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Their conversation leads them back to the shared principle behind their work—a deeply anxious, deeply pleasurable bibliophilia. I also think of us as both terminally-online Latino experimentalists and we both spent some time in the Philly poetry community together. And my book Madness takes the form of a fictional selected poems for a fictional poet, Luis Montes-Torres, who lives from Sebastian Castillo: I remember us talking about something similar a while back, a few months after Not I came out.

Do you have any life-world hopes for Madness? I tend not to think about audience when writing, mostly because that concept feels very demographic in a flattening way and I tend to be more interested in curating particular kinds of alienation or catharsis. My first book, Oil and Candlefor example, has a certain following among, like, Bay Area and NY punky-witchy queers.

My last one, Losing Miami, has an interestingly younger readership than my others. My interest anxiety? Madness came from the simultaneity of two things in my life. The first is a pretty serious mental health breakdown that I experienced at the tail end ofwhich basically looked like a lot of repetitive and intrusive thinking, and eventually led to an OCD diagnosis.

The second is that I was reading a lot of selected poems at the time. I know that sounds like a sorta silly contrast, but that really was the circumstance! I became obsessed with how, in the case of the posthumous ones, they were both partial and totalizing, pieces but pieces of everything.

Actually, it was also around this time that I alfred starr hamilton life gay your first book 49 Venezuelan Novels, which is similarly bibliophilic, partial, and totalizing. So I had an interest in a form, and the only theme that I could handle at the time was my incessant, irritating thinking and slow depression.

So with that, I started to sort out what became Madness: a kind of love letter to books, but a very hurting one. Does any of that resonate with Not I? There are moments that contradict each other, non-sequiturs, accumulations that seem to develop toward a portrait, but dissolve before that picture is made clear.

Something about them feels haphazard.

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They seem to me too incomplete. Like going to a buffett and having one bite of each thing. In the case of Madnesshowever, that elliptical, incomplete experience is thrilling. One of my favorite sections is in the middle—our sort-of-narrator-academics tell us Montes-Torres quickly wrote a follow-up to his first acclaimed collection, and it flopped.

What prompted you to give this character a voice outside of his poems? How did you think about structuring Not I? When I first had the idea for the book, I was thinking about it simulating a grammar textbook someone might use to learn English, and the sample sentences within those kinds of texts.

Simple present examples are by definition banal, universal. I like bread. I go to the store. I see a dog. As the tenses grow more complex, so does the sentiment behind the sentence—these types of things could only be said in more particular contexts.