I purposely used a pretty cocky, abrasive writing style in Sex and Crime, to stir up some drama. My confrontational style quickly became the talk of the scene. Some of the things I wrote were so inflammatory, people had to vent about it on online forums. So suddenly everyone in the scene was talking about Sex and Crime, just as I had hoped. I enjoyed playing the role of agitator, and people from competing hacking crews didn't even realize that the more they bitched about the things I wrote, the more credibility and notoriety they were adding to my scene mag. Thanks to all the positive as well as negative feedback I was getting, the things I wrote actually mattered. Suddenly I was the most important opinion maker in the scene.

1. Everyone is entitled to their opinion about the things they read (or watch, or listen to, or taste, or whatever). They’re also entitled to express them online.2. Sometimes those opinions will be ones you don’t like.3. Sometimes those opinions won’t be very nice.4. The people expressing those may be (but are not always) assholes.5. However, if your solution to this “problem” is to vex, annoy, threaten or harrass them, you are almost certainly a bigger asshole.6. You may also be twelve.7. You are not responsible for anyone else’s actions or karma, but you are responsible for your own.8. So leave them alone and go about your own life."[Bad Reviews: I Can Handle Them, and So Should You (Blog post, July 17, 2012)]

The American critic Dale Peck, author of Hatchet Jobs (2004), argues that reviewing finds its true character in critical GBH such as Fischer's [review of Martin Amis's Yellow Dog]. It represents a return to the prehistoric origins of reviewing in Zoilism - a kind of pelting of pretentious literature with dung, lest the writers get above themselves; it is to the novelist what the gown of humiliation was to the Roman politician - a salutary ordeal. Less grandly, bad reviews are fun, so long as you are not the author. There is, it must be admitted, a kind of furtive blood sport pleasure in seeing a novelist suffer. You read on. Whereas most of us stop reading at the first use of the word 'splendid' or 'marvellous' in a review.

The necessity of reform mustn’t be allowed to become a form of blackmail serving to limit, reduce, or halt the exercise of criticism. Under no circumstances should one pay attention to those who tell one: “Don’t criticize, since you’re not capable of carrying out a reform.” That’s ministerial cabinet talk. Critique doesn’t have to be the premise of a deduction that concludes, “this, then, is what needs to be done.” It should be an instrument for those for who fight, those who resist and refuse what is. Its use should be in processes of conflict and confrontation, essays in refusal. It doesn’t have to lay down the law for the law. It isn’t a stage in a programming. It is a challenge directed to what is.

To criticize a person for their race is manifestly irrational and ridiculous, but to criticize their religion, that is a right. That is a freedom. The freedom to criticize ideas, any ideas - even if they are sincerely held beliefs - is one of the fundamental freedoms of society. A law which attempts to say you can criticize and ridicule ideas as long as they are not religious ideas is a very peculiar law indeed.It all points to the promotion of the idea that there should be a right not to be offended. But in my view the right to offend is far more important than any right not to be offended. The right to ridicule is far more important to society than any right not to be ridiculed because one in my view represents openness - and the other represents oppression

Life was transparent, literature opaque. Life was open, literature a closed system. Life was composed of things, literature of words. Life was what it appeared to be: if you were afraid your plane would crash it was about death, if you were trying to get a girl into bed it was about sex. Literature was never about what it appeared to be about, though in the case of the novel cosiderable ingenuity and perception were needed to crack the code of realistic illusion, which was why he had been professionally attracted to the genre (even the dumbest critic understood that Hamlet wasn't about how the guy wanted to kill his uncle, or the Ancient Mariner about cruelty to animals, but it was surprising how many people thought Jane Austen's novels were about finding Mr Right).

Never talk to waiters like that," Kit said."Can I help it," he said, "if I only went one year to finishing school?""It isn't manners," she said like a sensible schoolteacher quietly disciplining a small boy, "it just isn't smart."I thought of the time I first told him not to say ain't. He took this the same way, a little peeved but making mental notes. I noticed he was never too much of an egotist to take criticism when he knew it would help. It was part of his genius for self-propulsion. I was beginning to see what Kit had for Sammy. Of course she stood for something never within his reach before. But it was more than that. Sammy seemed to know that his career was entering a new cycle where polish paid off. You could almost see him filing off the rough edges against the sharp blade of her mind.

