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Showing posts with label <b>Actualism</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>Actualism</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>Thursday, October 24, 2002</span></h2>

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<span style="font-family: Arial;">Contrasted with the CD that
comes with the <i style="mso-bidi-font-style: normal;">Short Fuse </i>anthology, <span class="SpellE">Arundo&#8217;s</span> <i style="mso-bidi-font-style: normal;">Triumph of
the Damned </i>and Edwin Torres&#8217; <i style="mso-bidi-font-style: normal;"><a href="http://www.fauxpress.com/b/to.htm"><span class="GramE">Please</span></a> </i>present
divergent alternatives. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Arundo consists of Actualist
poet, G.P. Skratz and multi-instrumentalist Andy Dinsmoor. Skratz sent me <i style="mso-bidi-font-style: normal;">Triumph </i>to convince me that he was more
than merely popping &#8220;up in print from time to time&#8221; as I had <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2382185887">suggested</a>
in a &#8220;where are they now&#8221; discussion of Actualism. Given its 1999 production
date and homegrown packaging features &#8211; photocopied cover, the CD&#8217;s title
posted on a TDR CD-R disc via a mailing label &#8211; I&#8217;m not certain that I&#8217;m dissuaded
of the &#8220;from time to time&#8221; periodicity. But there is more than print to Skratz
alright. <i style="mso-bidi-font-style: normal;">Triumph </i>falls into the poems
set to a musical accompaniment vein, akin perhaps to Dwayne Morgan&#8217;s use of
bongos on the <i style="mso-bidi-font-style: normal;">Short Fuse </i>CD, or the
work there of Bob Holman, never quite going so far into song as Michele
Morgan&#8217;s jazz vocals. Dinsmoor ranges between guitar, recorder, sitar &amp;
tabla, with Skratz coming in on a couple of tracks on tamboura and two members
of The Serfs, Ed Holmes &amp; Bob Ernst, adding toy percussion, blues harp and
a backup vocal on a couple of pieces. Save for one collaboration by Skratz with
the late Darrell Gray and a translation from the poetry Hans <span class="SpellE">Arp</span>, the words &#8211; the back cover is careful not to call them
either lyrics or text &#8211; are all Skratz. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It would be easy enough to
dismiss <i style="mso-bidi-font-style: normal;">Triumph </i>&#8211; nothing here
strives to be a breakthrough &#8211; but it is just too enjoyable for that. These
pieces for the most part work quite well. Skratz&#8217; droll wit rolls softly over
the soft raga backgrounds offered by Dinsmoor. Only the final piece on the CD,
the blues rock &#8220;<span class="SpellE">Doorwayman</span>,&#8221; comes across as more
energetic than arranged. A couple of the pieces seem too similar lyrically &#8211;
&#8220;Banana Ghazal&#8217;s&#8221; anomalous use of guitar &amp; &#8220;Banjo&#8217;s&#8221; equally anomalous use
of traditional Indian instruments don&#8217;t really paper over the redundant
strategies of the poems &#8211; but as a whole, this is an excellent way to take in
Skratz&#8217; poetry, including his work as both collaborator &amp; translator. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Please </span></i><span style="font-family: Arial;">is
an ambitious multimedia CD, one of three issued thus far by Faux Press (the
others are Wanda Phipps&#8217; <i style="mso-bidi-font-style: normal;">Zither Mood </i>&amp;
Peter Ganick&#8217;s <i style="mso-bidi-font-style: normal;">tend. field</i>). You put
it into your PC, not your CD player. Once you go past the opening screen (with
its own text, a much longer voiceover by Gina <span class="SpellE">Bonati</span>
&amp; title graphics), you arrive at an ideogram with links in each of its
strokes. Depending on where you click, you will be led to one of five series of
poems (&#8220;City,&#8221; &#8220;Boy,&#8221; &#8220;Remote,&#8221; Time,&#8221; and &#8220;Love&#8221;), a play in twelve parts
(plus a prologue &amp; epilogue) or section entitled &#8220;Media&#8221; that contains
documentation of eight Torres performances plus his bio. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Each section of the CD, each
set of poems, the play &amp; &#8220;Media,&#8221; has an opening screen, a logo with its
own set of links. Each set of poems as well as the media section also begins
with a voiced over text read by <span class="SpellE">Bonati</span>. For the play,
we get a little bit of music in a truncated marching band vein. Most though not
all of the poems seem to have their own sound tracks, a few of which can be
seen as readings of the text. If Alicia Sometimes&#8217; music seemed to play
against, rather than with, her own text on the <i style="mso-bidi-font-style: normal;">Soft Fuse </i>CD, Torres actively explores the entire range of
push-pull juxtapositions between sound and written language. Often these are
quite wonderful. Always, they&#8217;re playful &amp; optimistic, qualities totally
consistent with Torres&#8217; poetry. As writing, <i style="mso-bidi-font-style: normal;">Please
</i>is at a higher level, or perhaps at a high level with greater consistency,
than any of the other CDs I&#8217;ve considered on <span class="GramE">the this</span>.
