A Quote by Vito Acconci

I came from the time of so-called New Criticism - the poem in itself, the writing in itself - but around that time I had come across a critic called Kenneth Burke, who wrote a book called A Rhetoric of Motives, and it seemed to talk about another way, and gradually I realized that other way was that the reader made a difference.
Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time.
I worked as a carpenter for a few years. I began writing. I wrote a book about my time in Africa - that came out in 1988 - called 'The Village of Waiting.'
I called every day to see how she was doin, Every time that I called her, it seemed somethin was brewin. I called her on my dime, picked up, and then I called again, I said, 'Yo, who was that?' 'Oh, he's just a friend.'
I co-edited an anthology called Interfictions with Delia Sherman and wrote a short scholarly book on three women poets called Voices from Fairyland: The Fantastical Poems of Mary Coleridge, Charlotte Mew, and Sylvia Townsend Warner. So I've been busy, but I haven't had time to write a novel.
Everything that from eternity has happened in heaven and earth, the life of God and all the deeds of time simply are the struggles for Spirit to know Itself, to find Itself, be for Itself, and finally unite itself to Itself; it is alienated and divided, but only so as to be able thus to find itself and return to Itself...As existing in an individual form, this liberation is called 'I'; as developed to its totality, it is free Spirit; as feeling, it is Love; and as enjoyment, it is Blessedness.
Long time ago, people would make the Bible, right? The guy said it, somebody wrote it down. And then if you wanted another copy of it, another human being wrote another one. It took a long, long time. Somebody created this thing called mimeograph paper and so you said, 'OK, we'll do it that way.' And so you could get three of them.
Popular culture is a place where pity is called compassion, flattery is called love, propaganda is called knowledge, tension is called peace, gossip is called news, and auto-tune is called singing.
In terms of my Indianness, I try not to rely on it nor deny it. When it comes up organically in my writing, we can address it. About five years ago, we wrote this episode of 'The Office,' called 'Diwali,' which seemed like an organic way of using it.
The essay I had to read was called, "An Essay on Criticism" by Alexander Pope. The first challenge was that the essay was, in fact, a very long poem in "heroic couplets". If something is called an essay, it should be an essay.
I had written a book called "Boston Boy" some years ago, and that took me from the time I could speak, I guess, in Boston through the time when I finally left to come to New York. That book had a number of sort of rites of passage for me.
I had, in college, a professor called Walter Jackson Bate, and he taught a course called The Age of Johnson. It's about Samuel Johnson and his period, 18th-century British writing. So we all got to endure Samuel Johnson, and Boswell's 'Life of Johnson' is now my favorite book. I read it all the time I can; it's great for going to sleep.
Some years ago, I wrote a book called the Emperor's New Mind and that book was describing a point of view I had about consciousness and why it was not something that comes about from complicated calculations.
Some years ago, I wrote a book called the Emperor’s New Mind and that book was describing a point of view I had about consciousness and why it was not something that comes about from complicated calculations.
I wrote a book called 'Doll Bones', which was another middle-grade book, and when I was writing it, I needed a place in the U.S. that made bone china. And there are only two places in the U.S. that make bone china. They made it by grinding down actual cow bones. It was a plot point. It was a creepy doll book.
Two records put me over the top with hip-hop. One of them was 'Planet Rock,' and the other had no lyrics - it was called 'Numbers,' from a group called Kraftwerk. Every kid in the 'hood in New York and New Jersey was popping, locking, and breaking to that record. It was the hottest track on the street at the time.
If Realism called it like it saw it, Metafiction simply called it as it saw itself seeing itself see it.
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