The book Love and Trouble is asserting that sexuality lives inside us, and in the culture, and in the people who do things to us - and the forms reflect that.

I wish I would have been more of a maker. I wish I would have been more of a writer. I wish I would have not subsumed my will to every boy I had a passing fancy about. That's the part that is horrifying.

I've been asked several times since the book Love and Trouble came out, "Are you still sad?" And I'm not, not in the way I was before. I do feel like it was a season in hell that I passed through. But now I'm in despair and sad and confused every day because of our political situation. So the question is: Is it harder or easier to be sad with a reason?

When I was really sad, I would be like a little kid wiggling a loose tooth or touching a sore spot - there were things that I did to make myself sadder. It was almost as if I were luxuriant in my own melancholy. Looking at the diaries and thinking about my old self, thinking about my lost youth - that was part of that project of making myself totally miserable.

Drinking and taking drugs. I think there was also a sort of druggie or trance-like nature to the way that I used sex as a child.

I carefully lifted out of the pose and spoke up: Uh, Fran? When I'm doing the pose (camel), I have this feeling in my chest, kind of a scary, tight feeling.-Fran was adjusting someone across the room. She had a way of looking like a thoughtful seamstress when she made adjustments: an inch let out here, a seam straightened there, and everything would be just right. She might as well have had pins tucked between her lips and a tape measure around her neck. Without missing a beat or looking up she said, Oh, that's fear. Try the pose again.-Fear. I hadn't even known it was there.

The patchwork nature of the forms are a reflection of sexuality itself.