Millie Tullis

That reminds me of a quote I return to often from the art historian Georges Didi-Huberman, who argues that “knowing and looking absolutely don’t have the same mode of being”—that, in fact, looking consists of “not-grasping the image, of letting oneself be grasped by it instead: thus of letting go of one’s knowledge about it.”

One of the ways you augment that lack of knowledge in the book is via imagination, speculation, and invention. How are those forces at work in these poems? What is it possible for the poet to imagine, and where does that imagination break?

– Alyssa Quinn

Read the interview here!