The beauty of this simulacrum is that there is a comfortable distance while also a closeness to the truth.  Through freakish pearls of truth, Pieces of Herself allows the readers “to see everything,” and it allows you to get even closer than the “securing eye of the city-dweller… - that is to condemn oneself to see nothing” (Buci-Glucksmann, 75).  IF the reader chooses to, Davis allows every piece to be visible and delved into, rather than the surface glance of a passerby.  The interaction of Pieces of Herself allows for each reader to get their own truth out of the reading, they can remain on the baroque surface of the objects, or they can dive deeper and discover a new meaning for themselves.  Instead of exploring the real world and approaching women, you can instead sit in the comfort of your swivel chair and make your own decisions.  The higher number of interviews allows you not to be persuaded by any woman’s bias, but instead come to your own conclusion.  You are also free to interact or leave any time you would like.  There is in fact no actual ending, but once you finish going through the scenes you simply exit the page.  This conveys that you do not truly leave that world, once you have gone through every room you still remain in those scenes, trapped like how women are in society today.  You choose what your character becomes and what you get from this piece.  This layered construction allows for this easy maneuvering and growth.  It honestly opens the reader’s eyes to the societal issue of how women are viewed and it asks you to keep your eyes open as you close the page and look around your own world.  The bilingualism of text and audio and code keeps the piece relatable and relevant.  The reader never questions the reality of the piece, for their are so many real world examples, such as the ten interviews or the singing of Marilyn Monroe.