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Silliman's Blog
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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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<h2 class='date-header'><span>Friday, August 23, 2013</span></h2>

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<h2 class='date-header'><span>Friday, June 04, 2010</span></h2>

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<p class="MsoNormal"><span style="color:black;mso-themecolor:text1">Once upon a time, the late Gil Ott shared a tree-house in Bolinas with an anthropologist named Kush. <a href="http://www.spiritualprogressives.org/article.php/20090306091707686"><span style="color:black;mso-themecolor:text1">Kush, aka Steven Kushner</span></a>, would go on to teach at the late lamented New College of California &amp; simultaneously begin videotaping many of the poetry readings he attended around San Francisco. As in thousands of them. Some of these events were also taped by others &#8211; most often the <a href="http://www.sfsu.edu/~poetry/archives.html"><span style="color:black;mso-themecolor:text1">Poetry Archive</span></a> at San Francisco State &#8211; &amp; there was something of a rivalry over the quality of the work. How accurate this debate might be is impossible to ascertain from nearly 3,000 miles away since both archives &#8211; shockingly, to my mind &#8211; remain offline. For all I know, Kush&#8217;s archives are sitting in boxes in a garage or attic somewhere, or worse. But even if we presume that the quality borders on the non-existent, the reality persists that for hundreds, maybe thousands, of poetry readings in the Bay Area over the past 40 years, Kush&#8217;s archives are <i style="mso-bidi-font-style:normal">the </i>documentation, the only remaining evidence of what happened, what was read &amp; who was there. </span><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242"><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:12.0pt"><span style="color:#0D0D0D; mso-themecolor:text1;mso-themetint:242">I thought of Kush a lot when watching <i style="mso-bidi-font-style:normal"><a href="http://www.banksyfilm.com/"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">Exit Through the Gift Shop</span></a>, </i>Bansky&#8217;s documentary about street art documentarian Thierry Guetta &amp; his morphing into millionaire street artist Mr. Brainwash. <i style="mso-bidi-font-style:normal">Exit </i>is flat out one of the best films I have ever seen on the visual arts, easily the best since at least <a href="http://www.imdb.com/title/tt0115632/"><span style="color:#0D0D0D; mso-themecolor:text1;mso-themetint:242">Basquiat</span></a>, a film not-coincidentally directed by Julian Schnabel, a major painter before he turned to film (<i style="mso-bidi-font-style:normal">The Diving Bell, The Diving Bell &amp; the Butterfly</i>). Presuming, that is, that <a href="http://www.nytimes.com/2010/04/14/movies/14banksy.html?ref=arts"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">Guetta actually exists</span></a> &amp; is not himself a Banksy art product rather in the way that Kent Johnson produced Araki Yasusada. <o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:12.0pt"><span style="color:#0D0D0D; mso-themecolor:text1;mso-themetint:242">Let&#8217;s presume here that Guetta / Brainwash are for real. The story, as such, is this. Guetta, an LA-vintage clothing store owner with a Euro-orphan background not unlike that of Andy Grove or Bill Graham, gets a video camera and becomes obsessive in his recording of everything. But one of the things he records, on a family trip back home to France, is a cousin, Space Invader, one of the first generation of street artists, who unlike the graffiti taggers they so palpably emulate appear all to have gone to art<span style="mso-spacerun:yes">  </span>school. Film Space Invader in France, and then back on his own home turf of LA, Guetta meets LA&#8217;s resident street art hero, Shepard Fairey, pre-Obama image &amp; <i style="mso-bidi-font-style:normal">Time </i>magazine cover (&amp; pre-Associated Press copyright suit over the use of an AP photo of Obama as one source for his iconic poster). Guetta becomes the sorcerer&#8217;s apprentice &amp; soon finds himself everywhere, since he has no fear of heights &amp; gets off on the idea of the danger of getting arrested. Fairey, Invader &amp; the other street artists he soon gets know (virtually all guys save for one street-named Swoon) teach him not only the tricks of their craft, making spray art stencils at the local Kinko&#8217;s but to film from a distance &amp; in low-light situations so as not to attract the police.