“The concept of an author, the single creative person who gives the text 'authority', only comes later in this period. Most Old English poetry is anonymous, even though names which are in no way comparable, such as Caedmon and Deor, are used to identify single texts. Caedmon and Deor might indeed be as mythical as Grendel, might be the originators of the texts which bear their names, or, in Deor's case only, the persona whose first-person voice narrates the poem. Only Cynewulf 'signed' his works, anticipating the role of the 'author' by some four hundred years.”

“It is the voice of everyday people, rather than of a self-conscious 'artist', that we hear in Caedmon's Hymn, and in such texts as Deor's Lament (also known simply as Deor) or The Seafarer. These reflect ordinary human experience and are told in the first person. They make the reader or hearer relate directly with the narratorial 'I', and frequently contain intertextual references to religious texts. Although they express a faith in God, only Caedmon's Hymn is an overtly religious piece. Already we can notice one or two conventions creeping in; ways of writing which will be found again and again in later works. One of these is the use of the first-person speaker who narrates his experience, inviting the reader or listener to identify with him and sympathise with his feelings.”

“The problem with the Bible, the Qur'an, the Torah - or any sacred text - as an authority is that so much depends on how the text is read and the interests of the reader. The Bible has been used to justify slavery, apartheid, the suppression of women, the 'evils' of sexuality, the 'evils' of homosexuality, a male-only priesthood, the denial of any priests at all, the supremacy of the Pope, the irrelevance of the Pope, the authority of the Church, a denial of the authority of the Church, a feminist agenda, war, pacifism and almost every other position that people may wish to hold.”

“But some survive. Many of us have lived to tell our stories, to create Lesbian texts, to read Lesbian texts, even to write commentaries and criticisms of Lesbian texts. All of these activities must be pluralized, multiplied, complicated, and pluralized again, because there is no single, narrow, one-sentence definition of "The Lesbian." The sexologists may have been the ones to name us, but we can, and do, create ourselves. Our of a mishmash of disinformation, misinformation and outright lies, each Lesbian constructs some story about who she is and who she might someday be...”

“The history of books shows the humblest origin of some of the most valued, wrought as these were out of obscure materials by persons whose names thereafter became illustrious. The thumbed volumes, now so precious to thousands, were compiled from personal experiences and owe their interest to touches of inspiration of which the writer was less author than amanuensis, himself the voiced word of life for all times.”

“Beowulf stands out as a poem which makes extensive use of this kind of figurative language. There are over one thousand compounds in the poem, totalling one-third of all the words in the text. Many of these compounds are kennings. The word 'to ken' is still used in many Scottish and Northern English dialects, meaning 'to know'. Such language is a way of knowing and of expressing meanings in striking and memorable ways; it has continuities with the kinds of poetic compounding found in nearly all later poetry but especially in the Modernist texts of Gerard Manley Hopkins and James Joyce.”