“I’m so interested in what’s communicated in the gaps”

We’re getting ready to send our second chapbook out to the printer’s. While you wait anxiously, why not get into your internet time machine and check out

“GLAMMED OUT, GOOGLEY-EYED AND GANGSTA”: EXCERPTS FROM A CONVERSATION WITH ADEENA KARASICK

an email interview Gap Riot’s Kate had with Gap Riot poet Adeena Karasick last year in The Puritan?! My favourite part:

KS: I love the idea of the poem as a city of flows, movement, and flux—a poem not of “place” but plays, as you say so beautifully. Your language is always slipping and sliding, moving between points along an unpredictable trajectory where the goal is not the end point of cohesive meaning, but the pleasurably frictive process between. And of course, going along with this, the formal innovations of your poetry definitely reflect a nomadic sensibility. How does this play into the gender politics of your work vis-à-vis dominant critical discussions of belonging in place versus drifting? 

AK: It’s less a poetics of the “drift” but of the “rift,” existing in the fissures, cracks, breaks, ruptures. As intra-phonemically festive and multimediatic, the work draws from multiple sources, voices, eras, histories, lineages, lexicons. And meaning is not free-floating because it carries the weight of its palimpsestic history, and is continually re-creating its own eruvs, borders, orders, limits, laws, flaws. This is especially underscored, say, with homophonic translations, as in my poem “With Asura,” (adopted from Pound’s Canto 45, “With Usura”) or Song of Salomé (from the Song of Songs/Song of Solomon from the Old Testament). In these works, as the text is overwritten/written though anew, it carries the specter of its past within it.

And how is this playing into gender politics? Both as a woman and a Jew, it’s about being always a part of and a part from; cut off and cut into (like the mark of circumcision). And, as I cut, bind, separate, and connect through incisions, severs, semiological slips of cryptic schize, I’m so interested in what’s communicated in the gaps, absences, caesuras of this hermeneutic cut.

All of this is so clear in Karasick’s forthcoming Salome: Woman of Valor, part of Gap Riot in our Fall 2017 season. Brilliant women, beautiful poems, and intra-phonemically festive and multimediatic poetry … what more are you looking for?

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