As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.

In truth, even if they have an imperfect insight into their own methods, I still slightly mistrust writers of fiction who are assured literary critics; it makes me suspect that they favour the word over the world it should describe. Such scribes fall victim too easily to the solecism of equating style with morality.

My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.

Certainly, for time out of mind, an obsessive dwelling on happier former days has been synonymous with getting older, while it was the juvenescent who rushed with open arms to embrace the future.

While starving refugees in Homs were providing target practice for government snipers, Bashar al-Assad's strongest international backer was in Sochi, at the Iceberg Skating Palace, visibly moved, smiling with deep satisfaction, as the Russians beautifully glided and leaped their way to the gold medal in the team event.

I pass over the toil and suffering and danger which attended the redemption and cultivation of their lands by the colonists, and turn to their civil condition and to the conduct and history of the government.

Many of my students assume that government protection is the only thing ensuring decent wages for most American workers. But basic economics shows that competition between employers for workers can be very effective at preventing businesses from misbehaving.

To truly care about this country is to demonstrate that you care about her politics the same when you're winning as when you're losing.