An Interview with Vanessa Place
I was fortunate to interview Vanessa Place this week on Bad at Sports. Place read at the gallery we ran for a brief stint on Chicago Avenue over a year ago. She read in a series called“Pilot Light” — a kind of poets-in-coversation that Beth Sampson had curated for Dear Navigator. Jen Karmin read that night as well and you can see photographs by going here; they both read their own work, and then had a Q&A with audience (and one another) about what life-as-poet was like. (you can see documentation from that evening by going here.) Anyway, that experience led me to reach out to Place and she if she’d be interested in letting me ask her a couple questions on the subject of hybridity and language. I’ve included the beginning below.
When following an agenda or thesis of some kind — in this case, my steady and probing look at hybridity — one often tries to fit multiple practices under one umbrella: there is a desire to keep everything neat and tidy, in order, I suppose, to embolden an intuition with evidence, to make that intuition feel reasonable, and therefore true. Theoretical exercises might resemble murder investigations in that way — one wants to find proof beyond the shadow of doubt. At least, that’s what I find I do, and in this particular case it’s amusing, because my original inquiry is centered on an unstable concept. Hybridity is intentionally resistent to categorical thinking. The minute categories are defined, the hybrid wants to transgress and muddle and undermine the categorical thought it inhabits. Thus, I take some deep pleasure in printing the following transcript. It shows how I began to get too comfortable with what “hybridity” might mean, and thus how I began to apply it, suddenly and smoothly, to anything. The following transcript marks a failure in that attempt. It is not so simple, (as I had originally and perhaps hastily presumed) to call Vanessa Place’s practice a hybrid one: yes, she is both an esteemed lawyer and experimental poet. Yes, her legal work — the plethora of accrued documents — has become, literally, her poetry. And with these two yes’s, combined with my own experience of her performance — during which she read, word for a word, a trial transcript — I imagined she was combining two worlds. I thought I could convince her to talk about her work in those terms, under my umbrella. Instead, Place calls attention to the slippery nature of words; meaning falls slick through our grasp like sand, ever sensitive to context just as it is always capable of transformation. In fact, words, like people, like bodies and chairs: are fickle, multifacted, both present and out of reach. Vanessa Place has published many books, including Dies: A Sentence (2006), La Medusa (Fiction Collective 2, 2008), Notes on Conceptualisms, co-authored with Robert Fitterman (Ugly Duckling Press, 2009), and The Guilt Project: Rape, Morality and Law (2010). In addition to her own poetry and legal practice, she is also the co-director of a magnificent, experimental poetry press called Les Figues.
you can read the whole interview by going here.