<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:12.0pt"><span style="color:#0D0D0D; mso-themecolor:text1;mso-themetint:242">Guetta tells everyone he is making a documentary, but it appears to be one on the order of Kush&#8217;s: lots of tapes, but no real archive that can be credibly accessed by outsiders. The artists all seem to value not only his help, but the idea of creating a lasting archive of work that all too often gets sprayed over pretty quickly (tho, and it&#8217;s not noted in passing, we do later in the film see one Bansky Andre the Giant disappear as Mr Brainwash himself pastes his own newer work over it). <o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:12.0pt"><span style="color:#0D0D0D; mso-themecolor:text1;mso-themetint:242">But as he gets to know the street art scene, Guetta comes to understand that his compulsive documentation has a major gap. He needs to interview Banksy, the &#8220;<a href="http://www.complex.com/blogs/wp-content/uploads/2007/05/banksy-1.jpg"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">international man of mystery</span></a>,&#8221; who is the Batman to all these various Robins of Street Art. The catch is that it&#8217;s impossible. Everyone professes not to know who he is or where he is. He is said not to own a cellphone. However, coming over to the US to do some work in the LA area, Banksy&#8217;s assistant is turned back at customs &#8211; the cover story on the rationale for the trip doesn&#8217;t get him through. So Banksy calls up Shepard Fairey to see if there is anyone who can and wants to help. Why not, suggests Fairey, this middle-aged boutique owner &amp; camera nut who happens to be Space Invader&#8217;s cousin. Unable to find Banksy, Banksy comes to him.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, June 02, 2008</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><img height="367" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/gqlaYY5j-eASKEaeEGgVWEzuAm7AlqDx1hCamrsuEF5zVuIh3DZ1etxIoYcTU-wLRtg9Tq4uhZqLz2SCsrZ4d2q9oQC3JIGGtmqCy25f%3Ds0-d" width="500"><br>
<span style='font-size:8.0pt;font-family:Arial'>From <i style='mso-bidi-font-style:normal'>Children&#8217;s Tape </i>by Terry Fox, 1974<span class=GramE>,</span><br>
a work not on Ubuweb</span> <o:p></o:p></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><b style='mso-bidi-font-weight:normal'><span style='font-size:14.0pt;font-family:Arial;color:black'>An Ubu Top Ten (1973 Edition)<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Kenny Goldsmith asked me to program a &#8220;top ten&#8221; list for Ubuweb in June, ten items from its archives that I thought would make a good &#8220;playlist&#8221; for inquiring minds. The list is up on the <a href="http://www.ubu.com/"><span style='color:black'>Ubuweb site</span></a> &amp; I thought I&#8217;d write a little about why I chose what I did here. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The instant Kenny asked<span class=GramE>,</span> I knew three works &#8211; the first three below &#8211; that simply <i style='mso-bidi-font-style:normal'>had </i>to be on my list. For personal reasons, they&#8217;re my favorite items in the entire Ubu archive. When I realized that all three were from 1973, I decided to look more closely at that year, to test &#8211; so to speak &#8211; just how good an archive Ubuweb actually is. I decided that I would list those items that spoke to my own work both then &amp; now. What could I find that related to my world from 1973? Ubu&#8217;s search feature turned up 149 possibilities, tho there does seem to a certain amount of duplication, multiple ways to getting to certain files. Some of the folks from that larger list that I didn&#8217;t include here would be Guy Debord, Vito Acconci &amp; Jacques Lacan. Their absence has more to do with who I am than the Ubu archive itself. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>On the other hand, this slice of the Ubuweb pie made me painfully conscious of just how few early language poetry resources can be found here. <span class=GramE>And how very few women.</span> (Basically I put in every one I could justifiably include, and there are only two, both of them collaborators with others.) The list below includes a Jackson Mac Low gatha for Kathy Acker &#8211; then using the public persona of the Black Tarantula &#8211; but relatively little by Acker &amp; none from this important period of her work is available on Ubuweb. I also wished that I could have found more performance art from the West Coast from that same time frame. You can find <a href="http://daddytypes.com/2008/04/03/terry_foxs_childrens_tapes_at_the_getty.php"><span style='color:black'>Terry Fox</span></a> or <a href="http://www.tommarioni.com/"><span style='color:black'>Tom Marioni</span></a>, but not from that year &amp; only a few items. Fox was the closest thing to a performance art superstar I ever saw in the context of the Bay Area, &amp; Marioni&#8217;s Museum of Conceptual Art (MoCA), the ironic name he gave to his loft above the fabled Jerry &amp; Johnny&#8217;s tavern &#8211; all now gone &amp; replaced by the <a href="http://www.sfphotorama.com/uploaded_images/MarriottSanFrancisco_SanFranciscoPhotos-706987.jpg"><span style='color:black'>Marriott Jukebox</span></a> a block from the Moscone Convention Center &#8211; was an important antecedent to all things conceptual, including Ubuweb itself. