gnōstos by Irene Koronas (Volume VII, The Grammaton Series)
Koronas makes me see words that aren’t there. Her gnōstos is mantic, and her Sophia—the liquid crystal wombed God—inseminates with ink, strumous as an ethotic alley (i.e., a post-bodied diachronic polysemic strangulation). gnōstos is our proleptic apocalypse; “the last Oedipus/licks his gonads.” —Tom Prime
Koronas makes me see words that aren’t there. Her gnōstos is mantic, and her Sophia—the liquid crystal wombed God—inseminates with ink, strumous as an ethotic alley (i.e., a post-bodied diachronic polysemic strangulation). gnōstos is our proleptic apocalypse; “the last Oedipus/licks his gonads.” —Tom Prime
Koronas makes me see words that aren’t there. Her gnōstos is mantic, and her Sophia—the liquid crystal wombed God—inseminates with ink, strumous as an ethotic alley (i.e., a post-bodied diachronic polysemic strangulation). gnōstos is our proleptic apocalypse; “the last Oedipus/licks his gonads.” —Tom Prime
In Praise of Irene Koronas’ The Grammaton Series
(gnōstos, Volume VII, siphonic, Volume VI, lithic cornea, Volume V, holyrit, Volume IV, declivities, Volume III, ninth iota, Volume II, Codify, Volume I)
Siphoning from a trajectory of experimental literature, critical theory and poetry from Dadaism to Algorithmics and beyond, to an uranguagic, hyperminimalist écriture, melding its aporias with a mix of staccato posthumanism and metasurrealism, the Koronas grammaton in The Grammaton Series is fashioned from a panerotism melding parapoesis and metapseudepigrapha encoded within the hyperlinks of a retromanic pleroma and a feminine clinamen. Irene Koronas’ The Grammaton Series jubilates over resurrectio, rego, altered to subrigo, above surrexi, then syphoned from surrectum in the perfect amalgam of anastasis and postmemoirica. It is an agonic triumph of misprisionary genius, a metaleptic myth of reincarnation in an Einstein-Rosen Bridge as an antithetical subphylum launching its egg, planula larva, polyp and tryst autoaffect. The Grammaton Series is as rapturistic as it is daemonic. Dexterity, agility, finesse and a high, serious hilarity unleash stanzaic androids and gynoids so innovative in their multiplicity as to secrete glossolalia from postdata holy writ, incubating the grand poesis for the 21st century.
—Daniel Y. Harris
Between gilgul and galgal, logos and gematria, Irene Koronos’ fourth volume of The Grammaton Series, holyrit delivers a spectacular juxtapoiesis of textual and sonic probes— fragrant ellipses, fragments and eclipse, where all that is sacred, secular, savage and ex-static explode as sparks of light reminding us how the letters themselves are the building blocks of creation.
And if “mysticism” is that which does not fit into the system; that which cannot be absorbed, holyrit presents itself as a “mystical” act, performed through exile and fluidity and virtuosic fluxuriance.
—Adeena Karasick
Koronas makes me see words that aren’t there. Her gnōstos is mantic, and her Sophia—the liquid crystal wombed God—inseminates with ink, strumous as an ethotic alley (i.e., a post-bodied diachronic polysemic strangulation). gnōstos is our proleptic apocalypse; “the last Oedipus/licks his gonads.”
—Tom Prime
With her full-length volume, Codify, Irene Koronas has achieved nothing less than a poem that is a model for the material it is made of: in this case, a panerotism that moves beyond the sphere of the interpersonal to a caress of all things, all objects, as embodied, as encoded, everywhere. Eros and poetry, never far apart, are here as they ought to be, together as one. Koronas puts the soul into the flesh and the subject into the object leaving her reader free to experience and to reconcile the disequilibrium encoded in her distinctive short-stopped lines. Sometimes plaintive, always exulting, Codify is an epic paean to erotic love.
—Gregory Vincent St. Thomasino
Irene Koronas is an extreme experimentalist. Her The Grammaton Series includes gnōstos, Volume VII, BlazeVOX, 2023), siphonic, Volume VI (BlazeVOX, 2022), lithic cornea, Volume V (BlazeVOX, 2021), holyrit, Volume IV (BlazeVOX, 2019), declivities, Volume III, (BlazeVOX, 2018), ninth iota, Volume II (The Knives Forks and Spoons Press, 2018) and Codify, Volume I (Éditions du Cygne, 2017).
Her collections include Turtle Grass (Muddy River Books, 2014), Emily Dickinson (Propaganda Press, 2010), Pentakomo Cyprus (Červená Press, 2009) and Self Portrait Drawn From Many (Ibbetson Street Press, 2007).
Her collaboratives include heshe egregore (with Daniel Y. Harris, Éditions du Cygne, 2016),
Her extreme experimentalism has been published in Alligatorzine, Argotist Online Poetry, BlazeVOX, The Boston Globe, Buzdokuz, Cambridge Chronicles, Die Leere Mitte, E·ratio, Esthesis, Graphic Violence, Hyper-Annotation, Indefinite Space, International Exhibition of Surrealism, Lothlorien Poetry Journal, M58, Marsh Hawk Press Review, New Mystics, Offcourse Literary Journal, Otoliths, perspektive, #Ranger, A Shanghai Poetry Zine, slowforward, SPAMzine, Spreadhead, Stride, Sulfur Surrealist Jungle, Taos Journal of International Poetry & Art, Utsanga, Version (9) Magazine and Word For/Word. She is the Publisher of Var(2x). Her website is irenekoronas.com.
Book Information:
· Paperback: 160 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books]
· ISBN: 978-1-60964-452-9