It&#8217;s a shame that there isn&#8217;t a collection gathered in a liner-note booklet &#8211;
as a book&#8217;s worth of work, they&#8217;re more straightforward pieces than the
typographic extravaganzas of his big Roof collection, <i style="mso-bidi-font-style: normal;">The All-Union Day of the Shock Worker</i>: the texts work just fine on
the screen even with the PC speakers shut down. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Like almost any web- or
screen-centric work, <i style="mso-bidi-font-style: normal;">Please </i>invites
bouncing around from link to link &#8211; while there is an order, the project seems
set up to undermine it. One doesn&#8217;t so much read as browse, homo <span class="SpellE">ludens</span> in total evidence. Overall, though, it can be as
engrossing as any front-to-back text imaginable. In fact, the one piece that
doesn&#8217;t fully work on the CD is the play, precisely because it requires the
participant to go sequentially. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There is an old rule of
thumb with technology, one that I first learned watching Jackson Mac Low
struggle with tape machines some 30 years ago: something always goes wrong.
There are inevitably a few &#8220;<span class="SpellE">gotchas</span>&#8221; on the CD &#8211; the
apostrophe often shows up as an umlauted capital O, there is at least one link
that doesn&#8217;t go anywhere, opening a dialog box in vain search of a missing file
on the CD. &amp; the images are consistently too small throughout (a
consequence of another of my rules of thumb: QuickTime sucks). But these are
nits when taken in the context of the total project. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Overall <i style="mso-bidi-font-style: normal;">Please </i>pleases. It demonstrates the gazillion different ways Edwin
Torres&#8217; poetry (&amp; mind) can move simultaneously, always interesting, always
in the ballpark with something of value to add. He&#8217;s one of our great talents
&amp; we&#8217;re lucky to have every manifestation we can get of his work. <o:p></o:p></span></div>
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at
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002/10/contrasted-with-cd-that-comes-with.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2002-10-24T05:56:00-04:00'>Thursday, October 24, 2002</abbr></a>
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Labels:
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Actualism' rel='tag'>Actualism</a>,
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<h2 class='date-header'><span>Monday, October 07, 2002</span></h2>

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<span style="font-family: Arial;">Actualism vanished as a
literary tendency as thoroughly as Objectivism seemed to have done in the early
1950s. <span class="GramE">While the annual Berkeley Actualist Conventions were
one public manifestation of this phenomenon, a rather different version than
the one visible in the Bay Area during the 1970s is suggested by <i style="mso-bidi-font-style: normal;">The Actualist Anthology</i> (The Spirit That
Moves Us, 1977), co-edited by Morty Sklar and the late Darrell Gray.</span> In
addition to the editors, the volume includes Allan and <span class="SpellE">Cinda</span>
Kornblum, Chuck Miller, Anselm Hollo, John <span class="SpellE">Batki</span>, Jim
<span class="SpellE">Mulac</span>, David Hilton, Sheila <span class="SpellE">Heldenbrand</span>,
George Mattingly, John <span class="SpellE">Sjoberg</span>, Steve Toth and Dave
Morice.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The editors state frankly
that &#8220;Calling this volume THE ACTUALIST ANTHOLOGY came mainly out of a need for
a title.* &#8216;Fourteen Iowa City Poets&#8217; wouldn&#8217;t have been accurate &#8211; this is <i style="mso-bidi-font-style: normal;">not</i> a regional anthology in the strict
sense.&#8221; But in some sense, it was: &#8220;we have sought have sought to represent the
work of those poets most seminal to the Actualist Movement, which began (in
spirit, if not name) around 1970 in </span><st1:place><st1:city><span style="font-family: Arial;">Iowa City</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">Iowa</span></st1:state></st1:place><span style="font-family: Arial;">. Half of us remain in </span><st1:state><st1:place><span style="font-family: Arial;">Iowa</span></st1:place></st1:state><span style="font-family: Arial;">, while others have moved&#8230;.&#8221; Almost as pronounced as
the crucible of </span><st1:city><st1:place><span style="font-family: Arial;">Iowa
  City</span></st1:place></st1:city><span style="font-family: Arial;"> was this
group&#8217;s decidedly Midwestern background &#8211; eight of the contributors (Miller, <span class="SpellE">Mulac</span>, <span class="SpellE">Heldenbrand</span>, Mattingly, <span class="SpellE">Sjoberg</span>, Toth, Morice &amp; <span class="SpellE">Cinda</span>