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In 1973, Richard Nixon was still <span class=GramE>president,</span> the Paris Peace Accords were signed in January. The mayor of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was Joe Alioto, the second in a string of eight consecutive Democratic mayors. George Moscone, who would be third, was still a state senator, a solid liberal but a man known often to be bleary-eyed after lunch. Harvey Milk owned a camera store on  </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>Castro Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>. Tho he&#8217;d only lived in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> for a year, Milk first ran for the Board of Supervisors in &#8217;73. The Oakland A&#8217;s, led by Reggie Jackson, who led the American League in homeruns with 32, defeated the New York Mets in the World Series in 1973. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I was living on Sacramento Street near Laurel on what is now shrink row, paying $67.50 for my half of a three-bedroom flat. A few blocks down </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Sacramento</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> <span class=GramE>was</span> Rae Armantrout &amp; her husband, &amp;, two doors off Fillmore, Ronald Johnson, who lived in a household he referred to as the Vinyl Vatican. Barrett Watten had just moved back down from Mendocino, where he&#8217;d been living after graduating from the Iowa Writer&#8217;s Workshop. David Melnick may have still been in graduate school in Berkeley, but many of the poets now routinely associated with San Francisco in the 1970s &#8211; Steve Benson, Carla Harryman, Bob Perelman, Lyn Hejinian were just arriving or not yet on the scene. The only ongoing reading series in town were at SF State out in the fog mid-day (I was working in San Rafael &amp; could never get to those) or at Intersection in North Beach on Tuesday nights, save for a short-lived series in a bookstore/print shop high over Noe Valley called the Empty Elevator Shaft. Barry &amp; I gave a reading at the Shaft, our first reading together, and The Black Tarantula came up afterword to give me the latest chapter of her work-in-progress, <i style='mso-bidi-font-style:normal'>I Dreamt I Was a Nymphomaniac Imagining. <o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Over the next half dozen years, that world would change entirely. This list is a blast from <i style='mso-bidi-font-style:normal'>that past</i>. <o:p></o:p></span></p>

<ol style='margin-top:0in' start=1 type=1> <li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;
     tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://ubu.artmob.ca/video/Mouris-Frank-Caroline_Frank-Film_1973.avi"><span      style='color:black'>Frank Film</span></a></span></i></b><b      style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Arial'> (</span></b><span style='font-size:10.0pt;font-family:Arial'>1973), Frank and Caroline Mouris. An early &amp; great anticipation of animated vispo that actually received the Academy Award for Best Short Subject. Seeing this in a festival of short subjects showed me just how easily the mind can hold onto multiple trains of thought. <i style='mso-bidi-font-style:normal'>Ketjak </i>and the other works that flowed      from that would not have come into being without this example. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;  tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://ubu.artmob.ca/sound/dial_a_poem_poets/disconnected/Disconnected_11_creeley.mp3"><span      style='color:black'>The Name</span></a></span></i></b><i style='mso-bidi-font-style:     normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Robert Creeley. Creeley read this poem at the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>First</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Unitarian</span></st1:PlaceName><span       style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span        style='font-size:10.0pt;font-family:Arial'>Church</span></st1:PlaceType></st1:place><span      style='font-size:10.0pt;font-family:Arial'> in </span><st1:City><st1:place><span        style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:place></st1:City><span      style='font-size:10.0pt;font-family:Arial'> on August 31 during the very first poetry reading I ever <span class=GramE>organized,</span> a benefit for the Committee for Prisoner Humanity &amp; Justice (CPHJ). I have no idea who made this tape, nor the one following, but I&#8217;m grateful that they did. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://ubu.artmob.ca/sound/dial_a_poem_poets/disconnected/Disconnected_28_dorn.mp3"><span      style='color:black'>Recollections of Grande Apachería</span></a></span></i></b><span     style='font-size:10.0pt;font-family:Arial'> (1973), Edward Dorn. Dorn, who insisted on arriving late so that he would not have to talk to either Creeley or his other co-reader, Joanne Kyger, closed the same evening with <i style='mso-bidi-font-style:normal'>Apachería. </i>It was the first time I&#8217;d seen the book or heard the work. And, tho I wouldn&#8217;t actually meet her for another four years &amp; 28 days, one of the 400+ people who attended the reading was Krishna Evans, now my wife. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://media.sas.upenn.edu/pennsound/authors/Creeley/Goddard/Creeley-Robert_Full_Goddard_VT_5-18-73.mp3"><span      style='color:black'>Reading at Goddard College</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Robert Creeley. Creeley gave this reading three days before his 47<sup>th</sup> birthday. With the death of Charles Olson in 1970, and of Ezra Pound in 1972, Creeley was now unquestionably the dean of post-avant American poets. