Last quote (I promise?)

Just 'cause Eileen Myles is a BOSS:

The vernacular is the place where everything meets. It’s a gathering of people. Think of Sons and Lovers when Paul Morel goes to the pay window at the coal-mining office and talks in his local vernacular even though he’s an educated guy. I lived in Provincetown with a girlfriend, and we owned a house and workers would come over. And then I’d step into my Massachusetts accent to get the guys to not fuck us over. I think that’s avant-garde—the meeting of need and language. Take the Happenings in the 1960s, which were the beginning of postmodernism—what they were mainly interested in was the interface. How do we put film and bodies and poetry together? Now we’re in a world where everything’s sampled. Is there any place where the recording doesn’t meet the live event? What used to be new art is now life. We’re reeling around in this giant performance. When I wrote theater, I would think of each play as a Christmas tree, and the moments, the scenes in the play, were like ornaments. You can’t see it, but the tree’s there, and we’re putting on the ornaments, we’re putting the tinsel on, layers and layers, and moving with a confidence that there’s a place. And you compose fearlessly because there is a tree, there is a place. I feel like the vernacular is that.

From:
http://lithub.com/eileen-myles-in-conversation-with-ben-lerner/