The cries, the murmurs, the mumbles, the screams is a lecture performance weaving together literary history, ecological memory, and feminist mythology, the performance follows Despina — a figure borrowed from a 1912 Ottoman short story by Refik Halit Karay — as she disperses across time, landscape, and voice. Moving through three chapters, the work traces gossip as a form of collective knowledge and resistance, drawing on the planned nuclear construction in Sinop and the broader extractive logics that transform place, language, and body.

The piece asks what it means to hear a call before you understand it and what you carry by following it. It positions the lecture form itself as a site of circulation: not a fixed transmission but a field of overlapping voices, in which the narrator, the mythic figure, and the listening body gradually lose their distinct edges.