Chuck Klosterman

Well, then they're going to transfer that into everything.

I mean, like in some ways, it's like the writers who have been dead for 100 years.

They have the advantage because all that is there is the text.

You know, sperm whales aren't even the biggest whale.

But even Herman Melville is like, that's a real interesting example because with him, like, we do a little bit about his life.

He was on a whaling ship or whatever.

So sometimes, I almost mean more like if, I don't even know if this happens anymore.

Does anyone just randomly read a book from, you know,

in the 1920s and they just like you know but if they do and they don't know the author they just come across it in some library or archive or whatever they are actually having the experience the author probably intended that these are the words you're supposed to read and the meaning you get comes from the collection of these words and that will probably never happen to me again is there just so i get a sense of how you want people to imagine what you sound like is there a

No, my voice is who I am.

It's like, I don't want to be someone different.

They'll say, oh, you sound like Quentin Tarantino or you sound like Mitch Hedberg or whatever, all these things, all these things.

Fine, I don't, I'm not offended by any of it.

But at the same time, that means that what they are consuming is in some ways distanced from what the work is.

Everything I say, I imagine someone hearing it.

Everything I write, I imagine someone reading it.

It's terrible to do that.

You know, like a real artist isn't that way.

A real artist doesn't do that.

Wait, what does a real artist do?