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“... In daily life,​ we regularly rely on hinges, clamps, buttons, zippers, Velcro, laces, knots, stitches, tape, stickers and glue,’ Rita Felski writes. ‘What are their aesthetic equivalents?’ In Hooked, she examines the way we connect to novels, films, paintings and music, and argues that our enthusiasms should be an integral part of conversations about art ...”

“... Emily Hale​ was Eliot’s ‘Raspberrymouth’. That’s what he called her in the love letters they began exchanging in 1927, a correspondence that intensified in the early 1930s, and continued through the awkward years of their disentanglement after the death of his first wife, Vivien, in 1947. Eliot’s love for Emily, his ‘Tall Girl’, retained all the shy ardour he felt when he first met her as a young student in Cambridge, Massachusetts, in 1912 ...”

“... In​ Jill Paton Walsh’s novel Goldengrove (1972), set shortly after the Second World War, the adolescent heroine, Madge, goes on holiday to Cornwall. She falls a little in love with a professor of English literature who has been blinded in action, and reads aloud to him. One of the passages he has her recite is an analysis of Donne’s ‘A Valediction: Of Weeping’:Weep me not dead means: ‘do not make me cry myself to death; do not kill me with the sight of your tears; do not cry for me as for a man already dead, when, in fact, I am in your arms,’ and, with a different sort of feeling, ‘do not exert your power over the sea so as to make it drown me by sympathetic magic’; there is a conscious neatness in the ingenuity of the phrasing, perhaps because the same idea is being repeated, which brings out the change of tone in this verse ...”