If God has given you a mission, you must be tough enough to handle what people say and still not be distracted while doing what you were created to do. Are you tough enough? God and the enemy know the truth about you, and remember even great people doing great things for great causes meet negative criticisms. All criticism is not bad, just like all flattery is not good. Many times people don’t criticize you because they are evil; they do it because they have been trained to think anyone who doesn't perceive and see things in the same manner is an enemy. The critic is a prisoner to his own experiences and perspectives, erroneously believing his limited experiences are the sum of all truth. When you acknowledge your critics, you give them your power and validate their words. They are not important until you respond.

I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script.It's a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate, because we don't have genuine souls.It had gotten to the point where it seemed like nothing matters, because I'm not a real person and neither is anyone else.I would have done anything to feel real again.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.)The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

When you lay down a proposition which is forthwith controverted, it is of course optional with you to take up the cudgels in its defence. If you are deeply convinced of its truth, you will perhaps be content to leave it to take care of itself; or, at all events, you will not go out of your way to push its fortunes; for you will reflect that in the long run an opinion often borrows credit from the forbearance of its patrons. In the long run, we say; it will meanwhile cost you an occasional pang to see your cherished theory turned into a football by the critics. A football is not, as such, a very respectable object, and the more numerous the players, the more ridiculous it becomes. Unless, therefore, you are very confident of your ability to rescue it from the chaos of kicks, you will best consult its interests by not mingling in the game.

There’s one kind of writing that’s always easy: Picking out something obviously stupid and reiterating how stupid it obviously is. This is the lowest form of criticism, easily accomplished by anyone. And for most of my life, I have tried to avoid this. In fact, I’ve spend an inordinate amount of time searching for the underrated value in ostensibly stupid things. I understand Turtle’s motivation and I would have watched Medelin in the theater. I read Mary Worth every day for a decade. I’ve seen Korn in concert three times and liked them once. I went to The Day After Tomorrow on opening night. I own a very expensive robot that doesn’t do anything. I am open to the possibility that everyting has metaphorical merit, and I see no point in sardonically attacking the most predictable failures within any culture.

It is believed that the critics are the men who have failed in literature and art. It is so in social life, too. Without any egoistic interest nobody criticizes the government. Give the critics the money and the power, more than they have, they will automatically be changed into the defenders of government strategy. Criticism also enables them to be distinguished, to demonstrate their intellect or bravery, that is, they are more clever, they can go deeper and expose what is hidden from naked eyes, they fear nobody and nothing, they are brave heart and so on and so forth. In any case they give subliminal messages that they are different. Indeed, they only make Herculean efforts to create more and more perfect image of Ego. The simple truth is that and nothing else. Beyond egoistic interests there cannot be any criticism, even if it is masked by the nobility.

These reasonings will furnish us with an adequate definition of a true critic: that he is a discoverer and collector of writers’ faults. Which may be farther put beyond dispute by the following demonstration: that whoever will examine the writings in all kinds, wherewith this ancient sect has honoured the world, shall immediately find, from the whole thread and tenor of them, that the ideas of the authors have been altogether conversant and taken up with the faults and blemishes, and oversights, and mistakes of other writers; and let the subject treated on be whatever it will, their imaginations are so entirely possessed and replete with the defects of other pens, that the very quintessence of what is bad does of necessity distil into their own, by which means the whole appears to be nothing else but an abstract of the criticisms themselves have made.

Can anyone capable of genuinely appreciating Mozart and Mizoguchi possibly say that he is not, in that respect, immeasurably better off than someone whose cultural horizon is limited to bingo and The Black and White Minstrel Show? The assimilation will not necessarily make him a better person (a common, and obviously fallacious, assumption), but it will open to him possibilities that are closed to his less fortunate fellow humans. If that is what is meant by an "élite," then I for one shall not willingly sacrifice my membership of it in the name of some perverse and destructive egalitarianism: to put it succinctly, nothing is ever going to come between me and The Magic Flute. It is not, however, an elite from which I would wish anyone to feel excluded: on the contrary, I would like to share my advantages with as many others as possible. That is why I am a teacher.