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" "Writing as a system by itself has its own rules and structuring process. The abc lesson says that for letters to become words and for words to take on meanings, they must relate to other letters, to other words, to the context in which they evolve—be it verbal or nonverbal—as well as to other present and absent contexts. (Words are think-tanks loaded with second- and third-order memories that die hard despite their ever-changing meanings.) Thus, writing constantly refers to writing, and no writing can ever claim to be “free” of other writings.
(born 1952 in ; Vietnamese: Trịnh Thị Minh Hà) is a Vietnamese , writer, , composer, and professor. She has been making films for over thirty years and may be best known for her films Reassemblage, made in 1982, and Surname Viet Given Name Nam, made in 1985. She has received several awards and grants, including the 's National Independent Filmmaker , and Fellowships from the , the and the . Her films have been the subject of twenty retrospectives.
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Writing reflects. It reflects on other writings and, whenever awareness emerges, on itself as writing. Like the Japanese boxes that contain other boxes, nest one inside the other ad nihilum, writing is meshing one’s writing with the machinery of endless reflexivity. Footprints of emptiness multiplied to infinity in an attempt at disarming death.
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S/he who writes, writes. In uncertainty, in necessity. And does not ask whether s/he is given the permission to do so or not. Yet, in the context of today’s market-dependent societies, “to be a writer” can no longer mean purely to perform the act of writing. For a laywo/man to enter the priesthood—the sacred world of writers—s/he must fulfill a number of unwritten conditions. S/he must undergo a series of rituals, be baptized and ordained. S/he must submit her writings to the law laid down by the corporation of literary/literacy victims and be prepared to accept their verdict. Every woman who writes and wishes to become established as a writer has known the taste of rejection.