Joshua Martin reviews Irene Koronas’ gnostos

Book cover for Irene Koronas' gnostos. Book cover and the background for the cover image are brown. Black armless humanoid figures of varying heights cluster together with blue and yellow heads with a single black squiggle.

A Review of gnōstos, volume VII of  The Grammaton Series

by Joshua Martin

gnōstos (BlazeVOX, 2023), volume VII or Irene Koronas’ The Grammaton Series, continues her trajectory of extreme experimentalism through a fragmented poetic language filled with radical juxtapositions, snippets, neologisms, and minimalistically ecstatic aphorisms. Linguistic flares and miniature rhapsodies. Each word a new world unto itself, brimming with exaltation, reveling in the illogical and the mystic. Overflowing with rich treats and poetic mashups. A heady potpourri of languages and references, this wildly inventive and diverse work probes the very nature of our 21st century world. Filled, as it is, with huge amounts of textual varieties, never standing still, always performing new and perverse syntactical experiments and collisions.

Letters, words, language itself, are simply building blocks for an expansive and stimulating poetics that reaches into the fringes of what language can and should do. At times reminiscent of Russian Futurism (particularly Khlebnikov and Kruchenykh) and its desire to transcend conventional language, creating something spontaneous through Zaum, Koronas’ work seems to be developing a new language all its own, free from the rigidity of grammar, syntax, and vocabulary, no matter its origin. And there is a myriad of origins in Koronas’ work. Her seemingly endless knowledge of a wide range subjects, alphabets, theories, languages, and texts is impressive and inspiring. Koronas’ work is written with a scholar’s information and an experimental poet’s skill. Khlebnikov’s “language of the gods” and “language of the stars” aptly applies to gnōstos.

Though the length of many of these lines are often quite brief, they are packed with beauty, sublimity, and chaos. Many words are new creations in themselves. Disorienting, transfixing, and sonically innovative, gnōstos deftly explodes poetic convention, instead offering the reader a dizzying array of staccato riffs and verbal treats. There is no net. As readers, we are free floating among her endlessly unique creations. At times, the speed at which Koronas’ lines whizz by can make us feel lightheaded in the best possible sense. We feel as though we are reading lightning strikes on a page. 

Language is taken apart, constructed, reconstructed, and made into an entirely new thing. Mystical and rapturous, reading Koronas is like reading an invented language, offering us a whole new way of seeing, being, and understanding. A poetics that wishes to explode, implode, and pull apart all conventions in order to find something truly novel. Experimentation at its finest. A radical performance seeking to encompass the entire cosmos in its fragments.

Exciting, elusive, entirely readable, illogical, visionary, and virtuosic. Bending, breaking, forming and reforming. Reading gnōstos is an inspiring and disorienting experience. A work which requires multiple readings in order to truly absorb its many secrets, mysteries, and triumphs. The Grammaton Series is a massive undertaking not only in its length and scope, but in its bold and formidable search for invention. gnōstos is reaching for something unique and intangible, pulling readers along as far as it can toward something visionary and profound.

Irene Koronas’ new book gnostos is available from publisher BlazeVox here.

Essay from Michael Robinson

Middle aged Black man with short hair and brown eyes. He's got a hand on his chin and is facing the camera.
Michael Robinson

I will give thanks to you, LORD, with all my heart; I will tell of all your wonderful deeds.

                                           --------Psalm 9:1 NIV

My open-heart surgery on August 30th, 2023 changed me. It altered my entire view of the world and that change showed me the value of my relationship with Jesus Christ. The surgery was to repair four blocked arteries, and without it, certain death would only have been a matter of time. Before my surgery, life had become routine. Each day was a repeat of the day before, except for church on Sunday. My relationship with Jesus Christ existed throughout my life, but this experience meant a change for me. This time the void that always existed in my life changed. I always had a feeling of comfort in the Sanctuary at an early age. Listening to what God had to say to me. 

My salvation started in 1957 at my birth in Baltimore Maryland. Growing up in the darkness of the streets of DC where the only light was the votive candles burning in the Sanctuary.  This silence brought an awareness of peace and comfort. There was a sense of a presence that was quiet and comforting to me. This comfort surrounded me during the surgery. There were no bright lights that I can recall or noise from the heart lung machine or people hustling around me. The operation took six hours and one hour in which my heart was stopped as the heart lung machine pumped blood thru my body. I learned weeks later that once your heart stops beating you are considered legally dead. During the operation there was a sense of space around me. Upon, waking up in a state of disconnection to my surroundings except for that breathing tube in my throat. which was the sensation in my body. Once the tube was removed, I vomited out water and was unable to speak. My memory after the operation was this feeling of space but not time. 

