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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>Anselm Berrigan</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Monday, June 30, 2014</span></h2>

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<b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 115%;"><a href="http://htmlgiant.com/reviews/edmund-berrigans-can-it/"><span style="color: windowtext;">Edmund</span></a> &amp; <a href="http://en.wikipedia.org/wiki/Anselm_Berrigan"><span style="color: windowtext;">Anselm</span></a></span></b></div>
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Berrigan</span></b></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/06/14_30.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-06-30T00:00:00-04:00'>Monday, June 30, 2014</abbr></a>
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<h2 class='date-header'><span>Saturday, May 10, 2014</span></h2>

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<a href="http://media.sas.upenn.edu/Pennsound/groups/Ceptuetics/renamed-mp3s/Ceptuetics_13_Berrigan-Anselm_WNYU_04-02-08.mp3"><span style="color: red;">reading on Ceptuetics Radio</span></a></span></b></div>
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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;line-height: 150%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://en.wikipedia.org/wiki/Anselm_Berrigan"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Anselm</span></a> <a href="http://www.wavepoetry.com/authors/73-anselm-berrigan"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Berrigan</span></a> &amp; <a href="http://www.poetryfoundation.org/article/180916"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>David</span></a> <a href="http://www.colum.edu/academics/english_department/Faculty/Faculty_Profiles/David_Trinidad.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Trinidad</span></a><br> read at <a href="http://poetryproject.org/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>The Poetry Project</span></a><o:p></o:p></span></b></p>
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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="261" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/GaXdhmMeSY-1XlQTqjF_kezfPerzv2J-g21yqEWy9eNwueArOVfI4Ci81YrIgbogIDrjtkVqCOmNQnKI0tE_AH_RoLj--4e8iifx9g%3Ds0-d" width="348"><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There is a growing body of younger readers out there who are getting to know the work of <a href="http://www.spdbooks.org/Search/Default.aspx?AuthorName=anselm+berrigan"><span style='color:black'>Anselm Berrigan</span></a> directly &amp; who only later discover that his brother is a poet &amp;, oh yes, his mother. And, oh yes again (&amp; again), his father &amp; his late step-father as well. To somebody of my generation, this is more or less unthinkable &#8211; Ted Berrigan was among the very first poets&#185; too young for <i style='mso-bidi-font-style:normal'>The New American Poetry </i>to become established as a major fixture in the literary landscape. The man read at the Berkeley Poetry Festival in 1965. For anyone now in their sixties, Ted Berrigan has <i style='mso-bidi-font-style:normal'>always </i>been there, even though he died in 1983. The situation vis-à-vis Alice Notley &amp; Douglas Oliver is somewhat different, partly because of <span class=SpellE>Notley&#8217;s</span> age &amp; because Oliver is more widely read &amp; appreciated in his native England than in the U.S. But it&#8217;s not <i style='mso-bidi-font-style:normal'>that </i>different. If you are of a certain age, Anselm &amp; Edmund Berrigan will always be those miracles &#8211; the kids of writers who write. And you will approach their work with some filter, a frame that has something to do with you think about the writing of their parents. But then there are these other, younger readers, just as there are today readers of Franz Wright who may well never have heard of <span class=GramE>James,</span> or of <span class=SpellE>Aram</span> Saroyan who never have read a word of William.&#178; I would love to be able to hear with such virgin ears. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This isn&#8217;t a new phenomenon. Two of the 44 poets in the <i style='mso-bidi-font-style:normal'>New American Poetry </i>were themselves children of poets, Allen Ginsberg &amp; Paul Blackburn.&#179; Today we think of Louis Ginsberg &amp; Frances Frost as the parents of poets, while Omar Pound is a footnote (or perhaps a small chapter) in his father&#8217;s biography rather than the other way around. Everyone ultimately stands on his or her own work, not that of somebody else at the table. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.chicagopostmodernpoetry.com/aberrigan.htm"><span style='color:black'>Anselm Berrigan</span></a> is perfectly capable of standing entirely on his own, which his younger readers &#8211; the ones who have come to him with no prior knowledge of any of his family members &#8211; already know. Even <span class=GramE>us</span> geezers have figured it out, at least we have if we&#8217;ve been paying attention.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The last time I heard <a href="http://en.wikipedia.org/wiki/Anselm_Berrigan"><span style='color:black'>Anselm Berrigan</span></a>, we were on the same bill at a club in </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>, never the best way to hear someone else&#8217;s work. Last week, I had the deeper pleasure of hearing Anselm once again at </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Temple</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s center city site, across from City Hall. This time he read with <a href="http://tinyurl.com/ahxoaf"><span style='color:black'>Duncan Regan</span></a>, a Temple grad student, who read a piece that played with comic book vocabulary and effects (and indeed was illustrated &amp; projected on a large screen) &#8211; thus when a saw was cutting through the four walls of the strip, Regan voiced every instance of the word <i style='mso-bidi-font-style:normal'>saw, </i>which appears in some panels by the dozens. The work combines the cagey sophistication of postmodern critical thought &amp; the wide-eye comic stare of, say, Joe Brainard, an almost impossible pairing, but one which Regan handles with dexterity. I made a note to myself to remember his name, since I expect to be seeing it more often.