“Astonishingly, we are saved not by a special apparatus known as religion, but by the quality of our everyday relations with one another.”

“What we consume now is not objects or events, but our experience of them. Just as we never need to leave our cars, so we never need to leave our own skulls. The experience is already out there, as ready-made as a pizza, as bluntly objective as a boulder, and all we need to do is receive it. It is as though there is an experience hanging in the air, waiting for a human subject to come alone and have it. Niagara Falls, Dublin Castle and the Great Wall of China do our experiencing for us. They come ready-interpreted, thus saving us a lot of inconvenient labour. What matters is not the place itself but the act of consuming it. We buy an experience like we pick up a T-shirt.”

“Just as it looks as though the sun moves round the earth, so ordinary language seems to invert the relations between signifiers and signifieds, or words and their meanings. In everyday speech, it seems as though the word is simply the obedient transmitter of the meaning. It is as though it evaporates into it. If language did not conceal its operations in this way, we might be so enraptured by its music that, like the Lotus Eaters, we would never get anything done - rather as for Nietzsche, if we were mindful of the appalling butchery which produced civilised humanity, we would never get out of bed. Ordinary language, like history for Nietzsche or the ego for Freud, operates by a kind of salutary amnesia or repression. Poetry is the kind of writing which stands this inversion of form and content, or signifier and signified, on its feet again. It makes it hard for us to brush aside the words to get at the meanings. It makes it clear that the signified is the result of a complex play of signifiers. And in doing so, it allows us to experience the very medium of our experience.”

“A socialist is just someone who is unable to get over his or her astonishment that most people who have lived and died have spent lives of wretched, fruitless, unremitting toil.”

“In any case, it is a mistake to equate concreteness with things. An individual object is the unique phenomenon it is because it is caught up in a mesh of relations with other objects. It is this web of relations and interactions, if you like, which is 'concrete', while the object considered in isolation is purely abstract. In his Grundrisse, Karl Marx sees the abstract not as a lofty, esoteric notion, but as a kind of rough sketch of a thing. The notion of money, for example, is abstract because it is no more than a bare, preliminary outline of the actual reality. It is only when we reinsert the idea of money into its complex social context, examining its relations to commodities, exchange, production and the like, that we can construct a 'concrete' concept of it, one which is adequate to its manifold substance. The Anglo-Saxon empiricist tradition, by contrast, makes the mistake of supposing that the concrete is simple and the abstract is complex. In a similar way, a poem for Yury Lotman is concrete precisely because it is the product of many interacting systems. Like Imagist poetry, you can suppress a number of these systems (grammar, syntax, metre and so on) to leave the imagery standing proudly alone; but this is actually an abstraction of the imagery from its context, not the concretion it appears to be. In modern poetics, the word 'concrete' has done far more harm than good.”

“When they first emerged in their present shape around the turn of the 18th century, the so-called humane disciplines had a crucial social role. It was to foster and protect the kind of values for which a philistine social order had precious little time. The modern humanities and industrial capitalism were more or less twinned at birth. To preserve a set of values and ideas under siege, you needed among other things institutions known as universities set somewhat apart from everyday social life. This remoteness meant that humane study could be lamentably ineffectual. But it also allowed the humanities to launch a critique of conventional wisdom.”

“The celebrated opening image of 'The Love Song of J. Alfred Prufrock' is another case in point:Let us go then, you and I,When the evening is spread out against the skyLike a patient etherised upon a table...How, the reader wonders, can the evening look like an anaesthetised body? Yet the point surely lies as much in the force of this bizarre image as in its meaning. We are in a modern world in which settled correspondences or traditional affinities between things have broken down. In the arbitrary flux of modern experience, the whole idea of representation - of on thing predictably standing for another - has been plunged into crisis; and this strikingly dislocated image, one which more or less ushers in 'modern' poetry with a rebellious flourish, is a symptom of this bleak condition.”