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“... After the first death,’ Dylan Thomas wrote, ‘there is no other.’ I know what he is getting at, I suppose, but it isn’t true, at least not for me. I have had other deaths, but the death last month of my friend Michael Rogin was a shock. It’s not that we had, in recent years, spent much time together. I left Berkeley, where we taught together on the faculty of the University of California, in the mid-1990s, and almost immediately lost touch with most of my network of friends ...”

“... A few months ago, in California, I had a message that a New York Times reporter had telephoned. I conjured up a half-dozen possible reasons for the call, all of them unabashedly narcissistic, only to find, when I finally reached her, that the reporter wanted to know what I thought of a scholarly book that had just been published. Such a question from the press is highly unusual in the United States: American newspapers rarely interest themselves in scholarship, and our reporters, like our politicians, have failed to develop a public discourse that can accommodate ideas of a complexity greater than that conveyed in advertising jingles ...”

“... dubious opinions about race relations and strong regional enthusiasms. (My father’s cousin, Mike Greenblatt, wrote a well-known football song: ‘I’m a rambling wreck from Georgia Tech, and a hell of an engineer.’) Another relation ventured out west, with his wife and two small children, to try his hand as a pedlar in Wyoming. This was the occasion of ...”

“... Giovanni Levi’s Inheriting Power bears a generic resemblance to those recent historical studies that illuminate the lives of European peasants by isolating and reconstructing a single resonant story. The best of these microhistories – Carlo Ginzburg’s The Cheese and the Worms and Natalie Zemon Davis’s The Return of Martin Guerre – succeed in making their stories what Kenneth Burke calls ‘representative anecdotes’, reflections of reality that are inevitably selections of reality ...”

“... The closest analogues in the West to Borges’s ‘Chinese encyclopedia’, if not its direct source, are the Wunderkammern, strange collections in cabinets that signalled the prestige of many princes and prelates and served as Early Modern tourist attractions. In Borges’s description of the encyclopedia – perhaps the most famous passage in his work, and famously celebrated by Michel Foucault in The Order of Things – we are told that animals are classified as follows: ‘(a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (1) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies ...”

“... It would be easy for a reader who was encountering Empson for the first time to wonder what on earth this critical performance was about and why these ragged relics – the second part of a two-volume edition of his miscellaneous writings on Renaissance literature – were being presented with such thoughtfulness and scrupulous care. About half of the present volume’s contents have been previously published, from a 1956 essay on The Spanish Tragedy, through essays from the Sixties on Volpone and The Alchemist, to a pair of reviews ...”

“... The 15th-century classic of paranoid witch-hunting, Kramer and Sprenger’s Malleus Maleficarum, provides a convenient gloss on the word ‘glamour’. Witches, the Dominican inquisitors tell us, can rob a man of his penis or at least make him think that he has been robbed. The victim wakes up in the morning, looks down and sees nothing there – or rather he sees, where his penis should be, what is called a ‘glamour ...”

“... The small dacha in Peredelkino outside Moscow where Boris Pasternak lived for several years and where in 1960 he died is now a museum. It was there that the Writer’s Union representative took us – a group of jet-lagged American journal editors – on the first afternoon of our recent visit. The books and the furniture and the grand piano and the drawings by his father Leonid, all of which had been carted off after Pasternak’s death, when the dacha was unceremoniously assigned to another writer, have been brought back, and the poet who had been expelled by the Writer’s Union in the wake of the publication of Doctor Zhivago, is now given culture’s highest tribute – museumification ...”

“... problem is not so much to explain the rise of the so-called ‘New Historicism’ associated with Stephen Greenblatt and his friends and followers, as to account for the hostile reactions to it. Why should it be considered subversive to replace literary texts in their historical contexts? Is the movement dangerous because it is historicist or because it ...”

“... As befits an undisputed chef d’école, Stephen Greenblatt includes in this latest collection an account of his own ‘intellectual trajectory’, which features a decisive revulsion from his teachers at Yale, a submission to ‘the intellectual power and moral authority’ of Raymond Williams at Cambridge, and the almost inadvertent invention of the New Historicism, the école in question ...”

“... by a converse conquest of discourse is deliciously Greenblattian. But in Marvellous Possessions Stephen Greenblatt is dealing with the Spanish conquest of the New World. This time the conqueror’s assurance of superiority is brutally uniform: a superiority of arms, together with a superiority of spirit, consisting in the possession of the True ...”

“... long enough about feminism, deconstruction and literary theory. The term may have been coined by Stephen Greenblatt in an essay of 1982; if so it was already a restrike, minted from a prototype used by Wesley Morris in 1972 or perhaps by Roy Harvey Pearce in 1958. Greenblatt himself came to prefer the term ‘cultural ...”

“... Stephen Greenblatt has moved on, or back, and not only from Berkeley to Harvard. He ended Renaissance Self-Fashioning (1980) with an account of Othello similar in shape to his present account of Hamlet, but pretty unconvincing; Hamlet in Purgatory hits the nail resonantly on the head. As is the way with new historicist interpretation, both expositions proceed by relating a crux in the play to a prominent item in the surrounding or preceding non-literary culture; in these cases, theological and religious culture ...”

“... quarto variants in Shakespeare, consideration of New Historicist interpretations of the period by Stephen Greenblatt, Louis Montrose, Steven Mullancy and Peter Stallybrass (among others) and a chapter on Othello. This is less a translation than a new study in its own right. One of the great virtues of Shakespeare’s Festive World is the scrupulous care ...”

“... As I was reading Stephen Greenblatt’s biography of Shakespeare on the train there was a woman sitting near me doing a deal on the phone. She was getting agitated. ‘But I have to transfer the money to Mr Shakespeare himself,’ she said. ‘No … Listen, I really need to speak to Mr Shakespeare. Can you put me through? Hello? … Hello?’ Then the line went dead ...”