ABSTRACT
One of the things I admire about your work—your films as well as your book Woman, Native, Other—is that it resists any easy categories. Your book is a work of theory, but it is very poetic: the reader has a different relationship to it than is usually the case in theoretical writing. Your films are obviously not documentaries in any classic sense, and it's not accurate to call them “commentaries” on the documentary genre either. Could you talk about this resistance to categorization that seems to be a crucial part of your work?
