{"id":151317,"date":"2021-03-09T11:14:30","date_gmt":"2021-03-09T16:14:30","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=151317"},"modified":"2021-03-09T12:07:37","modified_gmt":"2021-03-09T17:07:37","slug":"language-once-removed-an-interview-with-sara-deniz-akant","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/09\/language-once-removed-an-interview-with-sara-deniz-akant\/","title":{"rendered":"Language Once Removed: An Interview with Sara Deniz Akant"},"content":{"rendered":"
\"\"<\/a>

Sara Deniz Akant.<\/p><\/div>\n

There\u2019s something special these days about a phone call. A particular kind of listening happens when you\u2019re not watching faces on a screen or coping with the internet connection but instead focusing just on the voice on the other end of the line. Sara Deniz Akant is a poet whose ear is especially attuned to disembodied voices, whether they be documents from long ago or the memory of her mother\u2019s singing.<\/em><\/p>\n

As a result, so many of Akant\u2019s poems feel alive with multiple speakers, though they are playfully mysterious characters. Her collection <\/em>Parades<\/a> (2014) sent me to my old Latin reference books, but in vain. Everything I recognized was not quite what I\u2019d thought, a familiar ancient sound slightly muddled on its way to the twenty-first century. The poems in <\/em>Babette<\/a> (2016) are also deft explorations of meaning that toggle between their own lexicon and one you can translate. Akant\u2019s two<\/a> poems<\/a> in the Winter issue of <\/em>The Paris Review are just as convivial, with voices fading in and out of focus. It\u2019s tempting to say her process is about acting more as conductor or clairvoyant than as poet, but at the same time, Akant speaks about days spent writing in her spare office with an academic\u2019s clear articulation about everything from research to how to recognize the end of a poem to the perks of living between languages.<\/em><\/p>\n

Throughout our telephone conversation earlier this year, Akant and I discussed how one\u2019s own language can linger in notes until it becomes like the voice of someone else, how marginalia can mingle with text, and the creative boundaries of word processing.<\/em><\/p>\n

INTERVIEWER<\/p>\n

Can you remember what first sparked your interest in literature?<\/p>\n

SARA DENIZ AKANT<\/p>\n

I was forced to memorize and sing poems in grade school, and I think just having all of that language set to music was pretty influential. Also, my mom would walk around the house singing songs, and singing the wrong words to them. There was one about a sinking ship called \u201cThe Golden Vanity.\u201d And my grandfather would sing to me in Turkish\u2014for example, \u201cF\u0131\u015f F\u0131\u015f Kay\u0131k\u00e7\u0131,\u201d a nursery rhyme.<\/p>\n

But I mark in my mind one particular moment in retrospect, because at the time, I certainly wasn\u2019t thinking that real people were writers. One year I got really sick, and I stayed home from school for a few days and had all these fever dreams\u2014I called them \u201cvoices in my head.\u201d That\u2019s the origin of my feeling, for the first time, like a writer. In my mind, there\u2019s the fever dream time, and then I dabbled in it until I was twenty-one or twenty-two and taking a class called Poetry in the Present during my last semester of college. It was a small seminar taught by Anselm Berrigan. We mostly read New York School poets. I was really moved, and everything kind of fell out in front of me. I didn\u2019t have any other plans after college, and so I found this passion in the last moment. <\/p>\n

INTERVIEWER<\/p>\n

I\u2019m not surprised to learn that you attribute your first writerly impulses to this dream moment. I think of your work as very voice-driven or language-driven.<\/p>\n

AKANT<\/p>\n

I always think of it as language once removed\u2014it\u2019s just a little slant. My dad speaks a number of languages, and he doesn\u2019t really have an accent, but he still communicates certain words and phrases in a peculiar way. Having all of those different languages and sounds\u2014and then also being a little dyslexic on top of that\u2014generates sound-based ditties in my head. I went to speech therapy when I was younger because I had trouble saying things out loud in the correct way. My mouth couldn\u2019t make the words come out. And so when I started actually writing poems, there was so much internal language, and all these strange, unused sounds tumbled out. Things unsaid, not-quite-real sounds\u2014they were suddenly just available.<\/p>\n

INTERVIEWER<\/p>\n

What makes you want to take that language and shape it into a poem?<\/p>\n

AKANT<\/p>\n

Speaking was hard, but reading was also hard. At a certain point, I realized that reading was really overstimulating. So I started reading in this creative way where I let my thoughts be associative and distracted\u2014I let myself read things incorrectly. I still have a habit of picking up a book and moving from the back of it to the front. I was just doing that the other day, and I was like, Why do I still do this? But the linearity of the page is really hard for me, so learning about cut-ups and collage in contemporary writing allowed me to be like, Oh, there\u2019s this word, and it looks like this<\/em> word, and now I\u2019m remembering a story, and actually I\u2019m seeing this other word inside the word, and so I\u2019m going to write that<\/em> word instead.<\/p>\n

INTERVIEWER<\/p>\n

Has your way of coming to a poem changed?<\/p>\n

AKANT<\/p>\n

My early poems were produced out of a sense of error on the page, or some flicker of language I would see as I was reading, or something I heard or misheard. But I also was really interested in building characters. I liked the way a character could emerge from language play and then build its own narrative. All of that is still part of my practice, and when I get too far away from it, I feel a little lost. I guess what\u2019s changed is I\u2019ve grown out of the neologisms, if you want to call them that\u2014they were part of a certain skill set I had at that moment, and maybe it\u2019s still there, but I\u2019m less interested in it. I think now, I\u2019m slightly more intentional, which makes everything more difficult. It\u2019s not the younger energy of putting all these words on the page and seeing what happens. It\u2019s more taking notes all the time and working toward getting something to emerge on the page.<\/p>\n

