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“... unworldliness. He has always recognised that literature is ineluctably ‘in the event’, as Derek Attridge’s subtitle puts it, and that he has, as a consequence, to negotiate the identities and forms of authority thrust on him. His wariness, as Attridge rightly insists, can be more properly understood as a ...”

“... In publishing his compendious work Metahistory in 1973, Hayden White gave currency both to a term and to a programme. His subtitle, ‘The Historical Imagination in 19th-Century Europe’, indicated the broad area of his investigations, but gave little sense of the radical originality of this programme, which was quite simply the re-examination of historiography in its written form ...”

“... of the subject (‘the perpetual flight of the Subject and its ultimate disappearance’, as Attridge and Ferrer call this hypothetical event), the distinction proposed in Barthes’s S/Z between lisible and scriptible texts, and the now thoroughly domesticated notions of deconstruction, différence and intertextuality. Of the individual essays, Hélène ...”

“... and, where relevant, some attentive and intelligent comment on different translations. As Derek Attridge says in his preface, ‘we have little sense of a moonlighting novelist: there are few literary flourishes, and no sign of that rather grumpy internal voice that has characterised much of Coetzee’s recent fiction.’ It is in this mode that ...”

“... material culled from this archive. His poetry is approached from all sorts of angles: we get Derek Attridge on his use of syllabics, Gareth Farmer and Michael Molan on the Italian and Miltonic elements in his verse, Natalie Pollard on his responses to sculpture, Adam Piette on his use of the dramatic monologue. Peter Robinson and Todd Swift both ...”