Mêmewars is a book writing against itself. Imagine a language constructed of a breath scattering Adolph Hitler, Jacques Derrida and Hélène Cixous into the inarticulate breathlessness of the arctic page.

In a world of poetic discourse increasingly fragmented by the politically and poetically correct of this minor group of post-modern sycophants vs. that minor group of hangers-on, wouldn’t it be refreshing to encounter a language that can hold, however fleetingly, the image of silicone-filled breast implants within a meditation on the polar opposites suggested by just on letter of the Hebrew alphabet? Wouldn’t it be great to open a book of poetry and read towards some place in the middle, and then have to turn the book around and start from the other end to figure out what you started to read, perhaps even to believe, only to end up in the same place you left off, again in the middle? And wouldn’t it be great to do this in the presence of a kind of laughter that refuses to acknowledge the question of interrogation itself? If you are looking for a breath of fresh air, Mêmewars delivers more than you bargained for: Adeena Karasick’s second book delivers a hurricane.

    "Mêmewars is electricity in language, especially at its best where "there’s a profusion of presents." This book makes eye contact with she and with me. It reminds me how being a reader can be exciting." (Nicole Brossard)
  • "Adeena Karasick: a cool & wacky poetry cat" by Daniel L.R. Zanth. The Toronto Star, October 15, 1994.
  • "Karasick, Adeena. Mêmewars" by Eugeia Sojka. Literature and Language (3180 CBRA 210).