She/He is a network that is constantly reweaving itself in the usual Quinean manner-that is to say, not by reference to general criteria (e.g., “rules of meaning” or “moral principles”) but in the hit-or-miss way in which cells readjust themselves to meet the pressures of the environment.
To describe the situation of American letters at the end of the sixties is difficult, indeed, almost impossible, since the language available to critics at this point is totally inappropriate to the best work of the artists who give the period its special flavor, its essential life. . . .