I think part of what you’re doing when you’re doing something new is that you don’t entirely know that you’re doing it. You almost don’t pay attention. You’re paying more attention to the rhythm than the thing that you’re saying, so there’s a lot of extra language hanging outside the building that you sort of allow to be there so that you’re not always looking at the building. It’s very constructed in a certain way, but I almost don’t want to know that so I can keep building what I’m making from the inside. It’s like when I’m in charge of a flow, and that thing has to keep coming at all costs, so part of my performance as a writer, in the act of writing, is to pretend that I don’t know. I like a little bit of oblivion. I’m safe in that. And it can keep accruing in this kind of way. The overarching thing is just reaching inside. It’s almost the invisible part of the form, like in any violent action movie when you see somebody get killed, and they keep heaving, and it’s like with writing—there’s a thing that keeps heaving. My whole consciousness likes to stay as close as possible to falling apart, but not letting it entirely end. That’s my pleasure.

To read the rest of the interview, visit Interview Magazine.

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