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…
The world of adolescence was all I was interested in exploring, I suppose because there is no other period in your life when you feel as intensely. Love, hate, jealousy, loyalty: I remember the power of these emotions as a teenager and how navigating questions of identity at the same time was truly terrifying and exhilarating. Writing in that moment of a person’s life has always felt so right to
me.
The relationship between reader and writer in fiction is steeped in vulnerabilities. It really does require trust and faith because some books have the power to transform people. You feel like you can never go back, look at the world in the same way again. And that grand ambition is what I hope to do with my books because at the heart of my writing is a passion for telling stories of the
oppressed, the marginalized, and the misunderstood.
SHELLEY JACKSON: You began as a writer, moved to performance art, then architecture. I’d like to follow the traces of writing through your career, and see whether your late work could be rethought as a radically materialist practice of writing. What made you want to write?
VITO ACCONCI: I wanted to be involved with the making of some kind of parallel world. I thought, there’s no reason to
go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I’m not sure if I can tell.
I am not thinking of those shining precepts which are the registered property of every school; that is to say — learn as much by writing as by reading; be not content with the best book; seek sidelights from the others; have no favourites; keep men and things apart; guard against the prestige of great names; see that your judgments are your own; and do not shrink from disagreement; no trusting
without testing; be more severe to ideas than to actions; do not overlook the strength of the bad cause of the weakness of the good; never be surprised by the crumbling of an idol or the disclosure of a skeleton; judge talent at its best and character at its worst; suspect power more than vice, and study problems in preference to periods.