Name Adeena Karasick | Role Poet | |
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Books This Poem: Part 1, Dyssemia sleaze, Mêmewars, Genrecide, The Empress Has No C | ||
Heart of a poet adeena karasick
Adeena Karasick (born June 1, 1965) is a Canadian poet, performance artist, and essayist. Born in Winnipeg of Russian Jewish heritage, she has authored several books of poetry and poetic theory, as well as a series of parodic videopoems, such as the ironic "I Got a Crush on Osama" that was featured on Fox News and screened at film festivals, Ceci n'est pas un Téléphone or Hooked on Telephonics: A Pata-philophonemic Investigation of the Telephone created for The Media Ecology Association, "Lingual Ladies" a post-modern parody of Beyoncé's "Single Ladies", and "This is Your Final Nitrous" a poetic response to the Burning Man Festival., White Abbot, a parodic videopoem Karasick created during the writing of Salome dedicated to the impossible anguish of forbidden love, and Medium in a Messy Age: Communication in the Era of Technology created for the 71st Annual New York State Communication Association Conference and the Institute of General Semantics, 2013.
Contents
- Heart of a poet adeena karasick
- Adeena karasick
- Education
- Teaching career
- Projects and collaborations
- Videos films and CDs
- Awards and grants
- Anthologies
- References
Her eighth book, This Poem, which was released in August 2012, opened on the Globe and Mail Bestseller List for Winnipeg. It was also named one of the Top Five Poetry Books of 2012 by the The Jewish Daily Forward. One of her most recent projects is The Medium is the Muse: Channeling Marshall McLuhan, co-edited with Lance Strate (NeoPoiesis Press, 2014). She teaches literature, critical theory and performance at the Pratt Institute and global literature at St. John's University and is co-founding director of KlezKanada Poetry Festival and Retreat.
Adeena karasick
Education
Karasick received her Ph.D., in 1997 from Concordia University in Montreal and was the first interdisciplinary scholarship, which linked the work of French deconstructionist philosophy with 13th-century hermeneutics. Her doctoral dissertation, Of Poetic Thinking: A 'Pataphysical Investigation of Cixous, Derrida and the Kabbalah, examined the relationship between the major texts of Kabbalistic discourse and contemporary deconstructionist and literary practices.
Teaching career
Karasick is a visiting assistant professor at The Pratt Institute teaching literature and critical theory and performance and professor of global literature at St. John's University. Prior to that, she was an associate professor of communication and media theory at Fordham University From 2000 to 2012, she held teaching positions at St. John's University: Classes include, Creative Writing: Contemporary American Poetry, Literature and Culture, Literary Theory, English Composition and Literature in a Global Context. Between 2008 and 2010, Karasick taught upper-level writing classes, and film and literature at the Borough of Manhattan Community College. Between 1991 and 1992, and from 1993 to 1996, Karasick taught Canadian contemporary literature and cultural theory at York University, Canada, and in 1992 was writer in residence at the Gutenberg Universität in Mainz, Germany.
Projects and collaborations
Both her poetic and scholarly work focuses on issues of contemporary writing strategies, media, culture and aesthetics and has been described as "electricity in language." Nicole Brossard, "a twined virtuosity of mind and ear which leaves the reader deliciously lost in Karasick’s signature ‘syllabic labyrinth.’" Craig Dworkin, "a delirious interplay of tongue twisting cacophony and serious exploration of language and meaning." Herizons, "plural, cascading, exuberant, in their cross fertilization of punning and knowing, theory and theatre", Charles Bernstein.
Her ongoing collaboration with Maria Damon, Intertextile: Text in Exile: Shmata Mash-Up, explores the interwoven relationship between gender and textuality and debuted at The Banff Centre for the Arts and The Poets House in New York.
