From: Ray Recchia (rrecchia@mail.clarityconnect.com)
Date: Thu 09 Jan 2003 - 21:13:56 GMT
At 08:33 PM 1/9/2003 +0000, you wrote:
>http://www.adeenakarasick.com/book4.html
>
>Actually, I'm not sure whether it is or not.
>
>__________________________________________________
>
It's a book of poetry published in 1994. Quote from Publisher's Weekly on
the writer's latest work:
>Publishers Weekly
>Continuing her pop-charged, extroverted and libidinal poetic
>investigations, Canadian ex-pat Karasick (Memewars; The Empress Has No
>Closure; etc.) here offers her most visually compelling, over-the-top
>collection to date. A high-end production--one of the few paperbound books
>of poetry to boast full-color, glossy pages throughout--the book uses
>photographs, drawings, multiple typefaces, the "open field" spatial
>accoutrements of projective verse and other kitchen sink-isms to propel
>words across, under and on top of the page--and in one's face. The
>sequence "Menaheh Yehuda" invokes the 1997 bombing of a Jerusalem market
>and jars each syllable forward on the phonemic contours of the
>preceding--trashing, along the way, notions of lyrical morality by
>sexualizing the event's horror and troping Jewish cosmopolitanist
>stereotypes: "Tropic/ blot clotters/ a cotillion of many cullers, isolata
>eros swigs in/ blunt pulses & skins the surface of/ her dimpled limits/
>fermented in riggish gashings/ grasped in spronged frottage ruffled
>fetchings/ fraught with h ute conduits." The book's centerpiece,
>"Improbable Grammars V" juxtaposes a barrage of quotes about and images of
>the Western Wall with deformations of Matisse, Haring, adlike depictions
>of women's bodies and didactic theoretical text. The clashing color images
>and attention-deficit typefaces ("dyssemia" is a coinage for disrupted
>units of meaning) are eye-catching, but fail to develop a sustained
>critique of their seeming targets--sexism, capitalism, anti-Semitism,
>troubled Arab-Israeli relations--though the text-as-theory and the naked,
>juggled graphemes (the effect of which can't be reproduced here) conspire
>to create some intriguing hermeneutic whirlpools. The book as a whole is
>most successful as an exhibitionistic, youthful, pseudo-hysterical display
>of ambition and desire, and points the way to further poetic
>appropriations of images and politically explosive material. (Sept.)
>Copyright 2000 Cahners Business Information.|
>
Ray Recchia
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