Days passed and with each passing day gradually my senses returned, however there was great discomfort from the surgery. There was still this feeling of space around me. Each day there was a disconnect between me and my surroundings. During this time my emotions were on hold. Thoughts about life without having footprints from the past before the surgery. Thinking is that what one experience when they are born in this physical world? Only thoughts about God were my connection to my surroundings. I still alive and why did God choose me to continue in this world? This feeling of an empty space lasted even as the anesthesia subsided. The physical discomfort lasted for months. God had allowed me to start a new understanding of what life really meant. Only thoughts like I mentioned in childhood of God filled that void in me. 

My waking hours I meditate of God's presence in my life. No fear about life or death are of no concern to me. Wanting to return to the Sanctuary at Asbury United Methodist Church. Sitting in the Sanctuary to fill that void like in childhood. My prayers are simple prayers of gratitude. Jesus Christ have filled that void. Christ Jesus was within me all this time in my childhood. On August 30th 2023 my prayers came to fruition to live for Christ Jesus. 

Short story from James Whitehead

The Haven

“If you must gain entry for yourself and your family, then we must learn news from the Terror. Our historian requires it”


Stepan pushed his cap back on his head and wiped his brow. He had spoken those words a dozen times a day, now, for so many years he wished to forget them.


The man standing at his table stammered, and then courageously –
“I would wish to forget it, too. Must we speak of it?”
Stepan – “We must always speak. We must always write. We must always record. All begins with the word according to most clerics, as they interpret most Holy works of the word.
A difficult truth, as they say in every Village –”


“Yes, yes,” the man said, wringing his hands. “A difficult truth is more beautiful than the easiest lie. I know. Well . . . they are now barricading my own Village. There is a siege upon it which my family escaped, I admit because of connections with members of the
councils that make decisions, regarding which people are allowed to go, or which are required to stay. As you can see, one of my sons is only 13, but he is thin, and we were able to avoid his recruitment into the army, and my other son is only 8. My wife works with the bards in our village, and the artisans. She runs one of the shrines to the
imagination, not one dedicated to the holy . . . I worked on behalf of the legal councils, so I was able to contact some friends, and seek permission to escape the Terror. I know it’s cowardly, but –”


Stepan cut him off, in a moment.
“It was brave. You risked humiliation for your loved ones and did so in order to avoid behaving wrongly. There is no wrong here on any level.”


The man was flummoxed. He paused, then asked,
“Does your Village employ Clerics at their ports?”
“No. We are all Clerics here. We all share in the clerical work.”


Stepan straightened his hat, as if to say, he meant labor. He said,
“Go on. Tell me more about what you think you know about the Terror. Facts please.”
“We have learned from our own historians and bards that members of other tribes from other Villages have made raids and killed children. This is why I used my friends to help us leave. Our Village was doing well, as well as one could. There was a short time
when we were not at war with any of the others, and our leaders were sending emissaries to negotiate for a sharing of the new resources that had been discovered.


But when we learned that members of other raiding parties were no longer leaving women and children alone, we made the decision to flee.”
Stepan waited. He put some tobacco into his pipe, a long handled pipe from the horn of a local grazing animal that his cousin had carved out for him. He thought about asking the question delicately, or directly, then asked, without worry: “Do you think that members of other tribes were doing this without members of your own tribe doing this?”


The man gave the answer Stepan was seeking.
“No. I believe that whatever one side in the Terror is doing, all of the sides are doing.”
“The historians should call it the Horror. The horror is in the deed done. The terror is the anticipation of it.”
Stepan paused, then nodded. This particular news of the Terror was sufficient, in Stepan’s judgment, to allow the man to pass the first test laid out for admission to his Village . . .


It had been a dark decade on the continent.  Seven different villages, all separated by forested land, had been at war with one another over claims to the region, changing alliances, re-forming old alliances, without any one of them able to gain an edge or advantage over another.  The terror – this was the name historians in at least three of the different villages had given to it – the terror had begun when certain resources, with certain properties, had been discovered, not so deeply in the earth as to go undetected. 


