“Frank's bio prompts us to to ask ourselves why we seem to require of our art an ironic distance from deep convictions or desperate questions, so that contemporary writers have either to make jokes of them or else try to work them in under cover of some formal trick like intertextual quotation or incongruous juxtaposition, sticking the really urgent stuff inside asterisks as part of some multivalent defamiliarization flourish or some shit...Our intelligentsia distrust strong belief, open conviction. Material passion is one thing, but ideological passion disgusts us on some deep level.”

“If you’re subjected to enough great salesmen and salespitches and marketing concepts for long enough—like from your earliest Saturday-morning cartoons, let’s say—it is only a matter of time before you start believing deep down that everything is sales and marketing, and that whenever somebody seems like they care about you or about some noble idea or cause, that person is really a salesman and really ultimately doesn’t give a shit about you or some cause but really just wants something for himself.”

“It's not that students don't "get" Kafka's humor but that we've taught them to see humor as something you get -- the same way we've taught them that a self is something you just have. No wonder they cannot appreciate the really central Kafka joke -- that the horrific struggle to establish a human self results in a self whose humanity is inseparable from that horrific struggle. That our endless and impossible journey toward home is in fact our home. It's hard to put into words up at the blackboard, believe me. You can tell them that maybe it's good they don't "get" Kafka. You can ask them to imagine his art as a kind of door. To envision us readers coming up and pounding on this door, pounding and pounding, not just wanting admission but needing it, we don't know what it is but we can feel it, this total desperation to enter, pounding and pushing and kicking, etc. That, finally, the door opens...and it opens outward: we've been inside what we wanted all along. Das ist komisch.”

“You want your art to be hip and seem cool to people, but a great deal of what passes for hip or cool is now highly commercially driven. And some if it is important art. I think 'The Simpsons' is important art. On the other hand, it's also, in my opinion, relentlessly corrosive to the soul and everything is parodied and everything is ridiculous. Maybe I'm old but for my part I can be steeped in about an hour of it and then I have to walk away and look at a flower.If there's something to be talked about, that thing is this weird conflict between what my girlfriend calls the 'inner sap,' the part of us that can really wholeheartedly weep at stuff and the part of us that has to live in a world of smart, jaded, sophisticated people and wants very much to be taken seriously by those people.”

“I have this -- here’s this thing where it’s going to sound sappy to you. I have this unbelievably like five-year-old’s belief that art is just absolutely magic. And that good art can do things that nothing else in the solar system can do. And that the good stuff will survive, and get read, and that in the great winnowing process, the shit will sink and the good stuff will rise.”

“And we hate this possibility in movies; we hate this "both" shit. "Both" comes off as sloppy characterization, muddy filmmaking, lack of focus. ... But I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.”

“To me, at least in retrospect, the really interesting question is why dullness proves to be such a powerful impediment to attention. Why we recoil from the dull. Maybe it’s because dullness is intrinsically painful; maybe that’s where phrases like ‘deadly dull’ or ‘excruciatingly dull’ come from. But there might be more to it. Maybe dullness is associated with psychic pain because something that’s dull or opaque fails to provide enough stimulation to distract people from some other, deeper type of pain that is always there, if only in an ambient, low-level way, and which most of us spend nearly all our time and energy trying to distract ourselves from feeling, or at least from feeling directly or with our full attention. Admittedly, the whole thing’s pretty confusing, and hard to talk about abstractly…but surely something must lie behind not just Muzak in dull or tedious places any more but now also actual TV in waiting rooms, supermarkets’ checkouts, airport gates, SUVs’ backseats. Walkman, iPods, BlackBerries, cell phones that attach to your head. This terror of silence with nothing diverting to do. I can’t think anyone really believes that today’s so-called ‘information society’ is just about information. Everyone knows it’s about something else, way down.”