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Showing posts with label <b>#poetsyouneedtoknow</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>#poetsyouneedtoknow</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Sunday, October 13, 2002</span></h2>

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<span style="font-family: Arial;">I&#8217;ve made caustic comments
here about a few poets whom I&#8217;ve associated with the tradition I&#8217;ve
characterized (to borrow from Edgar </span><st1:personname><span style="font-family: Arial;">Allan</span></st1:personname><span style="font-family: Arial;"> Poe) as the school of quietude, that tendency within American letters
that envisions poetry in the United States as continuous with (&amp; mostly
derivative from) verse in the British Isles, and especially from the most
conservative elements there. So the question naturally arises: are there
conservative poets whose work I genuinely like? <o:p></o:p></span></div>
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<span style="font-family: Arial;">The answer is yes. I think
Hart Crane&#8217;s <i style="mso-bidi-font-style: normal;">The Bridge </i>a master work
of American poetry. There are aspects of Wallace <span class="GramE">Stevens</span>
work that I like, even though he suffers from being so overrated by his
advocates. Ditto the early Eliot, though the canonization process is not nearly
what it was when I was in college, mercifully. I&#8217;ve been reading Jack Gilbert
and Robert Hass with interest &amp; even passion for over 30 years*, have
always thought Berryman&#8217;s <i style="mso-bidi-font-style: normal;">Dream Songs</i>,
<span class="SpellE">Plath&#8217;s</span> <i style="mso-bidi-font-style: normal;">Ariel, </i>John
Logan&#8217;s <i style="mso-bidi-font-style: normal;">Zigzag Walk</i> and even <span class="SpellE">Merwin&#8217;s</span> <i style="mso-bidi-font-style: normal;">The Lice</i>
admirable. There are elements in Robert Lowell&#8217;s best writing that suggest that
he had the potential to have been another Frank O&#8217;Hara had he not been so
horrifically dysfunctional, aesthetically as well as emotionally. Alan Dugan is
a guilty pleasure. And Wendell Berry is a <span class="GramE">poet</span> for
whom the term conservative should be understood literally, in the very best
sense. The values he espouses in his poetry &amp; life seem to me to fit
together seamlessly. So when I come down harshly on a poet such as Richard
Wakefield, it&#8217;s because he writes so ineffectively: his sense of metrics could
only be characterized as plodding and bungled. <o:p></o:p></span></div>
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<span style="font-family: Arial;">On my desk is a manuscript
for a book entitled <i style="mso-bidi-font-style: normal;">Calendars</i> by
Annie Finch that Tupelo Press will be printing sometime soon. It&#8217;s a marvelous
manuscript by a poet who could easily be taken for one of the New Formalists,
in the Timothy Steele vein, but who is also, I would argue, a formalist in the
tradition, say, of Bernadette Mayer &amp; Lee Ann Brown. Which is to say: <i style="mso-bidi-font-style: normal;">she gets it</i>. Her commitment is to the
language, even as the strategies she deploys are most often taken from oldest
playbook there is. At times, as in the poem &#8220;Moon,&#8221; her work reminds me of <span class="SpellE">H.D.&#8217;s</span> sense of timing, so very deliberate &amp; ordered:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Then
are you the dense everywhere that moves<span class="GramE">,</span><br />
the dark matter they haven&#8217;t yet walked through?<br />
<br />
(No, I&#8217;m not, I&#8217;m just the shining sun<span class="GramE">,</span><br />
sometimes covered up by the darkness.)<br />
<br />
But in your beauty &#8211; yes, I know you see &#8211;<br />
There is no covering, no constant light.<br style="mso-special-character: line-break;" />
&lt;![if !supportLineBreakNewLine]&gt;<br style="mso-special-character: line-break;" />
&lt;![endif]&gt;<o:p></o:p></span></div>
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<span style="font-family: Arial;">That supplemental <i style="mso-bidi-font-style: normal;">yes</i> in the last couplet, the fact that
the final syllable in each line articulates a phonemic openness, except for the
last, even the use of the capital letter at the start of the final line (but
not in the final line of the other stanzas), all demonstrate a control over the
materials at hand that is extraordinary. That <i style="mso-bidi-font-style: normal;">yes </i>functions as though it were a sigh, modulating &amp; <span class="GramE">redirecting<span style="mso-spacerun: yes;">&nbsp; </span>the</span>
timing of the work away from dialog &amp; toward conclusion. It&#8217;s a device that
I&#8217;ve often been suspicious of &#8211; Josephine Miles, another traditionalist whose
work I take seriously, too often incorporated such asides just <span class="GramE">to</span> even out meter or complete an end-rhyme. Finch uses it
here to halt the flow of the text, to gather the language up into an expression
of breath. It is no accident that every word in that aside uses exactly one
syllable** or that there are no hard consonants there &#8211; the only moment in this
six-line text where either of these conditions applies. I love it when someone
can demonstrate such mastery in such a compact terrain.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I want to quote one other
short poem here, my favorite, because of the way in which it blends an
over-the-top sense of language&#8217;s lushness with a tone so soft it all but
whispers. It&#8217;s called &#8220;Butterfly Lullaby.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">My
wild indigo dusky wing<br />
my mottled, broad-wing skipper<span class="GramE">,</span><br />
a sleepy, dreamy dusty wing,<br />
flying through my night.<br />
<br />
My northern, southern, cloudy wing<span class="GramE">,</span><br />
my spring azure, my crescent pearl,<br />
a silver-spotted, sweet question mark,<br />
sleeping in my sky.<br />
<br />
A tiger swallowtail, harvester<span class="GramE">,</span><br />
moving through my hours,<br />
an eyed brown in the redwing dark,<br />
wrapped softly in my words.<o:p></o:p></span></div>
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<span style="font-family: Arial;">We haven&#8217;t had a poet so
capable of combining control &amp; excess since the young Robert Duncan.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* I have a
theory that Jack&#8217;s animated &amp; public distaste for langpo has to do with the
