"The Violencia that ravaged Colombia for the next decade, pitting Liberals against the ruling Conservatives, took 200,000 lives – a catastrophe worse than any endured in Peru. This was the historical background to Márquez’s early career as a journalist and writer. But he seems to have remained eerily untouched by it."

“Values – ethical, epistemological, aesthetic – figure in the contests over the field, but they do not define it. Intellectuals are judged not by their morals, but by the quality of their ideas, which are rarely reducible to simple verdicts of truth or falsity, if only because banalities are by definition accurate.”

“Beyond the discrepant local sympathies of these careers – with their splay of temporary identities: Conservative, Zionist, Nazi, Old Whig – they reflected a common theoretical calling. In Schmitt’s own writing, the obscure figure assumes various – typically oblique – historical guises, as political or juridical restrainer in different epochs. But the Stygian cap fits the collective effort of this cluster of thinkers. For these were indeed constructions designed to hold something back. What they all in the end sought to restrain was the risks of democracy – seen and feared through the prisms of their theories of law, as the abyss of its absence: to misterion tes anomias, the mystery of lawlessness.”

“The – now shop-worn – label of ‘magical realism’ is customarily applied to Márquez’s novels. It has never fitted Vargas Llosa, who disavows the adjective.”

“Historically, even in the greatest minds of the Enlightenment, they could be at variance. Rousseau, the most advanced political thinker of his generation, was emotionally a pietist; Voltaire, politically at ease with a benevolent absolutism, scorned the consolations of Savoyard Christianity. For Timpanaro, Leopardi had represented the possibility of a synthesis beyond either: firm republicanism, unswerving atheism.”

“All hegemonies have their limits, and no policies ever achieve just what they intend. But the salient feature of the present is not that the world at large is out of control, but that it has never been subject to such an extent of control by one power, acting to diffuse and enforce one system, as we see today.”

“The trope was eminently Oakeshottian. Politics was not a battle of interests, or a quest for truth, or a voyage of progress – it was an aesthetic performance, to captivate an audience. But it was not high theatre . It was more like commercial theatre, the drama of the boulevards that plays to our emotions or embarrassments – Rattigan rather than Racine, he explained. On this stage, Mount has certainly given us a stylish production. We might call it the comedy of reform.”