Distance in time has made my voice less contrived and subjective. I don’t feel I’m writing some kind of diary (which I kind of felt I was doing when I was 16). I am far more conscious of my voice and more disciplined in separating myself from my characters…
When I thought of myself as a writer in the 1960s, I questioned what made me go from the left to the right margin, from one page to another. As I thought of the space I was also thinking about time. Then I thought: ‘Why am I limiting myself to a piece of paper when there’s a world out there?’ I focused on performance in the early 1970s because the common language of the time was ‘finding
oneself.’ In a time like that, what else could I do but turn in on myself and then go from me to you? Photography, film, and video were sidesteps–spaces in front of you–whereas I was more interested in the space where you were in the middle. Now I’m involved with peopled spaces–that’s design and architecture.
I myself, from the very beginning,
Seemed to myself like someone's dream or delirium
Or a reflection in someone else's mirror,
Without flesh, without meaning, without a name.
Already I knew the list of crimes
That I was destined to commit.
I have a lot of work to do today;
I need to slaughter memory,
Turn my living soul to stone
Then teach myself to live again.
Regarding myself as a mere echo,
Cave-like, unintelligible and nocturnal…
For seventeen months I have cried aloud
calling you back to your lair.
I hurled myself at the hangman's foot.
You are my son, changed into nightmare.
Confusion occupies the world,
and I am powerless to tell
somebody brute from something human,
or on what day the word spells, "Kill!"