Helen Vendler calls this kind of interrogation of a work "roads not taken," suggesting that it's useful, when writing critically, to consider what differences it makes to the work or the encounter with the work if changes are made. It's one way of better understanding your experience, comparing it to other possible experiences you can imagine having.
Laura MullenThe failure of protection, the importance of recognizing the ways in which we influence (and infect) each other - the fact that being an "individual" can't protect you - these are issues I've been thinking about for a while.
Laura MullenIn the "Intervention" section of the book we go into that looping from a battery of positions (where healer and sufferer are blurred). I'm very interested in "repetition and revision" (to use Suzan Lori-Parks's phrase) and in the culture's desire to loop or repeat.
Laura MullenMary Wollstonecraft Shelley (whose mother died ten days after she was born) wrote a novel that anticipates Semmelweis's discovery and serves as a parable for the destructive power of decaying matter.
Laura MullenThe boundary between expert and amateur was an imposed social-cultural "protection" which actually exposed a number of women to a fatal disease, because decaying matter, as the fireman said of fire (cited in the book's final piece, "Torch Song") "ain't got no rules on it."
Laura Mullen