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.
Caroline Picard: In some ways, it seems like you lead a double life as a criminal appelate lawyer and literary force. These two occupations could require a split in your mind, but you have managed to integrate them: How did this possibility first occur to you?
Vanessa Place: It was more a matter of capitulating to the inevitable; one learns not to avoid the trap, but to walk into the trap and see if it can be trapped.
CP: Are traps generally trappable? Do they have inherent weakness (by virtue of being traps)? Or are those weaknesses a result of the expectations we impose upon ourselves? (For instance that one must choose to be one thing or another).
VP: Traps are always trappable. The trick is to want the trap: see Brer Rabbit. The other trick is to have no expectations.
CP: How is the poet most often trapped? How does this compare to traps in witness testimony?
VP: Both fall for the truth-trap.
CP: Is language itself a trap?
VP: Wittgenstein said so. If so, it is the unavoidable trap. As is meaning (though there is no difference in this).
CP: When I saw you read here in Chicago you read a transcription of a domestic assault trial as poetry. Would you consider that transcription a hybrid text? Does the hybridity rely on the performance/context? Or does it exist just as well in a court of law?
VP: It exists simultaneously as a legal document and as a poem. It’s not a matter of hybridity, but of transubstantiation. In other words, words only exist in context, in whatever language game in which they happen to be deployed. Content is context.
CP: Can the human body be similarly transubstantiated? Are texts and bodies synonymous? This would make us like chameleons, in some way…
VP: Not chameleon because the chameleon remains chameleonish. That is to say, it alters not when it alteration finds. Texts, like bodies, are capable of complete metamorphosis
CP: How is it possible to communicate meaning if meaning is always contextualized (and therefore, I presume, relative to each subject)?
VP: Subjects are always sobjects, amalgams of subjects and objects. Consider whether it is possible that we are meeting at the point of our mutual thingness rather than our mutual selfness.
CP: Is it possible that mutual thingness is an experience held in common by all things — living and nonliving alike? Would a text’s thingness be equivalent to a chair’s thingness?
CP: How much does your performance of the material influence that context? When I saw you read, for instance, it was as if each word was given the same treatment and weight, as though you removed the emotive passion of the spoken words.
VP: Performance is another context, thus creating another piece. Similarly, one performance context, such as a reading in a gallery, creates a different piece than the same performance occupying another context.
CP: Where does the animation come from? Is there anything especially remarkable about words said via breath vs. words written on the page, or on the ground, or letters scattered on a refrigerator?
VP: Not remarkable. They are different creatures, however. In other words, you tell me.
CP: Does something essential about that “found” manuscript transform when it is recontextualized by a poetry reading? Or maybe, more generally, what happens? (For my part, I remember being astonished both by the horrific violence you were relaying, what was nonetheless paired with a simultaneous experience of beauty — the beauty of language, for instance, the beauty of a vernacular and the beauty of appropriation, even the visceral experience of horror).
VP: What happens depends on the receiver of the text — all of the things you describe are absolutely true — for you. Another person might be blinded to any potential for beauty, another, aroused by the violence. There is nothing essential in the text itself: the text is dead. The context, on the other hand, remains quite animated.
CP: Is violence a necessary tool for animation? Or, more generally, what does violence do? What is its function?
VP: It insists on.
CP: How can an impersonal force contain insistence in all its manifestations?
VP: Think of shame.
CP: Does violence have a mutual thingness?
CP: How does violence impact a given page? Does the trauma it inflicts reoccur each time that page is read? Would that somehow be equivalent to someone who, in retelling the story of his or her violence, reenacts the incident in some way?
VP: Pages are people too. Like pages, they flip, depending on who they turn to.
CP: I have a friend who went to law school initially because he said he wanted to learn more about human language and (in his words) “the scaffold of reason.” How do you feel your relationship with language has changed with regards to your legal background?
VP: You assume it has changed.
This is how it has changed.
August 25, 2009 · Print This Article
Miles Fisher is an actor that has had many roles over the last few years first in God’s & Generals and most notably the parody he did on Tom Cruise a few months back. He also is a musician and the video he did for his latest song, a cover of the Talking heads “This Must Be The Place” is both a great remix and a killer video homage/parody of American Psycho. Needless to say if you have seen the film this is a video that is not safe for work environments but take a look.