“Recursive metafiction worships the narrative consciousness, makes “it” the subject of the text. Minimalism’s even worse, emptier, because it’s a fraud: it eschews not only self-reference but any narrative personality at all, tries to pretend there “is” no narrative consciousness in its text. This is so fucking American, man: either make something your God and cosmos and then worship it, or else kill it.-Interview with Larry McCaffery (1993)”

“This is so American, man: either make something your god and cosmos and then worship it, or else kill it.”

“(About "Black Debt" by Steve McCaffery)'Impersonal' as this text is, it is by no means unemotional or uninvolved. We learn nothing-- at least nothing direct-- about McCaffery's (or his narrator's) personal life, his opinions or ruminations. Nonetheless I would posit that 'Lag' projects a highly particularized way of looking at things, of processing the most diversified information fields-- geology and genetics, archeology and advertising, classics and commercials-- that is finally recognizable in its particular ways of negotiating with language as is the more personal lyric consciousness we expect to find in poetry.”

“It is the voice of everyday people, rather than of a self-conscious 'artist', that we hear in Caedmon's Hymn, and in such texts as Deor's Lament (also known simply as Deor) or The Seafarer. These reflect ordinary human experience and are told in the first person. They make the reader or hearer relate directly with the narratorial 'I', and frequently contain intertextual references to religious texts. Although they express a faith in God, only Caedmon's Hymn is an overtly religious piece. Already we can notice one or two conventions creeping in; ways of writing which will be found again and again in later works. One of these is the use of the first-person speaker who narrates his experience, inviting the reader or listener to identify with him and sympathise with his feelings.”

“What’s precious about somebody like Bill Vollmann is that, even though there’s a great deal of formal innovation in his fictions, it rarely seems to exist for just its own sake. It’s almost always deployed to make some point (Vollmann’s the most editorial young novelist going right now, and he’s great at using formal ingenuity to make the editorializing a component of his narrative instead of an interruption) or to create an effect that’s internal to the text. His narrator’s always weirdly effaced, the writing unself-conscious, despite all the "By-the-way-Dear-reader" intrusions. In a way it’s sad that Vollmann’s integrity is so remarkable. Its remarkability means it’s rare”

“There is no such thing as chance in a text. Any text is the result of a repertoire, on conscious and unconscious levels, and can only be decoded by someone privy to the same repertoire.”