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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Alan Davies</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>Alan Davies</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, January 12, 2003</span></h2>

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<span style="font-family: Arial;">It&#8217;s rare for a poet to
radically change the primary drive of their verse as they age. If anything, the
very opposite is more apt to occur, for the poet to progressively stand more revealed,
for the approach to the poem to move closer &amp; closer to those first
instincts toward writing that drove them to the poem, that ever so uneconomic
pursuit, whether at age ten, 17 or perhaps 35. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I&#8217;ve always thought that
this was because the largest impediment to writing was not lack of training or
of skill, but rather the degree of cultural baggage that we &#8211; I&#8217;m including
myself here as much as anyone &#8211; bring to the poem, the instant we go from
thinking about writing, a condition of absolute desire, to the actual attempt
to make literature, to get words onto paper. There is an enormous gap between
that first state &amp; the second, one that we all perpetually fill with all
manner of extraneous crap, everything that we imagine that Literature (capital
L) is supposed to be. When we&#8217;re just starting out &#8211; &amp; I&#8217;m definitely
speaking for myself here &#8211; it&#8217;s almost impossible to find the poem through the
Literature. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Thus a good writing program
would not only be one that introduced the fledgling poet to all the possible
strains that are being explored (&amp; have been, historically) in the poem,
but one also that will help the poet to strip away whatever might prove
inessential. So much of growing up as a poet has to do with unlearning as much
(if not more) than it does learning.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I was ruminating over this
while reading Alan Davies&#8217; admirable new chapbook, <i style="mso-bidi-font-style: normal;">Book 2</i>, published conjointly by Other Publications (Alan&#8217;s own
label) with Portable Press at Yo-Yo Labs. The Alan Davies I first knew through
correspondence back in the early 1970s was an ardent &amp; exceptionally
well-educated surrealist out of </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;">. The impulse to the surreal is still completely
visible now thirty years later. <o:p></o:p></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Book 2</span></i><span style="font-family: Arial;"> is
a single 26-page poem &#8211; I don&#8217;t know if there is a <i style="mso-bidi-font-style: normal;">Book 1</i> somewhere.* Stanzas alternate their orientation toward the
margin &amp; linebreaks:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">And then the weepings<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">start</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> to
wail<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">all</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> over
the pale green bodices<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> hills<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">A
little bit of cadenced<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">buttery</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> softness<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">envelops</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> this compact hardness<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">and</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> lets us feel that we have <o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">a</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> somewhat<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">less</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> hard heart<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Somewhere some hunger still
lunges<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The
warm swallowed sallow sadness<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">that</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> time micturates<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">almost</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> euphemistically<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">settle</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> like a nettle<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">in</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> a warm breeze<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: right;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Often throughout this work,
as in this passage, multiple things are going on at once. At one level, it is a
surrealist text, although surrealism of a late &amp; particularly North
American kind, one that is as aware of </span><st1:personname><span style="font-family: Arial;">Barrett Watten</span></st1:personname><span style="font-family: Arial;">, Jerry Estrin &amp; Dan Davidson as it is of <span class="SpellE">Octavio</span> Paz or Andre Bréton. At a second level, however,
the poem builds on surrealism&#8217;s proclivity toward using nouns as absolutes
rather than as referential signs to offer a curiously sentimental satire, sort
of Bréton as read through Jeff Koons. Davies&#8217; ear is also active &#8211; that last
stanza above moves radically toward a different prosodic resolution with every
single line. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I&#8217;m intrigued, to say the
least, at the idea of someone who can use a literary tendency lovingly, as
Davies does here, while in the same moment ratcheting up its characteristic
features into a text that is more than just a little over-the-top. In part, he
does this by understanding the separateness of eye &amp; ear in the poem &amp;
using them &#8211; simultaneously &#8211; to different ends. It&#8217;s not a question here of
the bicameral mind so much as it is of the ability of a reader to multitask
within the performance of the reading itself. It&#8217;s not an uncommon human
experience &#8211; anyone who has eaten while driving or surfed the web while talking
on the phone will have exercised similarly divergent skills &#8211; what&#8217;s remarkable
is that Davies manages to set this up within the poem itself.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Davies has earned his
reputation as an artist who is unafraid to try the outrageous, but a work like <i style="mso-bidi-font-style: normal;">Book 2</i> demonstrates that he does so with
a purpose. Underneath the dream syntax of surrealism has always lurked an
idealized landscape, a certain tragic heroism visible, say, in the moonscapes
of a Dali or <span class="SpellE">Tanguy</span>, and which comes across in poetry
as an unspecified urgency. Davies pushes his imagery to the point of parody
&amp; uses sound to undercut any residual earnestness. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Davies goes further, letting
the reader in on the process:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Waiting for the words<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">appended</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">willing</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> and
waiting<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Or should they then<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">up</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> ended
be<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Or be up ended<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="right" class="MsoNormal" style="margin-right: .5in; text-align: right;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Squalling
birds<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-right: .5in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">unseen</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> but heard<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="margin-right: .5in; text-align: right;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">so</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> seen<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I try to imagine how Davies
could have written this &#8211; it&#8217;s mysterious almost in the same way that Christian
Bök&#8217;s ability to create parallel poems using the same letters in the same
order, but with different words, is mysterious. It&#8217;s not just that every stanza,
sometimes every line, undercuts the ones above, but <span class="GramE">that</span>
they often perform this process on themselves. Thus this &#8220;little gerbil
fettered thing&#8221; is completely serious, for all of its flamboyant nonsense. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Davies has moved so far
inside his original surrealist impulses as to have arrived at some new place
altogether. An interesting point of contrast might be someone like Ashbery,
whose surrealism is far softer, almost decorative, &amp; whose wit is more
consciously (&amp; cautiously) subtle &#8211; in a place where subtlety is not
necessarily a value. If Ashbery&#8217;s texts are perfect little luxury machines of
language, Davies is mounting a far more serious argument with a far sillier
façade. If you rip the language apart, what lies underneath?<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*<i style="mso-bidi-font-style: normal;"><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2385147325">Book
Two</a></i> also happens to be the title of a work by </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Thomas Meyer</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;"> that was excerpted in <i style="mso-bidi-font-style: normal;">House Organ</i> &amp; discussed here
previously. I now know that Meyer&#8217;s piece is part of a larger booklength poem,
called <span class="SpellE"><i style="mso-bidi-font-style: normal;">Coromandel</i></span>.<o:p></o:p></span></div>
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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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