What concerns me here is the reading of two texts, visual and verbal, and our relation to them as readers of this double object and as willing subjects. I intend both senses of the expression willing: We are willing to be the ones looking doubly, but we also wish to retain control over our perception and reception. We would, to the extent possible, assure a multiplicity of viewpoints and nuances in our reactions, choosing to look at the object not just by leave of the artist and the writer, but by our own will to see, taking the latter as an achievement verb in Ryle's sense. My initial supposition is as follows: In each work of art implicit questions are posed, some of which the keen observer-writer or critic -will feel impelled to answer, consciously or not. There may of course be a prior conception on the observer's part of what the object to be read will be read as, in which case the work observed will serve simply as a vessel for that subjectively held idea, receiving what is projected upon it. Into that holding, in the more interesting cases of reading, the antiphonal response set-up of implicit question and partial answer will be put in play, folding in, making a pli for further complication. The very density resulting from projection, interrogation, and answer, all doubling in upon each other, provides the sort of written text that elicits the most intense responses of any genre. Call that, then, the first reading. Now my own point of focus concerns the reaction of the second reader, the comer-after. This belated This article is a chapter in the book The Art of nterference, forthcoming from Princeton University Press, and is published with permission. Copyright ? 1990 by Princeton University Press.