“Because it is written by a nineteenth-century American, and because of its closeness to the twentieth century, The Portrait of a Lady foregoes Victorian affirmations. The price it pays, however (together with several twentieth-century novels) is that it eventually leaves the reader, along with its heroine, 'en Vair' amid its self-reflections.”

“Many cases of twentieth-century American map geekdom, it seems, began the same way that many twentieth-century Americans began: conceived in the backseats of Buicks”

“The whole difference between the nineteenth century and the twentieth century could be summed up in two words, graveyard and cemetery.”

“The chief business of twentieth-century philosopy is to reckon with twentieth-century history.”

“In the nineteenth century, the central moral challenge was slavery. In the twentieth century, it was the battle against totalitarianism. We believe that in this century the paramount moral challenge will be the struggle for gender equality around the world.”

“Reading The Waste Land, then, is in part reading about reading in the early twentieth century. The crisis in epistemology brought on by the discrediting of objectivity is especially relevant to understanding the poem, because the problem of knowledge is itself one of its major subjects. Like Joyce, Valéry, and other contemporary writers, Eliot consciously adds a dimension in which his work is self-reflexive, a dimension in which it refers to itself and its nature as a linguistic structure, a dimension which incorporates the larger subject of the crisis in Western culture into the process of reading. The Waste Land contains, in addition to its many other gifts, a partial set of instructions on how to read in the twentieth century. We believe and shall try to demonstrate that Eliot's poem, in one of its aspects, is a brief and striking primer, a McGuffey's Eclectic Reader for the twentieth century.”