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“... Who will recount the pleasures of dystopia? The pity and fear of tragedy – pity for the other, fear for myself – does not seem very appropriate to a form which is collective, and in which spectator and tragic protagonist are in some sense one and the same. For the most part, dystopia has been a vehicle for political statements of some kind: sermons against overpopulation, big corporations, totalitarianism, consumerism, patriarchy, not to speak of money itself ...”

“... Recently​ a happy accident put me in possession of a rarely seen film by Andrzej Wajda, Smuga cienia, from 1976. It is an adaptation of Joseph Conrad’s short, openly autobiographical novel The Shadow-Line (1916). Wajda conceived the film as a modest docudrama based on Conrad’s last mission at sea. The British government, in the thick of the First World War, had enlisted the ageing celebrity for a brief, hopefully not too dangerous foray in the North Sea to hunt for German U-boats ...”

“... The three-stage process [of the building of the Katsura Imperial Villa] is perfectly discernible in the layout of the buildings as they survive. Beginning from the Ko-shoin with its celebrated Moon-Viewing Platform (tsukimi-dai) of bamboo, the Chū -shoin and the Gakki-no-ma were added, and finally the Shin-goten. All rooms face the pond at a uniform angle, whilst successively set back from right to left (as viewed from the pond ...”

“... To what degree is our experience of modern – let’s say rather, contemporary – architecture mediated through photography? To what degree, in other words, is that experience really photographic rather than architectural (and spatial)? And would such ‘contamination’ be a bad thing? Is it possible that the buildings themselves are complicitous, no longer offering the grand head-on, Neoclassical façades for simple reproduction (see, for example, the magnificent Richard Pare collection, Photography and Architecture 1839-1939)? Photography would then be co-operating in the actual construction of the newer buildings, angling into dimensions of built space that our ordinary human bodies have little daily commerce with, combining planes we normally separate in dramatic visual ‘chords’, and absorbing the signs of space in order to produce a new simulation ...”

“... As every schoolchild knows by now, a new book by Žižek is supposed to include, in no special order, discussions of Hegel, Marx and Kant; various pre- and post-socialist anecdotes and reflections; notes on Kafka as well as on mass-cultural writers like Stephen King or Patricia Highsmith; references to opera (Wagner, Mozart); jokes from the Marx Brothers; outbursts of obscenity, scatological as well as sexual; interventions in the history of philosophy, from Spinoza and Kierkegaard to Kripke and Dennett; analyses of Hitchcock films and other Hollywood products; references to current events; disquisitions on obscure points of Lacanian doctrine; polemics with various contemporary theorists (Derrida, Deleuze); comparative theology; and, most recently, reports on cognitive philosophy and neuroscientific ‘advances ...”

“... Once upon a time, when provinces still existed, an ambitious young provincial would now and again attempt to take the capital by storm: Midwesterners arriving in New York; Balzacian youths plotting their onslaught on the metropolis (‘à nous deux, maintenant!’); eloquent Irishmen getting a reputation in London; and Scandinavians – Ibsen, Georg Brandes, Strindberg, Munch – descending on Berlin to find a culture missing in the bigoted countryside ...”

“... These two books take an essentially British perspective on the history of fellow-travelling in France since World War Two. Armed with the magic cap of François Furet’s ‘demystification’ of the Revolutionary ethos, they advance prudently into the thicket, gazing with chaste perplexity (and occasional exasperation) on the peculiar mores and customs of the denizens of outre-Manche, and in particular dwelling at some length on the Gallic overestimation of intellectuals as well as of the only too familiar (but evidently now extinct) ‘desire called revolution ...”

“... Hebrew​  is written from right to left: could you get a feel for it by numbering the pages of a book backwards, as in Olga Tokarczuk’s The Books of Jacob? At least, you might think, you would know how many pages you had left to read without having to subtract; but there you would be wrong, as doing this has the effect of eliminating the very idea of a last page, which has turned out to be the first! Perhaps, then, it simulates the Messianic countdown itself: the time of waiting for the end time, or for Apocalypse, ‘a king on a white horse, riding into Jerusalem wearing gold armour, perhaps with an army, too, with warriors who would seize power alongside him and bring about the final order of the world ...”

“... It is necessary to study precisely how permanent collective wills are formed, and how such wills set themselves concrete short and long-term ends – i.e. a line of collective action. Gramsci Nobel Prize-winners seem to fall into two categories: those whom the prize honours, and those who honour the prize. And then there are those assumed to be in the first category, who turn out to have been in the second all along ...”

“... Walter Benjamin was not a letter writer of the order of Lawrence or Flaubert, for whom the medium of the letter seems to fill a need, not for mere self-expression, but for some larger exercise of the personality in exasperation or enthusiasm, in that almost instinctive enlargement of reaction to things which others find in unmotivated physical activity ...”

“... Can there be literature after reunification? It strikes one as something of a science fictional question. Philip K. Dick, indeed, posited a future world in which the Axis powers had won World War Two, and proceeded to divide the United States down the middle into two zones with two decidedly different regimes of military occupation. In Fire on the Mountain Terry Bissell posits a world in which a successful John Brown’s raid sets off a black revolution in the American South which leads to the formation of a socialist state, ultra-modern and prosperous, in contrast with the shabby private-enterprise North that limps along on the crumbs of world trade ...”

“... Third Reich​ detective stories are required to be politically correct. It is obligatory for the protagonist to register his distance from the regime somehow. Otherwise, on the reader’s part, no identification, no complicity! Something in the fine print – anti-Bolshevism, perhaps, or indignation at the injustices of the Treaty of Versailles – must give us licence to distinguish him from those who are National Socialists out of conviction ...”

“... The secret Mark McGurl discloses is the degree to which the richness of postwar American culture (we will here stick to the novel, for reasons to be explained) is the product of the university system, and worse than that, of the creative writing programme as an institutional and institutionalised part of that system.* This is not simply a matter of historical research and documentation, although one finds a solid dose of that in The Programme Era: it is a matter of shame, and modern American writers have always wanted to think of themselves as being innocent of that artificial supplement to real life which is college education, to begin with, but above all the creative writing course ...”

“... Whatever you thought of it at the time, the fate of Tel Quel – the journal, the group and the theoretical orientation – concerns us all in one way or another, for the fate of the avant garde (was this really the last one?) has something to say about our society, our history, our politics and our relationship to the future. Given Tel Quel’s essentially literary orientation, its history can also tell us something about the place of Literature in the new televisual age ...”

“... It is probably​ not immediately obvious what interest a new theoretical study of science fiction holds for the mainstream adepts of literary theory; and no doubt it is just as perplexing to SF scholars, for whom this particular subgenre of the subgenre, the time-travel narrative, is as exceptional among and uncharacteristic of their major texts as SF itself is with regard to official Literature ...”