“It’s up to Amalgamated to determine what the correct meaning of approved works are,” Credenza said. “Anything else would lead to anarchy. Good poems have no hidden agendas. Good poems are neither for or against capitalism, patriarchy, or religion unless they clearly state that they are in the first stanza of the poem and logically develop the thesis through a combination of lucid images and narrative development.”“‘A few theorists and poets would have you believe that just raising such questions makes you an anti-intellectual meathead in complicity with the powers of postcolonial oppression. It’s an age-old game of partisan politics to pretend that your party has a monopoly on virtue,’” said Credenza. “Only an organization such as Amalgamated Writing Programs, which is above the fray, and rejects demagoguery, has an authentic claim to virtue.”
You can listen to the entire news story here. It's the voice of Alex, Apple's new best-yet text-recognition guy. He does fairly well, although his pronunciation of Lacan leaves a little to be (as it were) desired.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
