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“... Lord Northcliffe and the editor of Tit-Bits at its head. There had rapidly come into being what John Carey describes as ‘an alternative culture which bypassed the intellectual and made him redundant’. It was a culture that used itself up as it went along, but its audience could be numbered in millions and the delights it provided were not all that ...”

“... John Carey, former Merton Professor of English Literature at Oxford, an authority on Milton and Donne and Dickens and others, the very model of a Merton Professor, has also been, for decades, the chief reviewer of the Sunday Times, a BBC sage, a sought-after chairman of panels, a man well known for his strong opinions on all matters to do with literature and the other arts ...”

“... Quennell – and he seems to enjoy being generous to other reviewers, as when he justly praises John Updike. He is full of gratitude to literary editors, commemorating Ian Hamilton’s work on the New Review in terms only this side of idolatry. Such writers and editors do the work he wants to help with – they keep going some intelligent conversation about ...”

“... Donne’s powers are, for John Carey, a matter of power, the poems being ‘the most enduring exhibition of the will to power the English Renaissance produced’. The praises of Donne in this critical work of amazing flair and obduracy are single-minded: Donne is here valued, supremely, for the power and tenacity of his ego, for his imaginative energy, for his desire to dominate or his rage for supremacy, and for the obsession with which he registered the contrarieties and contradictions of life ‘in all their urgent discord ...”

“... preface to this celebratory volume of essays presented to Dame Helen Gardner on her 70th birthday, John Carey apologises for the fact that the topics discussed are restricted to 16th and 17th-century English literature. Dame Helen’s latest book, after all, was The Composition of ‘The Four Quartets’. Eliot’s presence, though, still hovers over ...”

“... John Carey’s new book, like his last one, The Intellectuals and the Masses, is a little swizzle-stick perfectly designed for flattening airy literary bubbles. Surprisingly, it is likable, wise and often right, the more so in tending to contradict The Intellectuals and the Masses, which had none of these qualities ...”

“... thought to be in the same class as oneself. Reviewers solved their problem in various ways. John Carey, in the Sunday Times, explained first that whoever thinks there is anything in structuralism except one or two points that are already obvious is in need of ‘sedation and devoted nursing’. Lodge, however, is not your wilder type of ...”

“... years. Soloists with the chorus of praise have been distinguished and influential: Peter Porter, John Carey, John Bayley – and Raine himself has by no means been indisposed with laryngitis. His position in literary journalism and his access to the popularising media have played their part in his promotion. And the ...”

“... John Carey has had access to voluminous archives stored in the Faber basement or in the keeping of William Golding’s family. No one else may see them; he alone can quote from unpublished novels, journals, memoirs, correspondence and conversations. He has made excellent use of these privileges, and the result is a full, friendly, and on proper occasions candid, account of a remarkable man, who took a long time to achieve an understanding of how truly remarkable he was, and then did so only fitfully ...”

“... a different future, there is no dearth of attempts to do so in the recent anthologies edited by John Carey and Catriona Kelly. Like all such collections of snippets from a wide variety of sources, they inevitably reflect their editors’ predilections rather than a canonical list of candidates for inclusion. The Kelly anthology, in fact, is more a ...”

“... This​ book is a departure from John Carey’s normal mode, much more intently introductory than anything else he has written in a long and distinguished career. A Little History of Poetry canters from Gilgamesh and Homer to Mary Oliver and Les Murray in three hundred pages with a breezy sense of mission, assuming in the reader no previous acquaintance with the subject (‘Confessional poetry is poetry that reveals personal confidences, especially relating to mental illness and hospitalisation’) or indeed with other sorts of knowledge that might be thought fairly general (‘Totalitarian regimes seek to control every aspect of life, including writing ...”

“... three most prominent Oxford professors of English since the war have all been populist pretenders. John Carey, scourge of Modernist ‘intellectuals’ and reliable dribbler of cold water on all forms of overheated aestheticism, comes across as the last defender of sensible English decency. Terry Eagleton, with his blokeish binarisms and comic’s ...”

“... a devastating sort as well. It is not so long ago, indeed, that I experienced a sharp regret that John Carey’s unstinted praise of work that I had done had also provided the occasion for his fierce underestimation of work by a friend and countryman of mine. Still, it is inevitable that this kind of complication enter into the relations between poets ...”

“... signals the critical thrust of Murray’s book. He opposes the ‘new orthodoxy’ expounded by John Carey in his 1992 polemic, The Intellectuals and the Masses. This biography aims to vindicate Huxley as a humane thinker and artist rather than the crypto-fascist, eugenicist, public-school snob, or (in later life) the ‘fully fledged, fuzzy-brained ...”

“... irritated by talk of class conflict, and is not exactly in congratulatory mood when he calls John Carey the most class-conscious critic of the modern age. (The literary hackles raised by Carey’s recent memoir, The Unexpected Professor, which puts the petty-bourgeois boot into patrician dons, revealed just what ...”