What interests me most about Vicuña’s work is the way that she moves between the introduction and the performance of a piece, so that it is hard to tell where one ends and the other begins. The way she blends in song and other noises has the same effect, it makes the piece a seamless performance, instead of a series of poems to be read one after the other. I also like how she switches between different languages, and plays with the sounds and meanings of words; for instance, the word molecule (157), and on page 183 she says, “I undo the word art and play with it.” All of this is very post-structuralist, playing with the meaning of words, and showing the arbitrariness of the sounds that make them up. I also think she is doing some structuralist stuff. For example, she explores how thread imagery is a part of both ancient Greek mythology, with her discussion of the Fates (240), and South American culture, with the quipu, a form of writing with knots (168). She is showing that this thread imagery pervades all cultures, making it something universally human.