The various metals and other natural elements to and from the earth included some metals, and some mysterious plant-like samples.  The metals were far superior to what citizens of the many villages had worked with and used for shelter and tools.  The elders, councils, executives, or other kinds of law-giving or law enforcing bodies,
depending on the particular village, were all concerned that one or another of the other villages would monopolize the new discoveries.

A historian in one particular village noted the irony of the Terror and its origins, in his ongoing records and logs: the plant- like substances induced an almost euphoric, nearly hallucinatory creative drive and love for peace and humanity, when ingested either into the lungs, or the digestive tracts. 

In stark contrast, the metals were coveted simply because they were so superior to the kinds of materials used by the engineers and military units of different villages, that the metals then in place would not hold up in defense of any army utilizing the new resource. 

At the outset, assorted members of the educational, artistic, or priestly classes of different villages petitioned their governments for expeditions in search of the almost-magic plant that had been found.  Artisans, painters, inventors, clerics, all sought for the new plant, in the hopes of uncovering some new metaphysical secret to the
universe around them.  Almost simultaneously, however, leaders of guards, sentries, armies – the knights and soldiers and their generals – petitioned these same governments for finances and backing, to embark on expeditions in search of the new metals.


 The Terror had begun, but no one was quite certain how it had begun.  It depended on which Village Historian one consulted.  The historian for the tribe of one village attributed it to another, and that tribe’s village historian blamed yet a third village for beginning the Terror.  Different accounts bore some similarities, and the generally
accepted explanation was, simply, that the armed explorers and pioneers from one village, deep in the forest in search of the superior metal, had happened across a search party of clerics seeking the plant, now labelled “divine” by most seekers.  The armed party of soldiers and knights mistook the clerics and artists for another armed
party from another village, and no one was spared. 
 
Killing another Village’s cleric was a capital offense.  It invariably led to extradition of the offender, without protest or further challenge and, even in past times of war, this code was generally accepted.  But killing another village’s artist, or poet, or bard – whose
jobs included enlightenment, and whose unique skills included a recognition of the shortness of life – this was unimaginable, a horror of the first rank.
 
And so began the Terror.
And this meant – as already noted – for at least one perceptive historian of at least one village – a most greatly ironic moment in the history of the different tribes and their villages.  Indeed, it meant the most ironic turn of history ever . . .
 
For what could be more ironic than to immerse thousands of citizens, from hundreds of families, from seven different tribes, seven different villages, into a long, protracted, and bloody conflagration, all over the bodies of a few men who would have been among the first to preach against such a result, who would have been the first to admit their own mortality, their own recognition of the shortness of their own lives?
 
But one Village had escaped the conflict, separated from it all by leagues of ocean waters, and while the other villages raged on one against another, that one against a third, this Village simply grew, and grew – its population doubling, then tripling, with the scores of refugees who made their ways across the choppy seas by any means necessary, losing hundreds of loved ones and family members in the terrible, sea-borne trek.


And the historian that had noted the irony, so perceptively?
Well, of course, it was the Historian from Stepan’s Village. That Historian learned more about the Terror than any of the other Historians from any of the other Villages combined. Because he accepted all of the participants, and their speeches about it,
through agents like Stepan, he could hear all sides. This was Village policy.
 
Stepan was a customs agent for this isolated island village.  In the past, before the Terror, he manned the port and he received goods. But goods stopped coming. The Terror began. Then good came, fleeing as it were what it was not. And it became Stepan’s job to receive, to document, and to welcome, the many refugees who sought a new life of peace, each of them seeking a new beginning at his assigned port. He asked the man some more questions, now that the man, and his family, had passed the first qualification for entry.


But the refugee first asked Stepan so many questions that he could not do his job.
“Why does your Village not take part in the Terror?” he asked first.
“It is across the seas. That is a long and difficult way to go just to die.”
“Why do you not send emissaries and explorers in search of the metals and the new divine plant?” the man asked.
“We have our own metals, and we do not need the new one.  We have the ocean for defense, and it would swallow up any ship made of any metal heavy enough to crush our own.


And we have our own plants, our own elixirs, our own . . . sources of inspiration . . .”
“But what about your inspiration, what do your holy men and bards rely upon?”
“The word.”
“And your elders choose not to engulf you in the Terror.  They must be wise.”
“As I said, it is a long way to go just to die.”
“Tell me then about the word.” 