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://www.ubu.com/papers/mc_carn1.html"><span      style='color:black'>Carnival The First Panel: 1967 &#8211; 1970</span></a></span></i></b><span style='font-size:10.0pt;font-family:Arial'> (1973), Steve McCaffery. Even more than bp Nichol, Steve McCaffery is the writer who brought language writing &amp; what was then being called concrete poetry together. <i style='mso-bidi-font-style:normal'>Carnival </i>was the first major statement of this intent that I ever saw right back when Steve &amp; I were first getting to know one another.<o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://media.sas.upenn.edu/pennsound/authors/Mac-Low/CDs/Doings/Mac-Low-Jackson_08_Black-Tarantula_Doings_1982.mp3"><span      style='color:black'>Black Tarantula Crossword Gathas</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(excerpt) (1973), Jackson Mac Low. Mac Low&#8217;s reputation had taken a great leap forward with the publication of <i style='mso-bidi-font-style:normal'>Stanzas for Iris Lezak </i>in 1972. The Black Tarantula was the name then being employed by </span><st1:City><st1:place><span       style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:place></st1:City><span      style='font-size:10.0pt;font-family:Arial'> novelist, Kathy Acker. It was Acker who first got me interested in attending performance art events around town. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://media.sas.upenn.edu/pennsound/authors/Mac-Low/CDs/Doings/Mac-Low-Jackson_09_Vocabulary-for-Mattlin_Doings_1982.mp3"><span      style='color:black'>A Vocabulary for Sharon Belle Matlin</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Jackson Mac Low. Other voices include Susan Musgrave, George Macbeth, Sean O'Huigin &amp; bpNichol. One of Mac Low&#8217;s more famous works &#8211; you can see the text <a      href="http://www.jongibson.net/assets/Poster29.jpg"><span      style='color:black'>here</span></a>. Caroline Mouris &amp; Susan Musgrave      (presumably the Canadian poet) are the only two women on this list. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://ubu.artmob.ca/sound/12+2/10+2=12_02.Charles_Amirkhanian.mp3"><span      style='color:black'>Heavy Aspirations</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Charles Amirkhanian. In 1973, Charles Amirkhanian&#8217;s music program on KPFA radio was a staple of everyone&#8217;s morning &#8211; and everyone&#8217;s music education. I&#8217;d actually taken a wonderful class that Amirkhanian team-taught with choreographer Anna Halprin &amp; poet Brother Antoninus at </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:PlaceName><span       style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span        style='font-size:10.0pt;font-family:Arial'>State</span></st1:PlaceType></st1:place><span      style='font-size:10.0pt;font-family:Arial'> in 1967. I knew Amirkhanian best as a composer, but his polymath ways took him also to sound texts such as this.<o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://media.sas.upenn.edu/pennsound/video/Schwerner/Schwerner-Armand-by-Phill-Niblock_c-1973.rm"><span style='color:black'>Armand Schwerner</span></a></span></i></b><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Phill Niblock. Schwerner reading in an orange windbreaker on a blustery day (</span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Staten Island</span></st1:place><span      style='font-size:10.0pt;font-family:Arial'>?). <i style='mso-bidi-font-style:normal'><span style='mso-spacerun:yes'> </span></i>Schwerner was part of the scene around Jerry Rothenberg &amp; Jackson Mac Low, a connection to the important journal <i style='mso-bidi-font-style:normal'>Caterpillar</i>. His <i style='mso-bidi-font-style:normal'>Tablets </i>are a fun moment in the use of satirical palimpsests to construct authorship. I think of them, along with Ed Friedman&#8217;s <i style='mso-bidi-font-style:normal'>Telephone Book, </i>and the early works of Bernadette Mayer as being important antecedents to conceptual poetry. Niblock I knew principally as a composer, part of the larger scene I came into contact with through Kathy Acker, Peter Gordon &amp; Chris Berg (Clay Fear). <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://ubu.artmob.ca/video/Broughton-James_High-Kukus_1973.avi"><span      style='color:black'>High Kukus</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), James Broughton. Filmmaker &amp; poet Broughton, seen here in both roles, was one of the few presences of the old </span><st1:City><st1:place><span        style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:place></st1:City><span      style='font-size:10.0pt;font-family:Arial'> avant-garde that existed immediately after World War 2, before the Berkeley Renaissance took the F Train across the Bay &amp; the Beats came to town, still active by the early 1970s. Broughton taught at the San Francisco Art Institute for years (the same job Bill Berkson has today) and did much to bring those art worlds together. In 1973, Broughton was younger than I am today. <o:p></o:p></span></li>
</ol>

