<div dir="ltr"><div><div><div><div><div>Hi Ana, <font color="#000000"><span style="font-size:12.8000001907349px">writing <i>things, real or unreal, objects, living or unliving </i>is part V of a seven part poem <i>The Structure of Escape</i>. Part IV<i> The Spiritual Life of Replicants</i> is already published as a book by Talisman House in the United States. Parts I, II and III-- "Prelude," "The Disappearing Time" and "Steps"-- are relatively shorter. In entirety or in fragments, they have appeared in print and on line.<br><br></span></font></div><font color="#000000"><span style="font-size:12.8000001907349px">As the title <i>Structure of Escape</i> suggests, the total poem is focused on, more precisely obsessed with, the limits (the prison) the tools of communications we adopt, particularly language, impose upon us. It explores avenues of escape from it (for instance, Bresson's film <i>A Man Escaped</i> is a recurring reference point in "The Disappearing Time") towards subjectivities lying outside the limits of our own solipsism. <i>The Structure</i> makes use, specifically, two poetic devices as avenues of escape: A) the language of the poems has a strong visual dimension which exploits the counter-space the page creates-- words/poems present themselves simultaneously to the eye. The simultaneity undercuts the logical/linear demands of the syntax which determines the imprisoning solipsism of one's language (I explore this idea also in my essay <i>The Peripheral Space of Photography</i>, Green Integer Press, 2003). These poems can not be fully experienced only aurally because many contain/reveal a dialectic counterpoint, a tension between the eye and the ear. B) Cadence, rather than metrical sound patterns, determine the music of the poem, a music that traces the process of thought as it occurs, rather than a music of static statements involving pure sound. Movement creates thought.<br><br></span></font></div><font color="#000000"><span style="font-size:12.8000001907349px">I hope what I am describing makes sense to you. I would be happy to answer any questions you, or others, may have. Much of what I am saying becomes clearer if one reads <i>The Spiritual Life of Replicants</i> or my essays on the poetics of "Eda," a number of which are available on line or in the anthology <i>Eda: An Anthology of Contemporary Turkish Poetry</i> (Springfield: Talisman House, 2004).<br><br></span></font></div><font color="#000000"><span style="font-size:12.8000001907349px">By the way, Green Integer has just republished my translation of the Turkish poet Ece Ayhan's <i>A Blind Cat Black</i> <i>and Orthodoxies</i> which was first published by Sun and Moon Press in 1997..<br><br></span></font></div><font color="#000000"><span style="font-size:12.8000001907349px">Ciao,<br></span></font></div><font color="#000000"><span style="font-size:12.8000001907349px">Murat<br></span></font></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, Jul 30, 2015 at 5:31 AM, Ana Peraica <span dir="ltr"><<a href="mailto:anaperaica@gmail.com" target="_blank">anaperaica@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"> <br><div class="gmail_extra"><div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr"><div><font color="#000000"><span style="font-size:12.8000001907349px"><br></span></font></div><div><font color="#000000"><span style="font-size:12.8000001907349px">Hi Ana, I am looking forward to your approach, In the present serial poem I am writing <i>things, real or unreal, objects, living or unliving </i>I am working along similar lines. <br></span></font></div></div></blockquote><div><br></div><div dir="ltr">Hi, Murat, can you give more info on the serial poem you mention? <br><div class="gmail_extra"> <div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr"> <br></div></blockquote></div></div></div></div></div></div>
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