Lizzie Boon on reading
Draft publication layout: Sofia Lo Bianco and Fayen d’Evie, Care is a Cognate to Grief, 2020/2, published by 3-ply.
Printed with Trent Walter
This vitrine is not a container or a boundary,
instead, pages positioned for tactile observation.
Engraved, carved, impressed, inscribed,
each an invitation for skin to feel material sensation.
Of paper, wood, brass, and perspex.
There is no single system to how the body should read,
it may configure itself at whichever point it is drawn.
Perhaps first landing at an edge, a face, a corner,
then shifting across or around its surface.
‘Audiences and spectators are readers,
and in parallel,
authors and co-authors
of interpretive ideas and tangential remarks,
introducing fragments of thought from beyond the animated museum.’
The curious body of the reader
to pick up, circle, crouch, step away.
Each time re-engaging
to read a letter, a texture, a phrase,
adjusting attention to the subtleties of materiality.
Surfaces may raise or depress,
be smooth or rough.
The material may drag,
or be jagged under touch.
‘As Erica Fretwell cautions,
in the world of touch,
to read is to erase,
erasure as an act of inscription,
that wears away at fragile dots,
while depositing oils and skin cells.
To read by touch is a form of
self-sensing peripheries. 
 Footnote here Erica Fretwell, ‘Stillness is a move: Helen Keller and the kinaesthetics of autobiography’ (Fretwell, 2013).’
In the body’s interpretation
it may notice sensations transfer,
quiet or loud.
Traces of words arriving in the reader.
Traces of the contributing reader, now co-author,
leaving particles, unsettling dust, wearing away surfaces,