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“... fact that the published texts (Lectures on Literature, Lectures on Russian Literature, Lectures on Don Quixote) represent scripts and drafts rather than the things themselves. Nabokov’s lectures, like his cramped and prickly prefaces, mainly serve to highlight the marvels of his fiction, where the pedestrian takes to the air, and his often domineering ...”

“... his recent Virtual Reality, explained the idea of ‘cybersex’: how someday we will be able to don sensor suits, plug into the telecommunications network and ‘reach out and touch someone’ in ways entirely unforeseen by Alexander Graham Bell. Speculating about the impact of such artificial erotic experience, Rheingold turned to an already up and-running ...”

“... as the great man himself; surprisingly, Auden uses a seven-line stanza instead of the eight of Don Juan. Auden and MacNeice’s ‘Last Will and Testament’ which ends the book contains the lines:                     and for our intelligent island pray That to her virtuous beauties by all poets sung She add at last an honest foreign ...”

“... felt that his art had done its mysterious job and that it was not for him to press it further. Don Juan comes to an end because Byron cannot keep up the pressure and think up further adventures to which his imagination can really respond, and so he loses interest. Evgeny Onegin does not end in this sense at all. In it Pushkin tells us that when he began ...”

“... the countryside, and masked by the lush deceitful green of waving trees’. ‘Franklin my dear, I don’t give a damn,’ the heroine’s comically sophisticated boyfriend used to remark in high school, and they used to intone together a cosy little chant: ‘No pins, no pads, no odour, no chafing.’ But as a successful designer he will die in his thirties ...”

“... Irish writing is boring,’ said one. ‘What about Yeats?’ replied the other. ‘I don’t like poetry.’ ‘And Beckett?’ ‘Pointless drivel.’ My God, he thought, so this was what father had warned him to expect: such self-confidence, such nerveless poise. At another table, ‘Jasper and Roger were soon engaged in a rather abstruse yet ...”

“... that she had only been doing her job. Autres temps, autres moeurs. This terrific story is told by Don Foster halfway through Author Unknown. Foster is the inheritor or professionaliser of the common-sense insight acted on by Alice Kelly: the fact that writing can give a clue to its author’s identity. Foster, a good example of the contemporary academic as ...”

“... British historians were discussing a recent work on Dutch history, written by a one-time Cambridge don long since departed to the States. It had been acclaimed by reviewers as a bravura performance. It had been translated into all the right European languages. It had – deservedly – sold. But the trio were unimpressed. It was not, they muttered among ...”

“... life. They remain, like their favourite resort, the Old Vienna restaurant, fixed in foreign forms, smart and irrelevant. The novel, after circling aimlessly over thirty years of their aimless lives, concludes with Regi, alone and senile, blowing out the candles on her 84th birthday cake. As elsewhere, Jhabvala contrives poignant effects out of the ...”

“... exorbitant kind, has been the thing ever since. Was Wolfe just having fun at the expense of the smart set? He certainly worked hard at coining his phrase. The words ‘Radical Chic’ appear eight times, capitalised, in the first nine pages. The effect-producing stuff about Manhattan celebrities works only if you know them. What Wolfe did, really, was not ...”

“... of his own temperament, how many silences went into being so formidably articulate. Biographers don’t forget the history of himself that Dryden was to have given John Aubrey, but that he never gave. Dryden adapted Shakespeare, out of confidence and from a sense of necessity. I have chosen Hamlet as a point of comparison between them – a ...”

“... the casual reader as an interdisciplinary bombshell, but the fact is that literary historians don’t write about creative writing, and creative writers don’t write literary histories, so any secondary discourse about creative writing has been confined, as McGurl observes, to ‘the domain of literary ...”

“... of the audience. He engineered an elaborate conversational manoeuvre designed to trick Lord Raw-don, an aristocratic kinsman of the lady, into acknowledging a family connection with her. He was very pleased with his ‘great address’ and the fact that it ‘had a fine effect’ when he told her about it. A day or two later, however, he was less ...”

“... nor his enterprise. He has come a long way. As a juvenile his ‘ambition was to be frightfully smart and West End, wear beautifully-cut suits lounging on sofas in French-window comedies’. Fifty years later ‘I was asked to put suppositories up my bottom under the bedclothes and play a scene in the lavatory which I confess I found somewhat ...”

“... Prague. I suppose revolutions always attract the wrong people. When I was at Oxford in 1956 some smart Balliol undergraduates felt that the Hungarian Uprising would benefit from their presence. They sent round an appeal for funds, pointing out that a contingent was going from Cambridge, so it was important that Oxford should not be unrepresented, history for ...”