<p class=MsoNormal style='margin-left:.0in'><span style='font-size:10.0pt;font-family:Arial'>So I think the question of Ubuweb as an archive is mixed. What&#8217;s there is actually pretty terrific. What&#8217;s missing is large to the point of disturbing. That&#8217;s probably to be expected from what amounts to a one-man <span style='color:black'>operation, and it suggests that a major future question for Ubu, as well as for other similar archives, such as <a href="http://epc.buffalo.edu/"><span style='color:black'>the Electronic Poetry Center</span></a>, <a href="http://eclipsearchive.org/"><span style='color:black'>Eclipse</span></a>, <a href="http://writing.upenn.edu/pennsound/"><span style='color:black'>PENNsound</span></a>, or <a href="http://www.english.uiuc.edu/maps/index.htm"><span style='color:black'>Modern American Poetry</span></a>, just to name a few, will be how to institutionalize (and thus make systematic, complete &#8211; whatever that might mean &#8211; and permanent, or at least</span> long lasting) the riches they do hold. <span style='color:black'><o:p></o:p></span></span></p>
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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='color:black'><img height="142" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/BIyE269zkwZNUotj-YS-gK5agb821I41SVfprmZM2aKx9k7bE9TAxnvCi7S7SuFrJ3CfL62wIOTBohy8jiR5xEzDTqMfV5wWR-h8B4oLPQ%3Ds0-d" width="354"><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://eclipsearchive.org/projects/TOTTELS/"><span style='color:black'>Tottel&#8217;s</span></a></span></i><span style='font-size:10.0pt;font-family:Arial;color:black'> is now online. <span class=GramE>At least partly.</span> Craig Dworkin&#8217;s <a href="http://eclipsearchive.org/"><span style='color:black'>Eclipse</span></a> archive, which, in its own words, is dedicated to &#8220;digital facsimiles of the most radical small-press writing from the last quarter century&#8221;<span style='mso-spacerun:yes'>  </span>is in the process of making my 1970s &#8216;zine its 100th collection. JPEG photo files of every page of all 18 issues are now available. &#8220;</span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Reading</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> copies&#8221; of each issue in PDF format will follow shortly. This feels particularly amazing to me since no issue of <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>had more than 150 copies and some of the early ones may have had as few as 50. Two libraries &#8211; NYPL and SUNY Buffalo &#8211; took out subscriptions early on, but their collections may be the only other complete (or near complete) sets in the world.<span style='mso-spacerun:yes'>  </span><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'>I got the idea of trying a magazine in the fall of 1968 while I was a student in the creative writing program at </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</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'>State</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. My linguistics professor, Ed van Aelstyn, one of the founding editor&#8217;s of <i style='mso-bidi-font-style:normal'>Coyote&#8217;s Journal, </i>argued that if I was a poet, I should have a magazine &#8211; it would give me a chance to contact all of the poets whose work I admired, sharpen my own critical thinking about poetry, and even give me the chance to print my own work. The late d <span class=SpellE>alexander</span> helped immeasurably when he heard from mutual friend Clayton Eshleman that I had embarked on this venture &amp; showed up one day at my door with his address book in hand. d &#8211; his full first name &#8211; had been editing <span class=SpellE><i style='mso-bidi-font-style:normal'>Odda</i></span><i 
style='mso-bidi-font-style:normal'> <span class=SpellE>Talla</span> </i>for a few years at that point &amp; knew the whereabouts of just about every living New American or otherwise post-avant poet in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> And </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Canada</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, as it so happened &#8211; the subsequent appearance of Daphne Marlatt in <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>was certainly his doing. d hosted Marlatt at his home in the hills behind Stanford &amp; persuaded me to screw up the courage to ask Ken Irby to let me ride along with him &amp; David Bromige &#8211; in those years, Irby was the only one of us who even knew how to drive. On our way there, we stopped at a liquor store near <span class=SpellE>d&#8217;s</span> to pick up a six pack only to find ourselves standing in line behind Tennessee Ernie Ford. <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'>Ted Enslin, John Thorpe &amp; Chuck Stein were other names that emerged from <span class=SpellE>d&#8217;s</span> address book, as were some folks who don&#8217;t appear in <i style='mso-bidi-font-style:normal'>Tottel&#8217;s, </i>most notably Armand Schwerner. I accepted some of Schwerner&#8217;s <i style='mso-bidi-font-style:normal'>Tablets </i>for my embryonic journal, which I was calling <i style='mso-bidi-font-style:normal'>Alpha Sort, </i>but by the time the initial issue of <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>showed up, Armand&#8217;s work was already widely available in his first Black Sparrow collection of those poems. <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'>As the hand-scripted logo from the first issue above may attest, one thing I clearly didn&#8217;t have a clue about was the production of any publication. I was also living on little more than $100 per month in those days, which didn&#8217;t leave me much in the way of resources to pay for printing, let alone typesetting &amp; design. So I found myself for about two years with a stack of work that just sat there as I felt more &amp; more guilty &amp; confused about what to do. Even now, some three dozen years later, when somebody asks me for work for a something that never emerges &#8211; where <i style='mso-bidi-font-style:normal'>is </i>Leslie Davis&#8217;s anthology, <i style='mso-bidi-font-style:normal'>Poetry and the Year 2000? </i>&#8211; I always keep in mind that I&#8217;ve been there too and know precisely what that&#8217;s like. <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'>What finally go me going was an unsolicited submission from David Gitin that I felt was just too good not to publish &#8211; the work&#8217;s neo-Objectivist impulses totally persuaded me &#8211; but that brought me face-to-face with the nasty reality that soliciting work &amp; just sitting on it wasn&#8217;t &#8220;publishing,&#8221; but quite the opposite &#8211; I was keeping what I felt was significant work from getting out. So I finally went for an option that at the time I thought was inventing on the spot &#8211; I trundled down to the local Krishna Copy shop in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> and had the first five-page issue photocopied. I chose a different title, that of the first anthology of poetry in English, both to connect what I thought I was doing to the larger stream of literature <i style='mso-bidi-font-style:normal'>and </i>to separate it out from what I thought of as the debacle of <i style='mso-bidi-font-style:normal'>Alpha Sort. </i>Gitin&#8217;s poems actually turn up in the second issue. <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'>I was very much interested in defining this project as new. I didn&#8217;t even know enough to date the first issue, but it was probably December 1970 or January of 1971. I had separated from my first wife, Rochelle Nameroff, in late October 1970 after a five-year marriage &amp; was living in a backyard cottage in </span><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>North Oakland</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. At some level, finally getting off the dime on a publication helped to mark the difference between my former life &amp; the one towards which I was optimistically plunging ahead. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Tottel&#8217;s </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>has sometimes been referred to as the first language poetry journal &amp;, in the narrow sense that it beat <i style='mso-bidi-font-style:normal'><a href="http://eclipsearchive.org/projects/THIS/this.html"><span style='color:black'>This</span></a> </i>magazine to print by a few months, this may be true. In 1969, David Melnick &amp; I had co-edited a selection of &#8220;Fifteen Young Poets the San Francisco Bay Area&#8221; for the <i style='mso-bidi-font-style:normal'>Chicago Review </i>&#8211; it appeared in the summer 1970 issue, not long before I took the first <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>to the copy shop. We had had the opportunity at the time to include the writing of Rae Armantrout &amp; Robert Grenier in that selection, but for different reasons failed to do so. In Rae&#8217;s case, I think we just lacked self-confidence that one of our fellow students at </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was &#8220;ready&#8221; to publish. In Grenier&#8217;s case, I think we worried that <i style='mso-bidi-font-style:normal'>Chicago Review </i>would reject the entire project if we tried to include something like <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>STEAM<br> <br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>inside<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>in our manuscript.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> I&#8217;m not persuaded even now that the latter fear wasn&#8217;t reasonable, but I was determined not to make the same mistake twice and included five poems from Grenier&#8217;s <i style='mso-bidi-font-style:normal'>Sentences </i>in the first issue &#8211; possibly the first appearance anywhere of that seminal work. The third issue was devoted entirely to Armantrout&#8217;s poetry, and the fifth to Grenier&#8217;s. Two of the poems in the Armantrout number have survived all the way to her selected poems, <i style='mso-bidi-font-style:normal'><a href="http://www.upne.com/0-8195-6449-4.html"><span  style='color:black'>Veil</span></a>. </i><span class=GramE>So much for her not having  been ready.</span> Other single-author issues included David Gitin (#7), Thomas Meyer (9), Clark Coolidge (11), Ray DiPalma (12), David Melnick (13), Bruce Andrews (14), Larry Eigner (15) and Steve Benson (18). That&#8217;s a pretty good line-up after all these years. <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'>One non-contributor whose presence in <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>I also enjoyed was Phil Whalen, <a href="http://eclipsearchive.org/projects/TOTTELS17/html/pictures/001.jpg"><span style='color:black'>who can be seen</span></a> climbing atop &amp; then jumping from a large rock at the San Francisco Zen Center on the cover of issue 17. I forget how exactly I came by that selection. Somebody gave me the photos as a lark at some point &amp; I recall writing away for permission to use them &amp; waiting anxiously until I got a note back that said, basically, &#8220;Sure.&#8221; <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 more ominous cover ran on the 16<sup>th</sup> issue, which made use of the execution record form from San Quentin, at the time the only document used by the California Department of Corrections that actually called a prisoner a prisoner rather than a resident or a client. This was something that I picked up on the job during the years I worked in the prisoner rights&#8217; movement. <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 sixty real contributors to <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>included each of the following:<o:p></o:p></span></p>

<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Keith Abbott<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Tom Ahern<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>d <span class=SpellE>alexander</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Bruce Andrews<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Rae Armantrout<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Barbara <span class=SpellE>Baracks</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Steve Benson<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Charles Bernstein<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Ted Berrigan<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Harvey Bialy<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>David Bromige<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Robert David Cohen<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Clark Coolidge<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Alan Davies<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Lee De <span class=SpellE>Jasu</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Raymond DiPalma<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Mike Doyle<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Lynne Dreyer<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Larry Eigner<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Theodore Enslin<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Seymour</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> Faust<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Curtis Faville<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>David Gitin<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>John Gorham<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Bob Grenier<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Lyn Hejinian<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Joyce Holland<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>William B. Hunt<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Ken Irby<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Robert Kelly<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Michael <span class=SpellE>Lally</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Iven Lourie<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Jackson Mac Low<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Lewis <span class=SpellE>MacAdams</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Paul Mariah<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Daphne Marlatt<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>David McAleavey<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Brian <span class=SpellE>McInerney</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>David Melnick<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Thomas Meyer<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Rochelle Nameroff<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Opal L. Nations<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Bob Perelman<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>David Perry<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Jim Preston<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Margaret Randall<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Jerome Rothenberg<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Dennis Schmitz<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Ron Silliman<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Charles Stein<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Richard <span class=SpellE>Tagett</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>John Taggart<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>John Thorpe<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Michael <span class=SpellE>Torlen</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Keith Waldrop<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Rosmarie Waldrop<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Barrett Watten<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Hannah Weiner<o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Michael <span class=SpellE>Wiater</span><o:p></o:p></span></p>
