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“... Tristan Garcia was only 26 when this dazzlingly clever and assured first novel came out in France, published there as La Meilleure Part des hommes and now in Britain and America under the punchier title of Hate: A Romance. With its societal sweep, slick marshalling of grand ideas and extreme sex, it fits neatly into an established category of French novels that have sold well in the English-speaking world, by authors such as Michel Houellebecq, Virginie Despentes and Frédéric Beigbeder ...”

“... part of, and his position may even have some advantages. Being born in 1981 didn’t hamper Tristan Garcia in the writing of Hate: A Romance, published in 2008, a bitterly convincing account of the equivalent period in Paris, with the feuds and schisms, manifestos and denunciations that are the constants of a metropolitan culture ruled by ...”

“... Prud’homme, but all existing structure and command. ‘The true Dadas are against Dada,’ Tristan Tzara would proclaim. Were one to chart Modernism as a mood – and that’s the best way to look at it, as a cultural temper rather than as a specific style, let alone movement – existing between, say, the 1870s and the end of the Second World War, the ...”

“... narrator, desires to turn itself into a private language, a customised slang: The Unusual Life of Tristan Smith and True History of the Kelly Gang are examples of that Joycean urge, the latter stupendously so. In Theft, proper names are always losing their integrity, and being privatised by the narrator. Michael’s father’s shop, Boones Butchers, was once ...”

“... formally under Crown control. He couldn’t get to Pitcairn in the end, but did manage to reach Tristan da Cunha, and he has many good anecdotes to tell. His occupation as roving journalist gave him his opportunity: but his degree in geology was useful, since so much of what is left consists of remarkable rocks. Winchester’s view of Empire Past is ...”

“... in early 1920s Paris, and he records that later, when he came across the work of figures such as Tristan Tzara, ‘I was angry because he was smashing up a culture just as I was becoming acquainted with it.’ The 1920s were a difficult but exciting time for the would-be author: a series of absurd jobs in Paris, work as a reporter for the Christian Science ...”