The Craft Talk

Rae Armantrout
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So that the best thing you could do, it seemed, was climb inside the machine
that was language and feel what it wanted or was capable of doing at any
point, steering only occasionally.

The best thing was to let language speak its piece while standing inside it—not
like a knight in armor exactly, not like a mascot in a chicken suit.

The best thing was to create in the reader or listener an uncertainty as to where
the voice she heard was coming from so as to frighten her a little.

Why should I want to frighten her?

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