“Anyone who believes that you can make art from language is part of a small, nearly-vanishing community, and we should all form a wedge and march on the enemy. Do we need different uniforms in this struggle, different stripes on our arms so that it's clear who the realists are? Maybe, but I care less and less.”

“RHETORIC The art of making life less believable; the calculated use of language, not to alarm but to do full harm to our busy minds and properly dispose our listeners to a pain they have never dreamed of. The context of what can be known establishes that love and indifference are forms of language, but the wise addition of punctuation allows us to believe that there are other harms - the dash gives the reader the clear signal they are coming.”

“To refrain from storytelling is perhaps one of the highest forms of respect we can pay. Those people, with no stories to circle them, can die without being misunderstood.”

“It would seem that, through touch, through kissing, we might have gouged a worm-size channel through which crucial information could pass, sublingual messages, the kind of pre-verbal intimacy that should flow with thunderous force between the bodies of people so bonded. We should have been able to bypass a mere inability to exchange language.”

“I recalled a sermon Burke had delivered months ago, when everything from the Jew hole was still safely abstract, wisdom I could enjoy in the unactionable pit of my mind. They will sniff at your legs, went Burke’s sermon. They will wish they were you. Beware the man on his knees, the display of weakness. But the sermon had not passed through the radio coherently that day; static cloaked the transmission. Every other word was weakness, as if the broadcast were looping by mistake. We were to fear weakness not in oneself, where it should be cherished, but in others. Or not fear it, but mistrust it. We too easily believe in the trouble of others, erect a machinery of caring. Look through the story at the teller’s need, was the caution. Share not your full story, went the warning.”

“What I find difficult, when I read, is to encounter other people’s achievements passed off as one’s own. I find it difficult to discover literary tradition so warmly embraced and coddled, as if artists existed merely to have flagrant intercourse with the past, guaranteed to draw a crowd but also certain to cover that crowd in an old, heavy breading. I find it difficult when a narrative veers toward soap opera, when characters are explained by their childhoods, when setting is used as spackle to hold together chicken-wire characters who couldn’t even stand up to an artificial wind, when depictions of landscape are intermissions while the author catches his breath and gets another scene ready. I find writing difficult that too readily subscribes to the artistic ideas of other writers, that willingly accepts language as a tool that must be seen and not heard, that believes in happy endings, easy revelations, and bittersweet moments of self-understanding. I find writing difficult that could have been written by anyone. That’s difficult to me, horribly so. Mr. Difficult? It’s not Gaddis. Mr. Difficult is the writer willing to sell short the aims of literature, to serve as its fuming, unwanted ambassador, to apologize for its excesses or near misses, its blind alleys, to insult the reading public with film-ready versions of reality and experience and inner sensations, scenes flying jauntily by under the banner of realism, which lately grants it full critical immunity.”

“Oh, don’t worry, I am perfectly aware of the fantasy involved here, but what we want is almost never exempt from the impossible. That barrier has very little meaning for me these days. Given what’s happened, the impossible is just a blind spot that dissolves if we move our heads fast enough. History seems to show that the impossible is probably the most likely thing of all.”