Kornblum) were born in the </span><st1:place><span style="font-family: Arial;">Midwest</span></st1:place><span style="font-family: Arial;">, Darrell Gray was raised there. <span class="GramE">Generationally,
the Actualists roughly the same age as the language poets, ranging from a few
poets born in the 1930s (Hollo, Sklar, Hilton, Miller) to others born right
around the mid-century mark (Toth, <span class="SpellE">Heldenbrand</span>,
Mattingly).</span> <o:p></o:p></span></div>
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<span style="font-family: Arial;">As a group, these writers proved
antithetical to the &#8220;Workshop poem&#8221; associated with poets such as Marvin Bell
or Norman <span class="SpellE">Dubie</span>. The poems were often casual, but
always lively. Sklar, in &#8220;What Actually is Actualism,&#8221; characterized it as a
&#8220;basically open, generous and positive approach to our art.&#8221; Actualists poked
fun at the academy &amp; prided themselves on their rough edges: both Sklar and
Miller lists bouts of incarceration in their biographical notes. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The literary context for
Actualism is worth noting. Allan Kornblum spells out his influences in the
greatest detail: <o:p></o:p></span></div>
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Thanks to my poetry
teachers in workshops: Dick Gallup, Carter Ratcliff, Tom Veitch, Ted Berrigan,
Jack Marshall, <st1:personname>Don</st1:personname>ald Justice, and Anselm
Hollo.</div>
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<span style="font-family: Arial;">While Justice taught at </span><st1:state><st1:place><span style="font-family: Arial;">Iowa</span></st1:place></st1:state><span style="font-family: Arial;"> for many years, the core of this list is a mélange
of second and third generation </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. As different as Gallup, Ratcliff, Veitch &amp; Berrigan are as
poets &#8211; the range of what gets included under the NY School banner is as broad
as that which now gets characterized as language poetry &#8211; what one notices
about this quartet is how absent they have been from the poetry scene for a
very long time: Berrigan by virtue of an early death, Ratcliff having turned to
art criticism, Veitch to graphic novels (including an authorized Star Wars
trilogy), and Gallup having, in the words of <i style="mso-bidi-font-style: normal;">Publishers Weekly, </i><span style="mso-spacerun: yes;">&nbsp;</span>&#8220;disengaged from the literary world in the
early &#8216;80s.&#8221; Marshall, who has managed to stay around the NY School, Iowa City
and the </span><st1:city><st1:place><span style="font-family: Arial;">San
  Francisco</span></st1:place></st1:city><span style="font-family: Arial;">
scene, keeping all three safely at arm&#8217;s length, is only slightly less
reclusive. <o:p></o:p></span></div>
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<span style="font-family: Arial;">By the mid-1980s, this
context had all but evaporated. Even more importantly, by the time Darrell Gray
died in 1986, alcoholism had effectively silenced him. While Actualism itself
cannot be reduced to Gray&#8217;s poetry &amp; impact, he was clearly its central
figure, both socially and intellectually. Without Gray, none of the other
participants, either in the Bay Area or from the </span><st1:state><st1:place><span style="font-family: Arial;">Iowa</span></st1:place></st1:state><span style="font-family: Arial;"> formation, continued to pursue the concept. Without
Berrigan, the single most important influence on Actualism, the link between
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;"> and these poets scattered mostly throughout the west became nebulous in
the extreme. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But if Actualism as a
tendency disappeared, many of the Actualists themselves did not. In addition to
Mattingly, Hollo and Morice, whom I&#8217;ve discussed previously in the blog, the <span class="SpellE">Kornblums</span> have transformed Toothpaste Press, virtually the
house organ of Iowa Actualism**, into Coffee House Press, one of the best and
most successful independent presses in the United States. In addition to its
many other books, Coffee House recently brought Dick Gallup back into print
with his first book since 1976, <i style="mso-bidi-font-style: normal;"><a href="http://www.coffeehousepress.org/shinypencils.asp">Shiny Pencils at the
Edge of Things</a>,</i> and has just another big &#8220;new and selected&#8221; volume by
Jack Marshall, <i style="mso-bidi-font-style: normal;"><a href="http://www.coffeehousepress.org/gorgeouschaos.asp">Gorgeous Chaos</a></i>
as well as Anselm Hollo&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://www.coffeehousepress.org/notesonpossibilities.asp">Notes on the
Possibilities and Attractions of Existence</a></i>, his largest collection
