Sunday, June 11, 2017

HORNY ATOMS: A Review of Irene Koronas' Codify (Editions du Cygne, 2017) By Fusiform Gyrus


Codify, cover image by Irene Koronas for Codify (Ed du Cygne, 2017), 



HORNY ATOMS: 
A Review of Irene Koronas' Codify (Editions du Cygne, 2017)
By Fusiform Gyrus  

CODIFY by Irene Koronas, 130pp, $15.00, Editions du Cygne/ Swan World  4, rue Vulpian 75013, Paris

Sitting down to flesh out a review of Codify, one can easily imagine Koronas’ minimalist fragments travelling as posthuman transmissions in an anomalous din through the dark of space. Erotic, visceral and at times weirdly comic, this is a collection that evokes the calibre of juxtapositional disjointedness so fondly remembered of the surrealists and so often emulated in their wake;


26

four foot cyclops
craving entrails

strip instead of seduce

perhaps it’s all refrain
dirty odd hacks

stuff bra with newspaper
latex neck sweater

wet with mohair
and neon ray gun


Koronas marries this with an almost ancient lyricism, culminating in such a way as to affect an overall anachronistic sensibility where imagery both common and esoteric are jettisoned about the place tethered to shapes like a work of modernist art; here, jagged lines and bold colours are replaced with a lexicon as refined as it is seemingly cut-up, as nuanced as it is elemental—this is the crux of Koronas’ experimentalism; what some refer to as post language though is perhaps better expressed as the simultaneous embrace of a litany of technique and voice, a heightened sense of craft Koronas executes effortlessly throughout. Unlike many so-called post langauge poets, Koronas embodies this approach so fully, so vibrantly,  she rises from the ashern deathbed of postmodernism carrying her own unique tune;  


74

hot cuneiform on coins
text and nohuatic

disco pallisade
pours ethylene

on horny atoms


Part of the book’s simple genius comes from its flow and addicting readability, as if it were a longform work that has learnt to take ample breaths. Demonstrating a keen compulsion towards strange, erotic imagery, Koronas writes,


25

upstairs paint leaks
by gash
neck and rape

soft incest roses

pour arsenic
in porcelain

finger frag
rub testis

to spurt
  
Koronas’ deeply erotic-trangressive work is far from trite retromanic pastiche echolaliac of the last century, rather, it is unconstricted by what, as Koronas writes, can be seen as an ‘extra laconic hypersexualskin’ (18, p.49), breathing life into what is now ostensibly a fringe form—often dismissed as theoretically fallow in a post-psychoanalytical landscape. By excavating the bones of figures like Bataille, Rimbaud and de Sade, Koronas’ archeology finds a powerfully feminine, post-beat voice that resounds with a modernist almost Pound-esque sincerity, conjuring such lines as; ‘when hipsfall over her face petticoats his head his mouth on her green lace dress spit on his stamen’ (49, p.36); ‘in web stretcha terra cottar potat the bottom of my skirt’ (40, p.50); ‘swipehis waist squash his cum blow her cuntif cool’ (47, p.126); ‘hike up your spike you nasty whore master who rebels in my mouth’ (1, p.26), and ‘univited fist thick with mucus tight genes imprison to bruise’ (87, p.53). 

While something could be made of the obvious non-linear sequence of these poems, as affirmed by the book’s title “Codify, I find little argument for how this would add to what is, simply put, a striking and deeply important work, one I am perosnally moved by as it represents a much needed drive towards original, or more importantly; oringless, erotic poetry. This is probably as good as it gets for the experi-eroticist community and what a pleasure to read an author so outside herself! 

No comments:

Post a Comment