“It is characteristic of poetic language that it gives us not simply the denotation of a word, but a whole cluster of connotations or associated meanings...[but] if connotation is a kind of free associating, how can a poem ever come to mean anything definite? What if Shakespeare's line 'Shall I compare thee to a summer's day?' reminds me irresistibly of fried bananas? The brief answer to this is that meaning is not a matter of psychological associations. Indeed, there is a sense in which it is not a 'psychological' matter at all. Meaning is not an arbitrary process in our heads, but a rule-governed social practice; and unless that line 'Shall I compare thee to a summer's day?' could plausibly, in principle, suggest fried bananas to other readers as well, it cannot be part of its meaning.”

“It is conceivable that not knowing the meaning of life is part of the meaning of life, rather as not counting how many words I am uttering when I give an after-dinner speech helps me to give an after-dinner speech. Perhaps life is kept going by our ignorance of its fundamental meaning, as capitalism for Karl Marx”

“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 poem is a fictional, verbally inventive moral statement in which it is the author, rather than the printer or word processor, who decides where the lines should end. This dreary-sounding definition, unpoetic to a fault, may well turn out to be the best we can do.”

“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.”

“Might not too much investment in teaching Shelley mean falling behind our economic competitors? But there is no university without humane inquiry, which means that universities and advanced capitalism are fundamentally incompatible. And the political implications of that run far deeper than the question of student fees.”

“... Capitalism will behave antisocially if it is profitable for it to do so, and that can now mean human devastation on an unimaginable scale. What used to be apocalyptic fantasy is today no more than sober realism....”