since Mattingly&#8217;s Blue Wind Press editions more than 20 years ago<i style="mso-bidi-font-style: normal;">.</i> Sklar occasionally still issues books
from The Spirit That Moves Us Press from </span><st1:place><st1:placename><span style="font-family: Arial;">Jackson</span></st1:placename><span style="font-family: Arial;"> </span><st1:placename><span style="font-family: Arial;">Heights</span></st1:placename></st1:place><span style="font-family: Arial;">, NY. John <span class="SpellE">Batki</span>, who characterized himself as
the &#8220;Laziest Actualist,&#8221; has instead grown into one of the finest translators
of Eastern European poetry. David Hilton has been teaching at </span><st1:place><st1:placename><span style="font-family: Arial;">Anne</span></st1:placename><span style="font-family: Arial;"> </span><st1:placename><span style="font-family: Arial;">Arundel</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Community College</span></st1:placetype></st1:place><span style="font-family: Arial;"> near </span><st1:city><st1:place><span style="font-family: Arial;">Baltimore</span></st1:place></st1:city><span style="font-family: Arial;"> for over 30 years. And Steve Toth maintains a somewhat
&#8220;under construction&#8221; <a href="http://sstoth0.tripod.com/healingpoems/index.html">website</a>
that includes memorials to both Ted Berrigan and Darrell Gray.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* This
rationale perfectly matches the one given for Objectivism: letting Zukofsky
take over <i style="mso-bidi-font-style: normal;">Poetry</i> <span class="GramE">magazine</span>
for an issue required something identifiable, requiring a name.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** When <i style="mso-bidi-font-style: normal;">The Actualist Anthology </i>came out in
1977, Toothpaste Press had already published books by both <span class="SpellE">Kornblums</span>,
Hollo, Sklar, <span class="SpellE">Batki</span>, Gray, Hilton, <span class="SpellE">Heldenbrand</span>, <span class="SpellE">Sjoberg</span>, Toth and
Morice. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, September 30, 2002</span></h2>

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<span style="font-family: Arial;">The
death of Darrell Gray ensured that Actualism could only meet a very different
fate than Objectivism. Death enters the equation as well with the disappearance
of another literary tendency of the past sixty years: the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer Circle</span></st1:address></st1:street><span style="font-family: Arial;">. If ever there was a phenomenon that cried out for a
large, well researched anthology, this is it. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The
</span><st1:street><st1:address><span style="font-family: Arial;">Spicer Circle</span></st1:address></st1:street><span style="font-family: Arial;"> had a significant impact on poetry, both in the </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> and </span><st1:country-region><st1:place><span style="font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="font-family: Arial;">, but characterizing or analyzing that impact is
difficult because so little is adequately understood about the phenomenon by
anybody other than those who were there. I wasn&#8217;t &#8211; I first heard of Spicer at
a memorial reading held at Shakespeare &amp; Company books (it may still have
called the <span class="SpellE">Rambam</span> in those days) in Berkeley that was
held, as best I can recall, around what must have been his birthday in early
1966. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Soon,
three key associates of Spicer&#8217;s &#8211; Robin Blaser, George Stanley &amp; Stan
Persky &#8211; would move to </span><st1:state><st1:place><span style="font-family: Arial;">British Columbia</span></st1:place></st1:state><span style="font-family: Arial;">. In the ten year hiatus between Spicer&#8217;s death and two events that were
to transform his place in literary history, the publication of his <i style="mso-bidi-font-style: normal;">Collected Books</i> by Black Sparrow press
and the special issue of Paul Mariah&#8217;s <i style="mso-bidi-font-style: normal;">Manroot</i>
magazine that was to place Spicer alongside Whitman &amp; a handful of others
as a founder of a gay aesthetic, only Clayton Eshleman&#8217;s <i style="mso-bidi-font-style: normal;">Caterpillar </i>12 was to focus in any serious fashion on the Spicer&#8217;s
work. While <i style="mso-bidi-font-style: normal;">Caterpillar</i> published
over 150 pages of Spicer&#8217;s early poems, correspondence, a chapter from his
detective novel and the first Vancouver lecture, it also positioned Blaser&#8217;s
own poetry first, with the sole other contribution a four page essay on the
pair from the issue&#8217;s guest editor, Persky. <o:p></o:p></span></div>
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<span style="font-family: Arial;">In
addition to that long silence &amp; Spicer&#8217;s own dogged reluctance to permit
