Look at Mann's reading habits, his explicit comments on Nietzsche, and his copy of Birth of Tragedy, and it starts to seem doubtful that this work of Nietzsche's played much role in the gestation of the novella.

Even though I want to expand the number of ways in which skilful ironic play happens, I suspect I'm probably guilty of the same shortcoming - and I hope that, one of these days, someone will claim that my book, while it goes in a salutary expansive direction, doesn't go far enough, that there are assumptions I make that show I've missed aspects of Mann's irony and ambiguity.

Finally, this is one way to reconcile the delight in beauty with the bourgeois life. Aschenbach, on one reading, has spent virtually all of his adult life balancing his restrained homosexuality, which is bound together with his sensitivity to beauty and thus with his artistic vocation, against the demands of conventional society.

I'm a fan of Hugh Kenner, Richard Ellman, Lionel Trilling and Frank Kermode. All these people have taught me how to read - but perhaps, above all literary critics, I'm indebted to Wayne Booth (several people have suggested to me that I'm trying to reinvent "ethical criticism").

Aschenbach is not only a projection of Mann in the obvious ways - same daily routines, author of the works Mann had planned - nor even in sharing his author's aspirations, doubts, and sexual identity. His watchword, "Durchhalten!" [persevere, keep going] could be Mann's own.

It's a very bad idea for scientific conclusions to be accepted because they fit with the political values of a group of researchers.

One of the things I want to do in the book is to explore how philosophy can be done in literature. I start doing that in the first chapter, by introducing the idea of "philosophy by showing". What literature/philosophy shows is how to look at some important facets of life in a new way, thus changing the frame in which subsequent philosophical argument proceeds.