interview pieces

Interview One

“One whom some were certainly following”

Interview Two

He sits he is slurping talking of children and sit-ting. Does he believe in sitting. He completes the sentence for me “Look” almost apologetically of children. Discovered the New Testament and started singing “love songs”

Interview Three

One expected to be dead but relaxing at home working harder His answer Do you admire my wife admire his answer. Confession and admis-sion in story. Looks strange improvising his “lyrics” Getting worked up as worked as talked as does. Thousands of hands writing so so tiny admissions. He means he wears he dyes it black. Who’s “handwriting” is another of his earliest works. Another month another suit, a month or other in my mothers dressing gown. Another “suit”

Interview Four

Treasured most in the 80s in the “80s” mine re-membered. What memory for whom memory what myth-making wall-painting on a leathered sofa. These, his 50s. His smile diminished since his time. Running as adult one sure adult. Its signed de-signed ones earliest most treasured. Above whose head is a painting of above Christ’s head. Now more concerned with the physical world and growling. As someone in a word in a book “growled”. This was a place to talk to think A funeral song for a difficult period of work. Aged 17, lyrics stolen “What makes this his”

Interview Five

Whom first contacted was contacting too shy too stage furious to make contact. Without iro-ny said This is the greatest fear forever fearing appearances My first child forever appearing as Someone who paints and writes

Interview Six

No memory of our first meeting this living lan-guage now living in Florida. Seated eating. Hair grown long, is the short answer. My cynicism isn’t welcome. Is this what we call a linguistic history “Spoken” data on girls in a van. Fucking girls in a van

Interview Seven

Done re-married done Parisian reaching to re-tell each person. Each person invents their own reproduces nothing. Defined by his ability to say he is his ability to say

Interview Eight

“whom some were”

Interview Nine

O stranger presented, and tested. And invented. “i am a born liar” is recognisable like any other answer or brick. The maestro’s boyhood is twice. Over a 17 year build a conversation like friends “my version” Over a 17 year period the reclining pope painted under drink “represents his father” Is this how they trapped Marlon

Interview Ten

“one who was completely charming” note tak-ing

Interview Eleven

Always that reclining figure all these egos in a room artists will insult you for loving someone’s neck. She’s got a bad name in New York. “Didn’t hit him. Don’t know why”

Interview Twelve

Just been raining screaming in therapy. What’s the difference what one said what one sweated on a lip. The people want an apology three things and a reason why “my mother” Never met him never knew work like stumbling between paint-ings. On the road for seventeen days can be hon-est can be honestly as honestly honest “I am” haunted by this painting. What he didn’t say . Forget dylan forgotten the year forgetting days. No going back after this one one in the eye of the New Testament. In those days we were bigger than “my mother” No one can remember those days without chewing on paper a pen

Interview Thirteen

Was that a confession “the people deserve me” is a mystery Such drawl. Sitting comfortably your millionth best bedded. Fit to be King? Tiny ad-missions of mic technique so so This reads like litany. But he’s still whistling consciously writing poetry unconsciously resurrecting bullshit re-cently. But he looks like a liar in print

Interview Fourteen

“He’s miced” He’s not

Interview Fifteen

What was said in the sixties Was it the you wouldn’t know the you can’t handle the you’re not ready for the it’s time for the Could only be married to them or her Whatever “I do” I expect “my mother”

Interview Sixteen

We’ve run out of tape Mad bitch in print looks like paranoia

Interview Seventeen

What’s to imitate from this work Working and sitting in therapy. Who’s copying writing in sym-bols And in five more minutes we’re alone. Do what he do a year or two after 10 years of saying it’s over. There’s a book on a period of work with-out a message 10 years after the message.

Interview Eighteen

Early childhood coming through after ten years in studio Following. Don’t follow leaders lead us to an early childhood following. I know him “quieter” Some fat genius guessed the right way to say I am a lonely genius.

Interview Nineteen

I asked destroy your ego His walking Kitchen backstage gallery. Everyone was destroying their “back” then alone in the studio working Where now for a question. His answer was ten years older. You’ve said it enough for 10 years Get their pants off and stop being God Forgot-ten what came first “his answer” following what book on him is

Interview Twenty

Heated quietly the room his face Is over stretched five days. 20 hours. Smoking replies neatly roll-ing eyes at the question A new hat.

‘interview pieces’ is an original work by Holly Pester © 2008 www.hollypester.com

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Published by: Regolith Works, London, 2008

Contact:web: www.regolithworks.com email: info@regolithworks.com

Interviews One, Eight and Ten feature extracts from Gertrude Stein’s Portraits found in Look at Me Now and Here I am (1990) Penguin Classics

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