“Murder is unique in that it abolishes the party it injures, so that society must take the place of the victim, and on his behalf demand atonement or grant forgiveness.”

“A fairy tale...on the other hand, demands of the reader total surrender; so long as he is in its world, there must be for him no other.”

“Lovers of small numbers go benignly potty,Believe all tales are thirteen chapters long,Have animal doubles, carry pentagrams,Are Millerites, Baconians, Flat-Earth-Men.Lovers of big numbers go horribly mad,would have the Swiss abolished, all of usWell-purged, somatotyped, baptised, taught baseball:They empty bars, spoil parties, run for Congress.”

“Every man carries with him through life a mirror, as unique and impossible to get rid of as his shadow.”

“In the detective story, as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder. The country is preferable to the town, a well-to-do neighborhood (but not too well-to-do-or there will be a suspicion of ill-gotten gains) better than a slum. The corpse must shock not only because it is a corpse but also because, even for a corpse, it is shockingly out of place, as when a dog makes a mess on a drawing room carpet."(The guilty vicarage: Notes on the detective story, by an addict, Harper's Magazine, May 1948)”

“A.E.Housman'No one, not even Cambridge was to blame(Blame if you like the human situation):Heart-injured in North London, he becameThe Latin Scholar of his generation.Deliberately he chose the dry-as-dust,Kept tears like dirty postcards in a drawer;Food was his public love, his private lustSomething to do with violence and the poor.In savage foot-notes on unjust editionsHe timidly attacked the life he led,And put the money of his feelings onThe uncritical relations of the dead,Where only geographical divisionsParted the coarse hanged soldier from the don.”

“Coleridge’s description of Iago’s actions as "motiveless malignancy" applies in some degree to all the Shakespearian villains. The adjective motiveless means, firstly, that the tangible gains, if any, are clearly not the principal motive, and, secondly, that the motive is not the desire for personal revenge upon another for a personal injury. Iago himself proffers two reasons for wishing to injure Othello and Cassio. He tells Roderigo that, in appointing Cassio to be his lieutenant, Othello has treated him unjustly, in which conversation he talks like the conventional Elizabethan malcontent. In his soliloquies with himself, he refers to his suspicion that both Othello and Cassio have made him a cuckold, and here he talks like the conventional jealous husband who desires revenge. But there are, I believe, insuperable objections to taking these reasons, as some critics have done, at their face value.”