Poet, translator and essayist Murat Nemet-Nejat’s most recent work includes the poem The Spiritual Life of Replicants (Talisman House, 2011), the translation of the Turkish poet Seyhan Erozçelik’s Rosestrikes and Coffee Grinds (Talisman House, 2010), and the memoir/essay “Istanbul Noir” (in Istanbul: Metamorphoses in an Imperial City, Talisman House, 2011). Nemet-Nejat’s translation of the Turkish poet Birhan Keskin’s book Y’ol (Ro(a)de) will be published in 2012. He is currently working on “Things,” part VI of the seven-part poem, “The Structure of Escape,” of which The Spiritual Life of Replicants is part V.
On January 31, 2012, Murat visited the Kelly Writers House and read, in part, from The Spiritual Life of Replicants and spoke about the structure of “The Structure of Escape.” I recommend to readers of this commentary the audio and video recordings of that reading. After the event, I asked Murat if he would like to write for Jacket2 about his seven-part project, and he agreed. Here, below, is what he has written. — Al Filreis
I was honored recently to be asked by Kevin Varrone to read and record a section of his emergent long series poem on baseball, Box Score. Above is the section he asked me to perform, and here is the recording I made for him. I can’t wait to see (and listen to) this book.
Before attempting to make judgments of specific works outside of any critical framework, what might we mean by performance poetics/poetry/writing? I use the term ‘performance writing’ here to try to generally indicate forms of experimental writing that work with/in/out of performance, and to distinguish such forms from an emphasis on ‘performance poetry’ (slam, spoken word, etc.) or performance art practices that are not driven by non-narrative and/or avant-garde poetics. As we shall see, the term (as far as I know) comes from the UK (where it has become institutionalized, if still purposefully under-defined), where various practitioners have helped formulate some of the questions and fields that inform a lot of my thinking here.
(Big Caveat #2: I am NOT interested in clean definitions or drawing lines between what is and is not performance writing/poetics. However, I do think that provisional semi-pseudo-categories might at least be useful in helping tease out helpful distinctions that different practices bring to the work of poetry in the field of performance [and vise versa]. Hopefully such questions can help elucidate what might be new/compelling/‘useful’ for writers and critics, at least…)
Angela Genusa is someone I have only known from afar, via Facebook and email, but I’ve been excited about her work as it engages the relationship between computer programming and writing. This, as other pieces in this column will reveal, is an in-mixing of generic aptitudes I’m excited by. Genusa is one of many writers producing works that would otherwise be impossible without the computer. She’s also the author of a statement (as a facebook status) we like in my household, “from now on people will have to be more interesting than my iPhone,” or words to that effect. Her focus on, knowledge of, and artistic uses of technology have continued to interest me, and I think poets working in that direction are opening up all kinds of possibilities for writing, even for those of us who are less tech-savvy. Genusa’s latest project, which she describes below, is a bibliography of her spam box. I could have asked her about bibliography as a formal choice (and that’s a topic people like she and Tan Lin are interested in, so maybe one day I’ll stage a forum on the topic) but what is there to say about spam? So I asked her: Why spam? Here’s her answer: