Caroline Bergvall, jacketmagazine.c
om/22bergvstemiv, jacketmagazine.com/22bergbody,
epc.buffalo.edu/ author/bergvallp
erloffbervallinterview.
I'm just remembering it's Bergvall with a V sound,
not a W sound.
Sorry, I don't even know where you are.
Are you here?
[INAUDIBLE]
[LAUGHTER]
Then I'll continue.
jacketmagazine.com/26birdtemp, scc.rutgers.edu/however.
One.
Exactly!
We can also be used as relics because of the body parts.
Two.
Even for a limited period of time, devising specific rules
to regulate one's behavior demands
great effort of concentration as well as
a capacity for physical exertion of a kind, which can threaten
or indeed collapse, a sense of personal safety.
Three.
In a way, it's about timeliness rather than timelessness.
Four.
How much of the hand, and how much writing
is there in handwriting?
Five.
The notion of writing in one language
yet retaining strong cultural roots in another
is one way of actively responding
to the sense of cultural doubling-up, which
I have always experienced.
This split or double, depending on your point of view,
condition is shared by a great number of people today,
and it is affecting the ways in which
bilingual or bicultural writers are developing their works.
Six.
What is it I need to imagine, the shape of somatised writing?
Seven.
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Please welcome Caroline Bergvall.
[APPLAUSE]
Thank you.