they're both poetic and critical and knowledge based and I love how with poetry it can also be about knowledge and also be you know, yeah, it's not just a descriptor with pauses, it can also, is knowledge and critique, and I think Takari's poems are absolutely that, so it's wonderful to have another artist's work weaving, if you like, through the book.

It's so beautiful and in the way that this kind of lively culture of your work is always very future-facing as well.

It's part of the optimism of it, I think, having this beautiful new thing in the book as well.

It also is a beautiful piece of design work put together by Rachel Harris and published by Wakefield Press, so I sort of acknowledge all the partners on that.

The title, Let It Bleed, of course, Rolling Stones.

But also I can recall when we were working on the book, you telling Takari and me a story about the ways that perhaps you came to an acceptance of vulnerability, the vulnerability of yourself and your works and kind of the process of letting it bleed.

I don't know if you'd speak to that.

So I kind of used, again, my work and the story to be able to keep carrying culture and knowledge forward.