Interviews April 16, 2018

Ludwig Wittgenstein noted that in representational writing, “one thinks that one is tracing the outline of the thing’s nature . . . and one is merely tracing round the frame through which we look at it.” In Wayne Koestenbaum’s “trance journals”—The Pink Trance Notebooks (2015) and the newly released Camp Marmalade—both the frame and the off-frame are folded into his trans-perspectival impressions. Camp Marmalade deep-focuses on the color orange, but like the best procedural works, the tangents are as crucial as the concept. References kaleidoscopically come together with edge-by-edge precision. In one breath, juxtaposing opera stars with avant-garde artists