"His method is painstakingly thorough, and the sheer amount of research is stunning. His ability to put the period in context is remarkable, and he’s often able to show the way that what might look like a purely aesthetic disagreement is often grounded in a larger political conflict. The attention of the book is often minute in scope, tracing the smallest capillaries of the organs of attack, telling individual stories and slowly building up the story through a steady accretion of quotations. While most of the book presents archival research, Filreis takes sides when the modernist toolbox is under attack, and passionately defends the right of writers to work in non-traditional modes...."LINK
"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 