his work and that of his friends out of the immediate physical confines of San
Francisco (refusing, for example, to send his short-lived magazine <i style="mso-bidi-font-style: normal;">J</i> by mail), the period between 1965 and
&#8217;75 was one of extraordinary transformations in American culture and politics
could not help but to reverberate throughout poetry. Spicer, who wrote about
the war in </span><st1:country-region><st1:place><span style="font-family: Arial;">Vietnam</span></st1:place></st1:country-region><span style="font-family: Arial;"> and the Beatles, was actually one of the first to
sense these changes. But others that were to come soon, from Stonewall to
Watergate, might have proven more difficult for him to digest and it is not
hard to envision a later Spicer in the sort of reactionary alcoholic stupor
that befuddled Kerouac before his death just a few years hence. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But
the Spicer Circle was something more than just the poetry of Jack Spicer &amp;
something other than a Mattachine Society of verse*. Poets as diverse as Joanne
Kyger, Larry Fagin and Jack Gilbert actively participated in events that were
central to the Spice <i style="mso-bidi-font-style: normal;">kreis</i>. Poets who
were not primarily San Franciscan, including Steve Jonas &amp; John Wieners,
could also be said to have played roles as well. An anthology such as the one I
imagine would have to develop a serious &amp; critically defensible definition
of what the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer
  Circle</span></st1:address></st1:street><span style="font-family: Arial;"> actually
was before it could go about the task to tracking down and collecting the
poetry. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The
<i style="mso-bidi-font-style: normal;">Manroot</i> issue remains the only hint
of what such an anthology might look like**, containing as it does work by
Harold Dull, Lew Ellingham, James Herndon, Jonas, Persky, Stanley, Wieners
&amp; Spicer, as well as a collaboration by Spicer &amp; Stanley with Ronnie <span class="SpellE">Primack</span> and Bruce Boyd.*** <o:p></o:p></span></div>
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<span style="font-family: Arial;">Dull
is a good example of what we are missing in not having a far better sense of
the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer
  Circle</span></st1:address></st1:street><span style="font-family: Arial;">. He published
several small books in the 1950s and &#8216;60s, including <i style="mso-bidi-font-style: normal;">The Star Year</i>, <i style="mso-bidi-font-style: normal;">The Door</i>, <i style="mso-bidi-font-style: normal;">Bird Poems</i>, and <span class="GramE"><i style="mso-bidi-font-style: normal;">The</i></span><i style="mso-bidi-font-style: normal;"> Wood Climb Down Out Of. </i>Then in 1975 he published <i style="mso-bidi-font-style: normal;">A Selection of Poems for Jack Spicer on the
Tenth Anniversary of His Death</i>. Since then, Dull has only published texts
about <span class="SpellE">Watsu</span>, his aquatic bodywork practice that
evolved out of Zen shiatsu. Herndon, <span class="SpellE">Primack</span>, James
Alexander and Joe Dunn are other members of the Circle whose writing is even
more difficult to find. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">In
1967, I heard Jack Gilbert introduce George Stanley as &#8220;the finest poet now
writing.&#8221; Today, their work seems worlds apart. A good anthology would in fact
demonstrate a world in which that contradiction might not occur. It would have
to sort through some infinitely thorny issues, including Robert Duncan&#8217;s
relationship to the circle (not to mention Blaser&#8217;s). I&#8217;m not the person to
mount that effort, although perhaps someone like Kevin Killian, who helped to
shape Lew Ellingham&#8217;s drafts into the masterful biography that is <i style="mso-bidi-font-style: normal;">Poet Be Like God, </i>is.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* The Mattachine Society was an early gay rights
organization, contemporary with Spicer &amp; likewise headquartered in </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;">. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">***<a href="http://www.abebooks.com/">Abebooks</a>, the rare
books network, lists at least dozen copies of the Spicer issue of <i style="mso-bidi-font-style: normal;">Manroot</i> as well as a couple of complete
runs of the journal available for sale.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** Boyd is himself noteworthy as the participant in the </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">ald Allen anthology, <i style="mso-bidi-font-style: normal;">The New American Poetry,</i> who disappeared
from the scene completely. <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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