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Looking around the room, realizing just how many in <span class=GramE>attendance</span> were in fact students at </span><st1:City> <st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Temple</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, I wondered if this was an occasion in which the majority of Anselm&#8217;s audience will be getting to his family members at some point because of him, rather than the other way around. It seems a reasonable presumption, even as it jars me.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Berrigan has the presence of someone completely comfortable with his work &amp; with the process of reading/being in public. He reads quietly, but in a way that opens the text up rather than swallowing it. If there&#8217;s an anxious bone in his body, it is kept well hidden. Thursday he read from three works: <i style='mso-bidi-font-style:normal'><a href="http://jacketmagazine.com/14/berrigan-zero-star.html"><span style='color:black'>Zero Star Hotel</span></a>, <a href="http://artrecess.blogspot.com/2007/03/anselm-berrigan-nyc-usa-eight-poems.html"><span style='color:black'>Have a Good One</span></a> </i>&amp; <i style='mso-bidi-font-style:normal'>Primitive State. </i>The first of these is the title work from Anselm&#8217;s second book from Rod Smith&#8217;s Edge press, while the second is a poetic series &#8211; each poem has the same title &#8211; that has been appearing in magazines &amp; online for awhile. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>When you look at Berrigan&#8217;s poetry on the page, it&#8217;s mostly in short lines and can take just about any contemporary shape at all. The humor, indirectness &amp; personal tone all attest to his heritage as a son more or less literally of the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. But to hear him, I find, gives a different sense. He doesn&#8217;t vocalize his line breaks &amp; statements that might run two or three lines on the page come across more evenly. I sometimes think of the poem &#8220;<a href="http://germspot.blogspot.com/2005/04/anselm-berrigan-p1.html"><span style='color:black'>Pictures for Private Devotion</span></a>&#8221; (also the title of his <a href="http://cdbaby.com/cd/anselm"><span style='color:black'>Narrow House CD</span></a>) as looking on the page more exactly the way I hear him.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>That <span class=SpellE>disjunct</span> between seeing &amp; hearing is an active element of the work itself. With the 97 poems of <i style='mso-bidi-font-style:normal'>Have a Good One </i>each possessing the same title, any reading from that work turns into an occasion in which the title functions as much as a refrain as a name for the poem, as Bob Perelman noted in the reading&#8217;s Q&amp;A. It&#8217;s both <i style='mso-bidi-font-style:normal'>in </i>the poem and <i style='mso-bidi-font-style:normal'>of </i>the poem, so to speak. Of course, Berrigan could read the sections with a more profound pause at the end of a given piece, but he doesn&#8217;t (or at least didn&#8217;t at </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Temple</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>). Thus the title performs multiple functions, as not coincidentally so does that phrase in real society. Perelman even suggested that we could hear the work as a series of one-stanza pieces in which that was always the <i style='mso-bidi-font-style:normal'>last line </i>and I suppose that&#8217;s right. But what I think is more important is how it moves around, how you can hear each of these possibilities, one after another, without it ever settling into just one. I will be curious to see how this is treated when the work finally shows up as a book &#8211; it will be almost impossible to avoid shifting the balance at least a little in one direction or another. <i style='mso-bidi-font-style:normal'><span style='mso-spacerun:yes'>&#160;</span></i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><st1:City><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Readings</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> from <i style='mso-bidi-font-style:normal'>Zero Star Hotel </i>and <i style='mso-bidi-font-style:normal'>Have a Good One </i>can be found on Anselm Berrigan's page at <a href="http://writing.upenn.edu/pennsound/x/Berrigan-Anselm.php"><span style='color:black'>PennSound</span></a>. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; Robert Kelly &amp; Jerry Rothenberg also fit that description, with Ron Padgett, David Shapiro, Joe <span class=SpellE>Ceravolo</span> &amp; Diane Wakoski coming along soon after. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; When I was a school kid in California in the 1950s, every child in the state read &#8220;My Name is <span class=SpellE>Aram</span>,&#8221; the William Saroyan short story that was written <i style='mso-bidi-font-style:normal'>before</i> the &#8220;real <span class=SpellE>Aram</span>&#8221; was born. I suspect that may have been a regional phenomenon, but I&#8217;m sure that </span> <st1:country-region><st1:place><span class=SpellE><span style='font-size:8.0pt;font-family:Arial;color:black'>Aram</span></span></st1:place></st1:country-region><span style='font-size:8.0pt;font-family:Arial;color:black'> has had to deal with that his entire life. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#179; Ginsberg&#8217;s brother, Eugene Brooks, was also a poet, &#8220;the most talented poet in the family&#8221; according to Allen. <o:p></o:p></span></p>
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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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