There’s much one can say about the iconoclastic philosopher Mortimer Adler - the complex, driven brilliant co-creator of Great Books and of the all-knowledge totalizing ultra-simplifying encyclopedia (The Synopticon) that was a child or grandchild of Great Books that Adler edited with the support of the president of the University of Chicago, Robert Maynard Hutchins. I won’t say even a fraction of what I could about Adler, who has long fascinated me.For now I will just repeat the wonderful (and mean-spirited but perhaps accurate) phrase James T. Farrell once used to describe Adler: “a provincial Torquemada.”
quoted by Leo Gurko in “The Angry Decade,” p. 127.
"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 
