I have said, I think, that these poems are interpretations of what
the poet sees on the canvas. I add that they are imaginary
biographies, as true as anything that actually happened: they are
biographies written the other way around, from the evidence of the
art. Pablo Picasso's relationship with women, for instance, as when
he left her a twisted, flattened shell, curled like wet canvas on
his padded chair, mouth soundlessly screaming from the same side of
her face that both eyes now stared from. Isn't that, don't you
think it is, the way it (actually, metaphorically, what's the
difference) happened- from the Introduction by Theodora Goss
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