INTERVIEWER<\/p>\n

Does it feel more satisfying to be more intentional?<\/p>\n

AKANT<\/p>\n

Maybe intentional isn\u2019t the right way of putting it. With the earlier books, what I was really interested in was writing sci-fi-esque poems and accessing that liminal space I felt throughout childhood but didn\u2019t really have words for. I was interested in accessing that by creating something sort of scary. I liked the internal language in my head and collaging it with other voices or with my family, but I actually wanted<\/em> it to be hermetic. I liked it to shock people into feeling like, Oh, wow, I really don\u2019t know where this came from. I still want that intimacy of the internal language and the connection I\u2019m building with the stories I\u2019m throwing on top of each other, but these days I\u2019m more interested in reaching out than retracting. Whereas I think in the earlier work, it was like, I\u2019m all the way over here, and you could never reach me. I liked that sort of loneliness.<\/p>\n

INTERVIEWER<\/p>\n

In your collection Parades<\/em>, you make use of things like characters or marks down the page, em dashes filling up a line. What do these bits of typographical play signify to you?<\/p>\n

AKANT<\/p>\n

I love thinking about the limitations of a Word document. What do I have on a keyboard that I could use to try to add to language or build it in a different place? I wanted more\u2014more distance but also more visual cues, more information that wasn\u2019t necessarily semantic. You know that thing in an email where you don\u2019t quite know how to end it, and you don\u2019t want to say \u201cbest\u201d because that\u2019s boring, and you don\u2019t want to say \u201call best\u201d because that sounds weird? With people I knew well enough, I started just putting colon, colon, slash. It\u2019s like an emoji that\u2019s not directly translatable. I like experimenting whenever I put language on the page. I remember spending hours moving a colon around, trying to decide where it went, and at a certain point realizing like, Huh. Other people aren\u2019t doing this. Am I wasting my time? But I liked it. I liked the lo-fi aesthetic. What can a keyboard do without trying too hard, without going and finding a preexisting image? What can I just make with these symbols?<\/p>\n

INTERVIEWER<\/p>\n

Do you have a particular writing method or technique or rhythm? How do you go about getting ready to write?<\/p>\n

AKANT<\/p>\n

I use my iPhone notes a lot. It\u2019s just what I have in front of me. The notes are just where I dump things. I don\u2019t know when I do it. Sometimes it\u2019s like, Oh, let\u2019s open up a note on my computer and see what comes out. But most of the time, it\u2019s just that things collect there. It happens a lot more when I\u2019m moving around or traveling for some reason\u2014not now, because of COVID<\/small>-19\u2014taking a bus or just in a new place or feeling dislocated. Whenever I go to Turkey, for example, all of this writing flows out, or into the notes, let\u2019s say. I don\u2019t think this was necessarily my process a while ago. But now I have these notes that I then create out of. It\u2019s a little retroactive, but I guess it gets fused with whoever I am that day. I was recently using notes that I definitely wrote a long, long time ago. So I don\u2019t necessarily remember what the emotions or experiences around my notes were. It\u2019s just material that I get to reinfuse with my current interest, current mood, current desires or intimacies. I also use notes in the margins of books while I\u2019m reading\u2014mostly my own but also sometimes notes made by others in used copies. The marginalia build a narrative adjacent to the narrative.<\/p>\n

INTERVIEWER<\/p>\n

How do you decide when you\u2019re done with a poem?<\/p>\n

AKANT<\/p>\n

I struggle with the question of closure. I do love that chill at the end when you think, Ah, it\u2019s done! Now everything\u2019s opening up in front of me, and I have to go and think about it. So I guess a poem feels done when I reach that moment\u2014when I\u2019m sufficiently scared or a little uneasy. I used to think of poems as their own thing. It\u2019s just this one poem, and this is the world that it lives in, and this is what it does. But I\u2019ve started thinking more of poems in relation to other poems. Like, even if this thing is done, it\u2019s just continued in the next one. The ending of a poem isn\u2019t stressful because there isn\u2019t anything that\u2019s really ending. It\u2019s just this section, or it\u2019s just this moment. And at some point I feel like I\u2019ve reached an emotion that is new or frightening enough for me to disappear for a bit.<\/p>\n

INTERVIEWER<\/p>\n

What are you working on now?<\/p>\n

AKANT<\/p>\n

I\u2019m working with family documents, family archives that are pretty sparse. It\u2019s a challenge. I don\u2019t even know if poem<\/em> is the right word. Projects? Spaces? Moods, characters? I\u2019m trying to create stuff out of that material. I have these really dry documents right here on my desk today. For example, this one reads, \u201cHe who has read this speech with great interest on the continental shelf, please allow me to close some material.\u201d When I said I would misread or mistranslate what I saw on the page and then create, I was working with language that was a lot richer. It\u2019s a challenge to see if I can use this much drier, dustier material. It\u2019s also hard because it\u2019s family stuff, so it feels different. It\u2019s not that surreal gesture of, Oh, I\u2019m going to just use this material like it\u2019s paint on the page. I\u2019m forced to insert myself back into a place where I was already semi-existing. There are traces of me in that debris. So whatever I built around myself in this world or in the poem, it\u2019s a different kind of perverse growth, a new uncanny process.<\/p>\n

 <\/p>\n

Lauren Kane is a writer who lives in New York. She is the assistant editor of <\/i>The Paris Review.<\/em><\/p>\n

Read Sara Deniz Akant\u2019s poems \u201cDracula, by Marriage<\/a>\u201d and \u201cBruce Baba<\/a>,\u201d which appear in the Winter 2020 issue<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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