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“... to discover that she is the author of Baudelaire’s complete works. This is the beginning of Lisa Robertson’s The Baudelaire Fractal, which is billed as a novel, but reads more like a combined Bildungsroman, ars poetica and series of essays on clothing, painting, gender and reading. By appropriating Baudelaire’s body of work, ‘by repeating it ...”

“... rather a charged, almost uncomfortable awareness of surface – something akin to what the poet Lisa Robertson calls ‘soft architecture’ and its preoccupation with ‘shreds of fibre, pigment flakes, the bleaching of light’. Ryan employs discarded materials of all kinds, often items that hold or bind other things: twine, cable ...”

“... isolation, but a hub around which multitudes swarm. In Proverbs of a She-Dandy (2018), the poet Lisa Robertson pinpoints things lost in more theoretical treatments: the body, ageing, sensuality, gender. ‘Here then, in the luxury of my bath, permitting the Baudelairean correspondences between dandy and old woman to drift beyond the margins of his ...”

“... for Algernon has been reworked many times, including as the movie Charly, which won Cliff Robertson an Oscar for Best Actor in 1968, and an episode of The Simpsons in which Homer has a crayon removed from his brain, becoming as smart as his daughter, Lisa, and turning whistle-blower about the hazards of the ...”

“... The sharpest comment in Freud’s Women – a huge book, but consistently readable – comes at the end. It would be eccentric, say the authors, to conclude after five hundred-odd pages that Freud’s significance for women lies in his having been the first equal-opportunities employer. Eccentric, but rather tempting because, in his famously ambivalent way, he left such a paradox behind ...”

“... images (‘her fog, her amphetamine and her pearls’), its drawled vocal phrasings (‘And Mona Lisa musta had the highway blues, you can tell by the way she smiles’), its unheard-of length (‘Sad-Eyed Lady of the Lowlands’ filling a whole side) and its strange, secretive instrumentation achieving what Dylan would later define as ‘that thin, that ...”