Vivet Kanetti (Uluç)
She was born in Istanbul in 1956. She worked as a saleswoman, actress in plays and movies, teacher, TV reporter, translator, interviewer and columnist. She published her first novel, Bizans Sohbetleri in 1988, with the pen name, E. Emine. Bizans Sohbetleri tells the journey of a Jewish girl from Turkey to France, has autobiographical elements and exemplifies Kanetti’s plain and readable language.
In her second novel, Kurabiye Saati, which was published in 1992 under her pen name E. Emine, portrays the identity search of different protagonists in different geographies. She satirizes, questions and criticises different identities such as “being minority”, “foreignness”, and the “Turkish intelligentsia.” All through the novel, Nebiye’s thoughts portray the division in her wholeness and identity. But the inner division that she feels also gives her the privilege to be able to see her world from a distance: she can parody the bohemian, the intellectuals and many fake identities.
In her third novel, Kırık Zarlar, which was published in 1997, she focuses on media. The style of this novel is formulated like a carnival, which shows the carnival-like quality of world of media. In her fourth novel, Turuncu Kayık, which was published in 2000, her carnivalesque style and surreal context are important elements. This novel is an intertextual parody which focuses on reincarnation and uses Ahmet Hamdi Tanpınar’s Mind at Peace’s Nuran as one of the main protagonists.
She published a collection of her newspaper articles in 1998, titled Hissesiz Kısalar. While using the pen name E. Emine in her early works, she started to use her real name after the second edition of Turuncu Kayık. Media is among the most important themes of her works. In her work, Koş Süreyya Koş Şampiyon Olacağız, which was published in 2002, she criticizes the conservative image of women in media and presents Yasemin Dalkılıç and Süreyya Ayhan as the figures who undermine the sexist patterns in media. Later on she wrote a script entitled Prenslerin Adası, in which she parodies women’s position as “object of desire” and turns the pattern upside down by portraying a fictive Büyükada (Principo/Prince's Island), in which men are the objects of desire.
In, Bana Modern Türk’ün Tarifini Yapabilir Misin Kaan?, she criticises the typologies of the modern age as well as the absurdity that is created by media and the internet, and parodies the reforms of Turkey on the way to joining the European Union. She collected her essays on literature and arts in a book titled Kız Ayakları in 2010. In 2011, she published Huysuzun Teki, which was the first novel she wrote, when she was in her twenties. She also translated many important works: Cheri (Colette, 1920), La Vie Devant Soi (Romain Gary, under the pen name Emile Ajar, 1957), De La Strategie Judiciaire (Jacques Verges, 1968). After a while she stopped translating in order to find her own authorial voice.
Her most important and famous translation has been Le Petit Nicolas by Rene Goscinny. Vivet Kanetti wrote columns for the journals and newspapers such as Aktüel, Yeni Yüzyıl, Yeni Binyıl and Gazeteport. She also wrote for Öküz, Amann, Virgül and Karizma. She worked as a TV producer. She was married to painter Ömer Uluç, who died in 2010. She can speak English and French. She lives in Istanbul.