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“... I dreamed I was at an event to remember Frank Kermode and then found myself in the dark basement of a London restaurant, or rather a deep cellar adjoining a basement in which some kind of political party seemed to be taking place. Although it was hard to see and even harder to hear, the figure of Nigel Farage could be glimpsed standing in a corner at the far side of the gathering ...”

“... In response​  to the destruction of Gaza, it seems to be becoming almost impossible to lament more than one people at a time. When I signed Artists for Palestine’s statement last month, I looked for mention of the atrocities committed by Hamas against Israeli Jews on 7 October, and then decided to settle for the unambiguous condemnation of ‘every act of violence against civilians and every infringement of international law whoever perpetrates them ...”

“... In the latest Coors Light Ice Bar cinema advertisement, Jean-Claude Van Damme slices through enormous ice blocks with his bare hands and shatters them with a single thrust of his legs. Perhaps it was because I saw the ad within 24 hours of Phyllida Lloyd’s extraordinary all-female production of Shakespeare’s Henry IV, which ends its sell-out London run on 29 November, that the play struck me as an object lesson in masculinity for our times ...”

“... There seems​ to be something about having the word ‘girl’ in the title of a book that guarantees huge sales. First, Gone Girl, by Gillian Flynn, which I – like many readers, I assume – couldn’t put down, but which on reflection I found deeply repellent (more than one or two critics have concurred). Apparently the film is even worse, as in, even more misogynist, making the novel seem retrospectively almost progressive ...”

“... One of the problems for right-wing promoters of ideal family life is that there is no way of predicting its outcome. It is as if those who confidently assert that absent fathers spell delinquency for the children, inadequate mothers addiction, divorce an incapacity to hold onto relationships or to love in a sustained way, never stop to ask why it is that the most stable and long-lasting of family unions can produce offspring who run wild, turn to drugs, contract out of loving, who seem, often perversely and inexplicably, to be committed to the most extreme forms of gratifying and/or punishing themselves ...”

“... at Europe’s door are its ghosts (exactly the return of the repressed). In 1994, the lawyers Jacqueline Bhabha and Sue Shutter described the dire record on migration of ‘Fortress Europe’: 1.3 million refugees were living in Europe at a time when there were two million in Sudan, one of the poorest countries in the world. In May 1993, the German ...”

“... because it is internalised in such a vulnerable way in the sexual identities of the children. Ms Rose will surely agree with this. After all, there are still countries where speculation about somebody’s mother’s sexual life is grounds for homicide.’ To which he adds: ‘Ms Rose thought that she was writing a book ...”

“... At the centre of Michael Cunningham’s new novel, in the second of its three tales, Cat, a black woman police investigator in New York, has the job of receiving and recording the calls of people threatening to blow themselves and others to pieces. Only because these deranged stories have become too familiar does she miss the one who really means it, a young boy, who, without forewarning or apparent motive, goes up to a stranger in Central Park, embraces him and explodes ...”

“... All suicides kill other people. However isolated the moment, suicide is also always an act of cruelty. Anyone left behind after someone close to them commits, or even attempts, suicide is likely to spend much of the rest of their life wondering whether they themselves have, or should have, survived. Suicide is rarely the singular, definitive act it appears to be ...”

“... What​ might be the relationship between a truncated sentence and a truncated life? What drives syntax askew, makes language stall completely or spill over its proper borders, mess with itself? We have become used to thinking of modernism as an early 20th-century European crisis of representation provoked by the collapse of empires and impending war, when the seemingly fixed barriers of class, gender and racial privilege started to implode ...”

“... of a reader of her work by Duke University Press and of this essay, Paul Myerscough interviewed Jacqueline Rose in front of an audience at the London Review Bookshop. An audio recording of the interview can be found here. We live in revolutionary times. I cannot imagine now what it would have been like to be thinking about Rosa Luxemburg if the ...”

“... important lesson to be learned from the Dreyfus affair. This is an adapted version of a lecture Jacqueline Rose delivered on 21 April. A video of the event is available ...”

“... Ever since​ the arrival of Covid-19 – in Western Europe, roughly at the end of January – sales of Albert Camus’s The Plague, first published in 1947, have increased exponentially, an upsurge strangely in line with the graphs that daily chart the toll of the sick and the dead. By the end of March, monthly sales of the UK Penguin Classics edition had grown from the low hundreds to the mid-thousands and were rising (they are now up 1000 per cent ...”

“... A passion for celebrity is not something one is meant to talk about. There are worlds, or rather circles, where, if you do, it is assumed that what you are really claiming for yourself is a type of intellectual slumming. If, for example, you admit to or even boast of reading Hello! magazine, an addiction to which I happily confess, reading Hello! could not possibly be what you are really boasting about ...”

“... The language of survival has always been fundamental to feminism. Germaine Greer seems to be convinced that the species is heading for extinction. (Some time ago, in an article in the Observer, she envisaged a time ‘when, far in the future, the human race has exterminated itself.’) For a time, Adrienne Rich believed that what was destroying itself was patriarchy: ‘The creative energy of patriarchy is fast running out,’ she wrote in 1971, ‘what remains is its self-generating energy for destruction’ (‘When We Dead Awaken ...”