“We all have these words, we all have language.” 
“What makes your understanding of it so unique?”
“Your words.  This is why I am here.  This is what I do.  Here are your papers.  These will admit you. You are to write down every word you know, and every word that you bring . . .”

The refugee was puzzled, but crying. Tears of joy. 
“Our language is hungry.  It is like your armies, or your expeditions, and the parties that go from your Village hungering for more.  Our words need more.  More words.  You are to write down every word in your language, that you know.  Henceforth, it becomes part
of our own . . .”

Poetry from Stephen Jarrell Williams

The Space Maker


1
"Moon Walker"


Never dreamed
I would find myself
here


after so many years of life
on tender Mother Earth


rubberized boots
walking
and breathing through a mini globe


marvelling at the skin of the moon
a pitted and quiet
barren buffer against a cast
of stones and new discoveries 


almost soundless
but eerie


as the distant horizon
takes on a reddest hue
bringing me to a stop


red smoke creeping toward me
settling over the mouths of craters


what could be burning
and where is it coming from?


I quicken my slow plodding
and come to the edge of a gaping crater


slow smoke reddish into a dull pink
coming out of a cave on the far wall


I consider climbing down
but something whooshes out of the cave
and flies over me


I duck
looking up as it passes


a Nazi insignia on the bottom
of an old flying saucer


war seems to be everywhere 


I turn and face the sphere of earth
out there in dark space
so near I feel
I could touch it


seemingly nothing ever changes


so I wake up and wonder why
there's someone's blood in my bed.



2
Spinning


Sweet earth of blue
what have we done to you


I stand on your sister moon


squinting through space
over to your sphere


my slow spinning
mother earth
turning into a lonely


immense skull


but the great change is coming
earth reborn
with God's people.



3
Soon


All the land of all the people
all the years settled and dying


so many believing
sky, sea, and sacred places


and prayers and rapture
of saints to heavenly clouds


the Word
directing
footfall and stars


The Space Maker.


Poem from Jacques Fleury (one of several)

Branded: Black as Means of Commodity

by Jacques Fleury

[Excerpt from  Chain Letter To America: The One Thing You Can Do To End Racism, A Collection of Essays, Fiction and Poetry Celebrating Multiculturalism]

Light skinned face on the left staring out at the public with a finger pointing at it on a blue background. Text says Chain Letter to America: The One Thing You Can Do to End Racism by Jacques Fleury

Modern day black commodity, a derivative market of slavery…
Black body;
Black culture;
Black branding;
Fetish objects of capitalism?!
Devalued laborers as fraught consumers,
Filling the coffers of their oppressors.
In history’s vault…as Cedric Robinson wrote in Black Marxism:
“To be black was to have
No civilization
No culture
No religion
No place
No humanity
Worthy of consideration.”
In the cacophony of this capitalist country, black men were detained in their disparate
But imbricated roles, Like a run of toppled dominoes…casted as commodified bodies,
Disparaged workers and thronging consumers looking to escape their shame,
By wearing labels bearing someone else’s name…today that is their game;
Yet still they use their style and swagger
In protest and in search of a new maneuver, as they watch the usurpation of their culture
Scattered along the margins of the society which excludes them;
Their humanity and masculinity secondary to their race in a capitalist society
Whose primary ideology is the working male body; but black men’s souls become darkest at the
Crossroads of patriarchal privilege and racial repudiation;
That is to say…a real man must work no matter what!
But that work is hard to come by, especially when that man is black!
But as commodity they can “be like Mike” like professional athletes like Michael Jordan;
That is if they’re willing to see their remarkable ability commercialized…
Successful blacks used as trope to sedate and tantalize, elevate and emphasize,
The promise of success for those blacks who are marginalized…
But history manifested in our memory has taught us that tropes are in fact
Like the black characters in a horror movie…they are usually the first to get the axe!
Simply put black liberation is our collective investment,
But as capitalist commodity it compels our collective divestment!
Blacks need not succumb to being branded as “worthy”
By capitalist elites who place no “worth” on their humanity.