fact that he <span class="GramE">himself,</span> were he younger, would have been
one. This is, after all, the man who once wrote (quoting from memory here):
&#8220;Helot for what time there is in the <span class="SpellE">baptist</span> hegemony
of death.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** Shades
again of H.D. and even of Lew Welch.<o:p></o:p></span></div>
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at
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Labels:
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Robert%2520Lowell' rel='tag'>Robert Lowell</a>,
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<h2 class='date-header'><span>Friday, September 13, 2002</span></h2>

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<span style="font-family: Arial;">Of course Allen Curnow and
Gary Snyder are not precisely generational equivalents. Snyder&#8217;s first
publication, in the </span><st1:place><st1:placename><span style="font-family: Arial;">Reed</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">College</span></st1:placetype></st1:place><span style="font-family: Arial;"> student publication <i style="mso-bidi-font-style: normal;">Janus</i>, doesn&#8217;t occur until 1950, a point at which Curnow has already
brought out at least three books. But one of the things the comparison does is
to highlight that discrepancy. The reality is that there were few innovative
American poets of significance who emerged during the 1940s. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The largest exception is Robert
Duncan, who in fact first started publishing at the end of the 1930s
(precocious teenager that he was). The two other major movers of literary form
who were born during that decade between 1910 and 20 &#8211; Charles Olson and the
novelist William Burroughs &#8211; were both late bloomers. Glancing over Hayden
Carruth&#8217;s <i style="mso-bidi-font-style: normal;">The Voice That is Great <span class="GramE">Within</span> Us</i>, a surprisingly decent anthology of the first
60 years of the 20<sup>th</sup> century that organizes its poets by birth date
&#8211; now there&#8217;s a narrative! &#8211; you can&#8217;t help but notice that between the first
poet born in that decade (Olson) and the last (May Swenson), the poets who
predominate in that period &#8211; Schwartz, Berryman, Jarrell, <span class="SpellE">Kees</span>,
</span><st1:place><span style="font-family: Arial;">Stafford</span></st1:place><span style="font-family: Arial;">, Weiss and </span><st1:city><st1:place><span style="font-family: Arial;">Lowell</span></st1:place></st1:city><span style="font-family: Arial;"> &#8211; represent the core of what was the academic
tradition of American poetry. The more innovative poets of that decade,
Antoninus/Everson<span class="GramE">,<span style="mso-spacerun: yes;">&nbsp;
</span>Patchen</span>, Merton, McGrath, were all pronounced loners as writers.
Two were monks, no less.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Certainly, the Second World
War created a great schism in </span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;">n writing, by cutting off the expatriates and the
international influences that had been so very important to the high
modernists. One might also blame the war, at least in part, for the failure of
the </span><st1:place><span style="font-family: Arial;">Ob</span></st1:place><span style="font-family: Arial;">jectivists to move beyond their first youthful burst
of publishing in the 1930s. For a talented young poet during the war years, the
conservative tradition of American letters &#8211; that version of history that sees </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> poetry as a tributary of British letters &#8211; was very
close to the only game in town. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Five poets who are interesting
to look at in this regard are David Ignatow and Harvey Shapiro on the one hand
&#8211; Shapiro is slightly younger, having been born in 1924 &#8211; and, on the other,
Swenson, Elizabeth Bishop, and Muriel Rukeyser. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The first two have often
been paired, and I admit to reading them as though they were examples of what
the Williams influence would have led to had Objectivism not shown its
potential for greater breadth, depth and evolution. When the New Americans came
along, Ignatow and Shapiro could easily have recognized the shared sympathies
for Williams, but seem instead to have been isolated by the sudden appearance
of all this new writing. Except for Shapiro&#8217;s first book <i style="mso-bidi-font-style: normal;">The Eye, </i>published by Alan Swallow (as far from the </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> publishing world as one could get in the 1950s), the
two did not begin bringing out books until the 1960s. The trajectory of their
isolation was to lead both into becoming profound conservatives, as is evident
from Shapiro&#8217;s work at the <i style="mso-bidi-font-style: normal;">New York Times
Book Review</i> and Ignatow&#8217;s comments at the &#8220;What is a Poet?&#8221; symposium at
the </span><st1:place><st1:placetype><span style="font-family: Arial;">University</span></st1:placetype><span style="font-family: Arial;"> of </span><st1:placename><span style="font-family: Arial;">Alabama</span></st1:placename></st1:place><span style="font-family: Arial;"> in 1984. (See Hank Lazer&#8217;s <span class="GramE"><i style="mso-bidi-font-style: normal;">What</i></span><i style="mso-bidi-font-style: normal;"> is a Poet?</i>)<o:p></o:p></span></div>
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<span style="font-family: Arial;">The three women poets have
often been claimed by the conservative literary tradition and to some degree at
least they must have needed to relate to that world simply to get their work
into print, not unlike Williams. But it is worth noting how all three can
easily be read quite differently: Swenson (who worked at New Directions) as
another Williams-influenced writer of innovative forms, Bishop for her visible
influence on some of the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> poets, Rukeyser&#8217;s political work aligning her with a tradition that
would bridge McGrath and, say, Ginsberg and Ferlinghetti. One can only imagine
what might have happened to American poetry had the three worked together to
create a woman-centered poetic tendency decades before Judy Grahn, Pat Parker,
Susan Griffin and Adrienne Rich came along. <o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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