college the lands and dilapidated buildings of the Augustinian priory of All Hallows, which had been given to the city at the dissolution of the monasteries. A year later, on 3 March 1592, Queen Elizabeth issued a charter incorporating ‘the College of the Holy and Undivided Trinity near Dublin’ as ‘the mother of a university’ with the aim of providing ‘education, training and instruction of youths and students in the arts and faculties ...”

“... One of Anthony Thwaite’s poems, ‘Tell it slant’, swerves from Emily Dickinson’s line ‘Tell all the Truth but tell it slant’ to settle upon an aesthetic procedure she would have been too nervous to enunciate: Truth is partial. Name the parts But leave the outline vague and blurred. Dickinson thought the truth should dazzle gradually, and that the best ploy was ‘circuit ...”

“... On 15 February 1902, James Joyce, aged 20, read a paper on James Clarence Mangan to the Literary and Historical Society of what is now University College, Dublin. It was a brash performance. Joyce spoke as if he were introducing an unknown poet, and chose to ignore the facts that there were several collections of Mangan’s poems at large and that his life and work had been extensively written about ...”

“... We feel in England that we have treated you rather unfairly,’ Haines says to Stephen Dedalus in the first chapter of Joyce’s Ulysses: ‘it seems history is to blame.’ But he doesn’t say which history. The history that accounts for the sporadic but endless killings in Northern Ireland begins no later than 24 December 1601, when Lord Mountjoy’s forces defeated Hugh O’Neill’s at the battle of Kinsale ...”

“... The Crane Bag is a magazine, published twice a year: each issue deals with one theme. In Irish legend, the crane bag contained the alphabet of knowledge. The bag belonged to Manannan, god of the sea: it was made from the skin of his wife Aoife, whom Manannan had transformed into a crane because she tried to steal his secret knowledge and communicate it to the world ...”

“... In ‘A Wave’, the title-poem of his new collection, John Ashbery says, among many other things: One idea is enough to organise a life and project it Into unusual but viable forms, but many ideas merely Lead one thither into a morass of their own good intentions. The reference to ‘one idea’ recalls the passage in ‘Esthétique du Mal’ where Wallace Stevens dismisses                                      the lunatic of one idea         In a world of ideas, who would have all the people Live, work, suffer and die in that idea In a world of ideas ...”

“... His is a fine book, but I wish Mr Keach had supplied a more explicit context for it. Apart from saying that Shelley’s language hasn’t been adequately described, he relies on the reader to know how the critical debate stands. He assumes too much, so I’ll mention some of the matters he takes for granted. The case against Shelley has been stated so insistently by modern critics that you would imagine they had invented it ...”

“... I’ll talk mostly about Towards 2000, so I should give a brief account of Writing in Society and Radical Earnestness to begin with. Radical Earnestness is a brisk survey of a ‘tradition of thought’, a ‘mode of feeling’, which Fred Inglis identifies as English and, in a vague sense, socialist. The tradition is characterised by ‘a habit of recourse to concrete examples in argument, a calm refusal of formal metaphysics, an unexamined criticism of “over-abstraction” (which means other people’s abstractions), and a general preference for non-systematised or pluralist theories of political life ...”

“... Near to death in Malone Dies, Malone says: ‘I wonder what my last words will be, written, the others do not endure, but vanish, into thin air.’ Beckett’s Dying Words is not a study of Beckett’s dying words if he said any, or of Malone’s. It is about words spoken or written in the vicinity of death, responsive to a conviction of their own death – a death which does not abort the possibility of a little further life before the body is coffined ...”

“... A few weeks ago I gave a lecture at Reading, to a Conference of Higher Education Teachers of English. My visit was brief, but long enough to reinforce my sense that teaching English has become a heavy duty. It seems to be a long drag before you get to the point of reading any literature. In the olden days a critic speaking to that Conference would have talked about a poem or a novel ...”

“... One of Donald Davie’s early poems, and one of his strongest, is ‘Pushkin: A Didactic Poem’, from Brides of Reason (1955). As in Davie’s ‘Dream Forest’, Pushkin is taken as a model, a poet Who recognised no checks Yet brooked them all – a mind Molten and thereby fluent, Unforced, easily strict. In this didactic poem the speaker is professional, drawing his comparisons with rehearsed casualness: In the matter of Pushkin, Emily Brontë Is the best analogy in some ways Among our poets ...”