Her study of the Kabbalistic traces in Charles Bernstein's opera, Shadowtime and her ongoing work tracing the patterns and intersections between Kabbalah and Contemporary poetics ("Hijacking Language") were published in Radical Poetics and Secular Jewish Culture (University of Alabama Press, 2012). An analysis by Maria Damon of Karasick's own poetry also appears in the book. According to Jake Marmer, "Karasick is after the "meaning that is not fixed but in flux, fluid; a logic that is often illogical; a rationality that is not irrational but relational and affirms that like the text itself we must embrace contradiction, conflict, discordance."
A study of Kenny Goldsmith and conceptual poetry and its relation to 13th-century textual practices was presented at The Kelly Writer's House, University of Pennsylvania, as part of North of Invention: Festival of Canadian Poetry.
An investigation of the relationship between conceptual writing, media and pop culture, "Glammed Out, Googley-Eyed and Gangsta: Parody, Satire and Cultural Sampling in the Age of Media Obsession" was presented at the New Jersey Institute of Technology, 2011.
Her work on the language and locus of Marshal McLuhan includes "In My Blogal Village, Print is Hot" for the "Cityscapes" session of the Marshall McLuhan Centennial (Signals from the DEW Line: Art and Poetry in the Global Village), University of Toronto, and "We'll Cross that Road When We Come to It: On Media, Writing, and Creativity" at the 13th Annual Convention of the Media Ecology Association, Manhattan College.
"Exile & Nomadicism: A Community Manifesto" was presented at the Poetry Communities and the Individual Talent Conference, University of Pennsylvania and printed in Jacket2, 2012.
Since 1989, Karasick has collaborated in both print and performance with fellow poet bill bissett and in June 2011, they embarked on a 20th Anniversary World Performance Tour (The Bouchetime Tour) through London, Manchester, Paris, Geneva, Barcelona, Ghent and St. Petersburg promoting sound collage and asemic performance. In November 2012, they celebrated a lifetime of work with The 25th anniversary jubilee celebration of Adeena Karasick & bill bissett collaborations & the Toronto launch for This Poem and novel, which was streamed on the Occupy Toronto channel of Livestream.
In August, 2015, along with Frank London http://www.franklondon.com/ they debuted their Spoken Word Opera, "Salome Woman of Valor" at DROM as part of the Radical Jewish Theater Festival http://www.dromnyc.com/events/4067/new-jewish-theater-festival-w-adeena-karasick-frank-london-salom-woman-of-valor#.Vf7PXmRViko in New York which re-visions the apocryphal figure of Salomé - a woman who has been scorned by history and patriarchy and translates it to a story of female empowerment, of scapegoating that speaks to a contemporary preoccupation with erotic and aesthetic transgression. Karasick created the libretto and the original bhangra/klez/jazz score was composed by Frank London. The performance featured visual projections by Award Winning director http://www.paulclaydesign.com/1997/rent/ Paul Clay, and vispo language artist, Jim Andrews (who created digital asemic art http://vispo.com/StirFryTexts/adeena/index.html using his db processor synthesizing Karasick's images juxtaposed against live dance, Roni Yaari (tribal belly) Deep Singh on percussion, and Shai Bachar on keys. A selection of vocal tracks were published on PennSound http://writing.upenn.edu/pennsound/x/Karasick.php and selection of the text was published by Nashim Journal (Brandeis) https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/nashim/v026/26.karasick.pdf
Videos, films, and CDs
Today’s politics have reached such a completely absurd level, I felt compelled to comment," said Adeena Karasick of her new video I Got a Crush on Osama released today on YouTube to help promote her new book from Talonbooks, Amuse Bouche: Tasty Treats for the Mouth. The book is a delectable feast of her trademark poetry combining the obsessions of popular culture, politics and linguistic theory into a multi-layered banquet of language often humorous and wry, surprising and sometimes shocking in its juxtapositions, reflecting the often ludicrousness of the techno-saturated world we live in.
Awards and grants
Anthologies
In addition to the anthologies below, Karasick's work also has appeared in literary magazines, and academic journals and publications.