She refers to her practice as trance rather than hypnosis, and refers to herself as my trance partner. The reason I was interested in this book in particular is because I’m writing a new book of my own now, a collection of essays, and for one of these essays, I visited a hypnotherapist to help with memory recovery.
I thought it must be a way of awakening something that had long been asleep. Having kept a journal for years, in November 2012 he shifted away from traditional journaling and began instead to keep “trance notebooks." They are not quite automatic writing, nor exactly stream-of-consciousness-rather, what Wayne calls “a surrender to all-over, non-directional horniness.” I was curious about why such a prolific author would choose to do this-would reject what is familiar and venture into unmapped terrain without knowing whether what he produced could be another book. Pink Trance Notebooks is Wayne’s 17th published book, and the product of a transformation in his notebook-keeping practice, which is to say a transformation in his method of working. It is also surface: material gathered from within reach. The experience of reading Pink Trance Notebooks is at once the same and different from reading his other works more and less directly personal more and less overtly poetry, or criticism, or autobiography like painting or writing music, but also not-because, as he says, “it’s just words.” Pink Trance Notebooks is the mind working, is material rising from somewhere deep to be shaped and reshaped into blocks of dreamlike text. I’m calling him Wayne not as a matter of disrespect but because he has come to feel familiar to me through his writing. This is not a proper introduction, but, as Wayne says: turn away from the assignment. And yet, it is an obsession he carries with him always, and something he returns to in his work: disgust mingled with erotic curiosity, and an obsession with gender differences, and details, such as stubble. I confessed I like stink: the smell of men, their musk. I turned the recorder off when I thought our interview had finished but we continued to talk-about stink. This dynamic is one we returned to, comfortably, many times while we were talking. We were talking about notebooks-he only fills one side of the page, and especially so since he’s begun what he calls his “trance practice,” toward his latest book of poetry, Pink Trance Notebooks: “I believe in more gestural freedom and prodigality of expenditure,” he says. I turned on my recorder well after Wayne Koestenbaum and I began to talk and I realized we were on topic.
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