There Never Was a Rose Without a Thorn

These hybrid writings, staged as they are between fiction and theory, the domestic and history, abstractions and androgeny, the rational and the nonrational, the creator and her artifact, organize themselves against normative ideas while using whatever tolls of novelistic, philosophic, autobiographical, or poetic discourse present themselves to advance their tellings.

Concepts such as narrative, character, and binary thinking are manipulated and scrutinized but not adhered to methodically. The writing is also a response to literature and the things of the world: it does not separate one off from the other. Marquis de Sade, rocks, Balzac, war, Lautremont, amazons, Jane Austen, news, Jan Bowles, utopias, Ludwig Wittgenstein, child's play, Saint Augustine, censorship are probable points on its strange map.

In the world of this work, words themselves may become characters and instincts are regarded as if they were books. Complex ideas and simple rheetorics mingle, yielding impure theories, precarious stories, and fabulist games. —