“(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.”

“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)”

“We are His children, and if we ever got that through our heads thoroughly, understood that completely, we would never do a small thing, we would never say a cross word, we would not use bad language, we would not criticize anybody, we would love everyone the way the Savior loves us.”

“It is probably true that most people have more fun in bed than anywhere else, and we are not being vulgar. Even going to bed alone can be alluring. There are many times, in fact, when it's by far the most alluring way to go.”

“We talked about nothing in particular, but it felt like we were talking about the most important things...”

“...the beautiful thing--perhaps the thing I love most about the gospel-- is that everything we learn we can use and take with us and use it again. No bit of knowledge goes wasted. Everything you are learning now is preparing you for something else. Did you know that? What a concept!”

“We do literature a real disservice if we reduce it to knowledge or to use, to a problem to be solved. If literature solves problems, it does so by its own inexhaustibility, and by its ultimate refusal to be applied or used, even for moral good. This refusal, indeed, is literature's most moral act. At a time when meanings are manifold, disparate, and always changing, the rich possibility of interpretation--the happy resistance of the text to ever be fully known and mastered--is one of the most exhilarating products of human culture.”