My airport performance art retrospective went live today over at Electric Literature. In the essay, I detail out the motivations, confusions, considerations, and various inebriations that transpired over the 48 hour period. If you give it a read, hope it sounds as crazy as it felt. Here’s a sample from the essay:
The idea was simple yet absurd: Live in an airport for forty-eight hours to promote my latest book, The Fun We’ve Had. This would be long enough to feel stranded, and more than enough to feel distanced from the blasé of daily routine. At the time, I didn’t know how long that would actually be. I feared that I’d barely make it past the twelve-hour mark.I feared that I’d barely make it past the twelve-hour mark.
I would remain online and available, tweeting and posting for the duration of the performance. It sounded like fun, maybe, but it helped that I wasn’t alone at the airport, joined by Kyle Muntz, a good friend and author of a number of books, including his most recent, Green Lights.
It helped that the airport functioned as a suitable metaphor for the book’s setting, given that being in an airport is a lot like being lost at sea. So many places and possibilities to drift, but not if you don’t already know where it is that you’re going. In the case of Kyle and I, we weren’t going anywhere. We weren’t actually getting on an airplane. We remained in stasis, disconnected from all tethers except the digital variety for the entire duration of the performance.
This was a performance.
This was an experiment.
And it was also a sort of nontraditional celebration of a book’s official publication because, in theory, I wanted to do something totally different, even if it ended up being a failure.