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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/08/14_24.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-08-24T00:00:00-04:00'>Sunday, August 24, 2014</abbr></a>
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<h2 class='date-header'><span>Tuesday, December 31, 2013</span></h2>

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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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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
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>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<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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<br /></div>
<div class="MsoNormal">
<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>Saturday, September 28, 2002</span></h2>

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<div class="MsoNormal">
<span style="font-family: Arial;">I posted <a href="http://listserv.acsu.buffalo.edu/cgi-bin/wa?A2=ind0207&amp;L=poetics&amp;P=R11951&amp;I=-3">something
nice</a> about Anselm Hollo to the Poetics List and two things immediately
happened. A friend wrote to let me know that warm positive regard for Anselm
and his poetry was not, in fact, universal. And a copy of <i style="mso-bidi-font-style: normal;">so the ants made it to the cat food: 20 sonnets </i>(Samizdat, 2001)
showed up in my mailbox. I figure that one out of two is better than Barry
Bonds is hitting this year, so I won&#8217;t complain. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The title poem of Hollo&#8217;s
new book gives me goose bumps:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">so
the ants made it to the cat food<br />
but then you scrape them into the compost<br />
<br />
one day we&#8217;ll set out under solar sail<br />
to the systems of fifty new planets<br />
discovered this year<br />
<br />
who knows if we&#8217;ll do any better<br />
than these ants you think<br />
then contemplate vast grids upon grids<br />
shifting and twisting<br />
clashing and jelling flowing apart exploding<br />
<br />
shrinking<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span>to this little blob of cat
food<br />
in the kitchen sink<br />
<br />
oh it gives one the flesh of the hen<br />
<span class="SpellE">comme</span> on <span class="SpellE">dit</span> en <span class="SpellE">français</span>.<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span><span class="GramE">cat</span> disappears into bush<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This is a typical Hollo
poem, so relaxed and straightforward that one can easily enough miss all that&#8217;s
going on. It&#8217;s a domestic poem that includes both a sort of science fiction and
a dose of street philosophy. But most of all, it&#8217;s composed out of the
organized distribution of opposites, which might be best viewed if we followed
Levi-Straus a little and itemize the imagery into categories I&#8217;ll label <i style="mso-bidi-font-style: normal;">raw </i>(i.e. natural &amp;/or primitive)
and <i style="mso-bidi-font-style: normal;">cooked</i> (i.e. cultural &amp;/or
processed):<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Look at that first couplet:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">so</span></span><span style="font-family: Arial;"> the
ants <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;">&nbsp;</span>[RAW] </i>made it to the cat food <i style="mso-bidi-font-style: normal;">[COOKED]</i><br />
but then you scrape them <i style="mso-bidi-font-style: normal;">[COOKED] </i><span style="mso-spacerun: yes;">&nbsp;</span>into the compost <i style="mso-bidi-font-style: normal;">[COOKED<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>BUT RETURNING TO RAW]</i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is a leap in scale
between the first and second stanzas that at first seems dizzying &amp;
possibly even arbitrary, as we shift from the cat food to space exploration,
most definitely <i style="mso-bidi-font-style: normal;">cooked</i>, but notice
that Anselm has chosen not one but two exceptionally <i style="mso-bidi-font-style: normal;">raw</i> terms, &#8220;solar sail,&#8221; to describe this process. This duality
continues through the end of the stanza as he describes other worlds &#8211; a form
of the raw &#8211; that can only be reached by the highest order of technology. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The third stanza returns the
reader&#8217;s attention to &#8220;we&#8221; <i style="mso-bidi-font-style: normal;">[COOKED]</i>,
then back to the ants <i style="mso-bidi-font-style: normal;">[RAW] </i>in the
second. It then proceeds through a series that begins modestly returning to
&#8220;you think&#8221; &#8211; the very process by which the cooked got cooked in the first
place &#8211; &amp; then in the next line suggests that we turn our attention to
&#8220;grids upon grids,&#8221; as abstract &amp; cooked a vision as one might imagine. But
