‘The poetry interrogates the ways in which language creates distance, how cultural conceptions of meat—embedded within language—distance us from the horrific realities of animal industries, and how this process of distanced consumption is inextricable from notions of patriarchal dominance, feminized objectification, and Western colonialism.
Each line of Seita’s poetry has a precision that is razor-sharp, though each carries within it multiple complexities that warrant the kind of unfolding which cannot be accomplished in a single reading. However, despite its rigorous critique, Meat is fundamentally a poetry of care. Rather than working towards totalizing judgments or conclusions, the six-part sequence offers an opening-out through the idea of love as a “mental expanse” and “imaginative caress”, as opposed to the fixity of “through-and-through givens”. It is working against the “logomachy of plausible peons” and towards “the part of speech that would make it scream”; towards a recognition within language of its own violent structures. Like the “pulse of wasps throbbing in secret nests” beneath the surface of language, Seita’s sequence has a vital force, a surge of uncontrollable life that vibrates beneath it. It is a movement towards something hopeful and radically collective, even if the language it critiques is not yet able to adequately register that something’s existence.’
Eleanor Perry on Meat in Tripwire 13: Dialogues (September 2017), pp. 241-244.