"An iron law of avant-garde art is that theorizing expands to fill a void of talent." And when the untalented theory-mongering avant-garde approaches the Holocaust, there's special trouble. According to George Will.I'm talking about a George Will column in 2002: on exploiting the Holocaust intellectually.
Will surveyed Holocaust-related games and toys and avant-garde exhibits and academic theories. He associates this stuff with "the explosive growth of Holocaust studies [which] has turned that genocide into a 'wonderful, creative teaching opportunity.'" (So such wonderfulness and creativity is tragically ironic, such "growth" lamentable.)
In the end this piece becomes another excuse for skewering liberal, facile academia, for "what hope can there be for even minimal decency and understanding when today's intelligentsia is hospitable to trivializations of a huge tragedy?" Here's your link to the whole article.
"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 