line four, &#8220;shifting and twisting,&#8221; is completely ambiguous on this cooking
scale. Hollo decides to &#8220;bam it up a notch,&#8221; as <span class="SpellE">Emeril</span>
would say, in the stanza&#8217;s last line, a description of cosmic writhing that
both harsh cultural terms (&#8220;clashing&#8221; &amp; &#8220;exploding&#8221;) to bracket decidedly
organic ones (&#8220;jelling flowing&#8221;)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The fourth stanza brings us
harshly back to the cooked, literally, in the form of &#8220;this little blob of cat
food / in the kitchen sink.&#8221; This last gesture literally lets us know that
Hollo has given us everything in his cosmic vision, even including that. So it
is right after that last &#8220;<span class="SpellE">nk</span>&#8221; sound, which a linguist
would note signals closure, triply so coming at the end of the line &amp;
stanza, that Hollow appears suddenly to veer in a completely different
direction. The first line may well be a literal translation of how one
describes goose bumps in French &#8211; the awkwardness of it all is profoundly
cooked, as (even more so) is the phrase <i style="mso-bidi-font-style: normal;">en
<span class="SpellE">français</span> </i>that starts the last line. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The final phrase, &#8220;cat
disappears into bush,&#8221; starts with an image that appears to be raw, an animal,
but is by virtue of domestication, really cooked. By disappearing not into,
say, the garden, however, it vanishes instead into the raw (rendered even more
raw by absence of article*), completing the poem as neatly as if Hollo had put
a large red ribbon atop it. It&#8217;s a masterful tour de force. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Only those little hints of
polylinguality &amp; erudition** keep Hollo&#8217;s texts from sounding like the most
purebred Yankee voice since Ted Berrigan &amp; Allen Ginsberg &amp; Phil Whalen
left the room. And I think that it&#8217;s part of the sheer pleasure of reading
Hollo&#8217;s work that his ear so acutely captures an idiom that, after all, he came
to only as an adult.+ <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Appropriately enough, Robert
<span class="SpellE">Archambeau&#8217;s</span> Samizdat Editions published <i style="mso-bidi-font-style: normal;">so the ants</i> as its &#8220;anti-laureate
chapbook, 2001,&#8221; following a spirited Poetics List discussion about the
diabolically reactionary selection the Bush </span><st1:personname><span style="font-family: Arial;">admin</span></st1:personname><span style="font-family: Arial;">istration had made<span class="GramE">.*</span>** We should all thank the
gods of fortune, &amp; especially John Lennon&#8217;s lawyers, for ensuring that this
alien who was once picked up for possessing a <span class="SpellE">doobie</span>
wasn&#8217;t pitched out of the country during the days of the Nixon Gang. Otherwise
Anselm Hollo might now be one of the great poets of, say, </span><st1:country-region><st1:place><span style="font-family: Arial;">France</span></st1:place></st1:country-region><span style="font-family: Arial;">.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Hank Lazer
has criticized the American poetic habit of dropping articles, which everyone
traces back to Ginsberg although Allen probably got it from Pound, as a form of
&#8220;<span class="SpellE">Tonto</span> speech.&#8221; Even as I excise articles in my own
work, I consider its implications.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** The very
first reference in the chapbook is to Eugene <span class="SpellE">Jolas</span>
and Elsa von Freytag. Just under half of the poems have notes attached &#8211; the
one quoted here translates its French. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*** I used
to compare Billy Collins with Edgar Guest &amp; Ogden Nash, but fans of the
latter two have accused me of slandering those writers. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">+ Anselm
appends: &#8220;One little correction: I didn't really come to the idiom "only <span style="mso-spacerun: yes;">&nbsp;</span>as an adult" -- I read Moby Dick at age
14 (though didn't, then, find it <span style="mso-spacerun: yes;">&nbsp;</span>quite
as zingy as Treasure Island had been a year or so before) -- my <span style="mso-spacerun: yes;">&nbsp;</span>"English" got started around age 10,
after German Swedish Finnish (in that <span style="mso-spacerun: yes;">&nbsp;</span>order).<span style="mso-spacerun: yes;">&nbsp; </span>And I strongly doubt that I could have become
a French poet <span class="GramE">-- <span style="mso-spacerun: yes;">&nbsp;</span>French</span>
came to me too late for that.&#8221; <o:p></o:p></span></div>
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<h2 class='title'>Ketjak</h2>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></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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