Young Black man looking out and smiling towards the audience. He's in a suit with a black coat and a purple tie.
Jacques Fleury

Jacques Fleury is a Boston Globe featured Haitian-American Poet, Educator, Author of four books and literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self”  & other titles are available at all Boston Public Libraries, the University of Massachusetts Healey Library, University of  Wyoming, Askews and Holts Library Services in the United Kingdom, The Harvard Book Store, The Grolier Poetry Bookshop, Amazon etc… 

He has been published in prestigious  publications such as Muddy River Poetry Review, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide, Boston Area Small Press and Poetry Scene among others…Visit him at:  http://www.authorsden.com/jacquesfleury.

Poetry from Anila Bukhari

Young light-skinned woman with long dark hair, glasses, a white blouse and blue and gold and white necklace seated on a fancy couch.
Anila Bukhari
Open your eyes

I hold the utmost respect in my heart,
For those who are never separated from their families.

Some fathers, however, wear sharp arrows,
slowly eroding the rights of their daughters to freedom.
They say they love them, but they are bound tightly,
Their limited minds, girls, forbidding the light.

Oh how they violate the wishes of their daughters, .
saw the depth of his illness.
It is considered a sin to write as a girl,
Not knowing they are caught in the dark.

How many different souls do you cover?
You cannot understand the magnitude of this.
Harming girls is a horrible crime.
Education, dreams, and time to be rejected.

But in this big world, there can be disappointment,
However, women deserve a safe place and housing.
No sleep or torture, let it be done,
Because they are beautiful and safe.

So open your eyes and see,
The power and strength of your daughters.
Let go of the closed bonds of life, .
and give them the freedom to really shine.


Truly compassionate and determined, Anila Bukhari has dedicated her life to supporting children’s rights and affecting a better world. Born with a compassionate heart, Anila has crossed continents and touched the lives of countless individuals through her incredible work.

Anila lived under the importance and transformative power of education from an early age. With an unwavering commitment to empowering children, she embarked on a mission to provide quality education to those who needed it the most. Anila’s efforts span many countries, making an indelible impact on the lives of children and their communities.

One of Anila’s most important accomplishments has been her work to raise awareness of the refugee situation. Understanding the plight of displaced individuals, he took it upon himself to educate more than 1,000 refugees through online forums. Through her dedication and innovative approach, she created a YouTube channel specifically tailored to meet the needs of visually impaired individuals, ensuring that they too had access to the world of knowledge and literature .

Anila’s passion for social justice extends to her tireless efforts in fighting child marriage and advocating for women’s rights. Through her powerful poems and impactful campaigns, she has highlighted the challenges young girls face and the urgent need to end child marriage. Her work has not only raised awareness but also inspired action, and has brought about a major change in legal and social attitudes.


Poetry from Kristy Raines

White middle aged woman with reading glasses and very blond straight hair resting her head on her hand.
Kristy Raines

WAITING TO MEET YOU AGAIN

If ever we are in this life or the next,
I will be there waiting to meet you.
Take me to the sky and beyond my imagination
Touch me deeply and tenderly in the depths of my soul
For my heart pines for you over and over 
no matter which life we are living in.
Your name is always on my lips when I speak, 
as well as the memory of you kiss
At night as I sleep, you enter my dreams gently.
At times they are so real that I cry out your name.
I have no control over the outcome of our life together,
Because, my Love, One who knows best has already
drawn that line and I can not erase it. 


Alone...

Loneliness and sadness grew in my heart without you
I tried to find in someone else what I found in you
What I failed to realize is that you can not be replaced
When two hearts are one, none can separate them,
no matter how much I try to move forward.. 
If he would try to touch my hand, it would chill me
I couldn't look in his eyes...
Because I couldn't find my reflection
You hold the key that locks these golden chains around my heart
I need your kiss, your touch, and the love only we share
But I have no answers... 
Because though we are apart in distance
our hearts couldn't be closer
So I will stay alone with your memory 
'cause I can't live a life with someone else that was only meant for us
I pray that one day you find your way back to me
You will find me where you left me.... Alone  



WHEN I SMILE!

Do you ever wonder why I smile?
I smile when I see a beautiful sunset
When I hear birds sing on a silent day
When a baby laughs, I shine
For many years I lost my smile
Then I saw yours, and slowly
I found my smile again.
Now our world has changed
Our destiny is clear ahead of us
You can rely on me; My world is in you!
Could you not see?
And yes, I am smiling now
So when you see me smile
I hope you realize I smile because of you .... ❤