I’m always chasing that, whether it’s from the point of view of a reader or a viewer or the person who’s making the work. So I talk in my last book, How to Do Nothing, about going to a John Cage performance in downtown San Francisco and walking out of the auditorium and almost being able to hear the city for the first time in the many years that I’ve lived there.Īnd I think that that can be such a destabilizing, but also really exhilarating, experience: sort of being given a different kind of access to something that was already in front of you all along and maybe it brings out or it defines different things that you weren’t able to see.
I’ve been interested in that for a long time, because I was also a visual artist for many years, and I tended to try to make work, and I also appreciated other work, that did something with those frameworks. I have always been really interested in how language-and maybe things that you wouldn’t think of as literally being language, but maybe like framings, like frameworks for seeing-have affected the way reality feels. I am so glad that you ask that, because I feel like that’s one of the most important things to me about the book and kind of how I’ve tried to explain it as-you know, obviously it’s not self-help, but it’s a book about language.
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