I don't think that you want to see universities in any way trying to have any kind of quota system about political views, or views in general. You want the market to work in the way the market works.

Diminished circumstances had no effect on his sense of what was honorable: after The Spectator sent him a check for a piece it had accepted but was unable to run for a lack of space, he refused to write for the magazine again.

I think in general there's no point in going into a field like English literature if you're not going to have fun with it.

I do worry a lot about the time it takes for people to get a PhD, about the difficulty of finding employment, about the difficulty of getting tenure, and generally about the perception that undergraduates have, that this is a very high-risk career to get started.

The job of the critic, as it might have been conceived in the 1950's or 1960's, was some kind of role of moral arbiter for people, not a huge number of people, but people who were, you know, fairly educated, well-placed people.

Just in higher education alone, more people go to college now, by enormous amounts, than went to college in the '50's and '60's. So that represents a whole new literate public that's a consumer of literature, of news, of print, of, you know, opinion. And that's a bigger audience and much more diverse audience than it used to be.

I'm not one of the people who has a kind of scholarly hat and writes in a certain way for an academic audience and then puts on a public intellectual hat and writes a different way for a different kind of readership. I generally write the way I write, no matter what and it seems to have worked for me.