WAYNE KOESTENBAUM: If this conversation is recording us somehow for posterity as advocates of the domestic, I would prefer to be a spokesperson for the Letters to Wendy’s sensibility of choosing your encampment and dragging your subjectivity into spaces that seem to bar it. Wenderoth appropriates the Wendy’s response cards as a lyric or epistolary space. I stand behind that much more than I do the domestic. Suddenly the domestic next to the Wendy’s device seems much more cloyingly aware of the privileged, safe, sanitary sphere. Squatting is actually what we’re talking about, and that’s what Walser—

MATTHEW ROHRER: —right, right, he was a squatter—

WAYNE KOESTENBAUM: —you know, people who encamp in public, private, or commercial spaces without paying, and make a home there, are engaged in a very simpatico practice.

RACHEL ZUCKER: So maybe what we’re saying is that the inclusion of domestic material or subject matter or attitude in poetry isn’t so much about breaking the taboo of “we weren’t supposed to have this in our poems at all,” but some kind of move where we’re bringing something that belongs in one world into another world. It’s not so much about “We can’t say this at all,” but more “You’re not supposed to have the kids in a fancy restaurant,” or “You’re not supposed to have sex in the museum.” Because there is writing about the home where the home stays in the home, and it’s very contained and beautiful, and there’s no collision of context.

—“I’m So Fucking Sick And Tired Of Hearing About Other People’s Transformative Experiences, I Just Want To Hear What They Ate For Breakfast.” an interview from The Believer