<p style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Arial;color:black'>Karl Young<o:p></o:p></span></p>

<p style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Not a perfect list &#8211; I&#8217;m appalled to think I never printed Kit Robinson, Carla Harryman, Tom Mandel, Ted Pearson, Alan Bernheimer, Beverly Dahlen, Leslie Scalapino, Steve <span class=SpellE>Ratcliffe</span>, Erica Hunt, Aaron Shurin, Bob Glück, Norman Fischer, Kathy Acker, Steve Vincent etc. etc. etc., all of whom I knew in the 1970s &#8211; but a decent one overall. <o:p></o:p></span></p>

<p style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://eclipsearchive.org/titles.html"><span style='color:black'>Eclipse</span></a>, the host institution, so to speak, is becoming one of the major archival sites for poetry of the last half century. <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>is my third item in the Eclipse archive, as my issue of <i style='mso-bidi-font-style:normal'><a href="http://eclipsearchive.org/projects/STATIONS/stations.html"><span style='color:black'>Stations</span></a> </i>dedicated to the work of Clark Coolidge and <a href="http://eclipsearchive.org/projects/LEGEND/legend.html"><i style='mso-bidi-font-style:normal'><span style='color:black'>Legend, </span></i></a>the booklength collaborative poem I wrote with Charles Bernstein, Ray DiPalma, Steve McCaffery &amp; Bruce Andrews are already there. But I&#8217;m also in <i style='mso-bidi-font-style:normal'><a href="http://eclipsearchive.org/projects/LANGUAGE/language.html"><span style='color:black'>L=A=N=G=U=A=G=E</span></a>, </i>whose complete archives are here, and the index to <i style='mso-bidi-font-style:normal'>This </i>magazine. The archive also has some 15 books by Clark Coolidge, the complete books of David Melnick, Rae Armantrout&#8217;s first book, nine books by Bruce Andrews, five books by Lyn Hejinian, four by Robert Grenier (not including, alas, <i style='mso-bidi-font-style:normal'>Cambridge <span class=SpellE>M&#8217;ass</span>, </i>the giant poster of a book), all of the important early works by Bernadette Mayer, and all manner of really rare items, including books by N.H. Pritchard, the African-American avant-<span class=SpellE>gardist</span>, Peter Seaton&#8217;s great <i style='mso-bidi-font-style:normal'><a href="http://eclipsearchive.org/projects/agreement/agreement.html"><span style='color:black'>Agreement</span></a> </i>or Alden Van <span class=SpellE>Buskirk&#8217;s</span> <i style='mso-bidi-font-style:normal'><a href="http://eclipsearchive.org/projects/LAMI/lami.html"><span class=SpellE><span style='color:black'>Lami</span></span></a>, </i>one of the lost works of the Beat generation. I keep hoping that Dworkin eventually will add all of the early volumes of <i style='mso-bidi-font-style:normal'>Coyote&#8217;s Journal, </i>or <i style='mso-bidi-font-style:normal'>Caterpillar, </i>or <span class=SpellE><i style='mso-bidi-font-style:normal'>Yugen</i></span><i style='mso-bidi-font-style:normal'> </i>or <i style='mso-bidi-font-style:normal'>C. </i>But like such sister sites as <a href="http://www.ubu.com/"><span style='color:black'>UBU</span></a>, <a href="http://epc.buffalo.edu/"><span style='color:black'>EPC</span></a> &amp; <a href="http://www.writing.upenn.edu/pennsound/"><span  style='color:black'>PENNsound</span></a>, I&#8217;ll wager that Dworkin is doing this on a shoestring, sweat equity all the way beyond, perhaps, storage on a university server somewhere. It&#8217;s ironic that the Poetry Foundation, with its endowment of $100-plus million, or even the Academy of American Poetry, have done so much less with so many more resources. <o:p></o:p></span></p>
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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='color:black'><img height="59" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/ZlrVFgfH_4EzdQhrF6kzXqyAvDbY7-_pqr9kbyuajrSW2HWIF-4pqfNN8YberNLcVxptvq9sWHPDA3EIjhwD1UpFfRqtbuISWtUF%3Ds0-d" width="546"><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.archiveofthenow.com/"><span style='color:black'>Archive of the Now</span></a> is, on day one, the most significant new site for poetry I&#8217;ve seen in well over a year. It is a perfect complement to the <a href="http://www.poetryarchive.org/poetryarchive/home.do"><span style='color:black'>Archive of the Then</span></a>, Andrew Motion&#8217;s slick gathering of so much that is kitsch, the Bathos of Britain into which he &amp; his colleagues have dropped a few token gems to dress the dross, with its megalomaniacal &#8220;world's premier online collection&#8221; claim on its home page. Mostly it&#8217;s a shill for hawking some old CDs, containing only two-thirds the number of poets available for free already, and in much greater depth, at <a href="http://www.writing.upenn.edu/pennsound/"><span  style='color:black'>PENNsound</span></a><span class=GramE>..</span> In unmistakable contrast with Motion&#8217;s slickness, Archive of the Now simply seems intent on becoming<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;color:black'>an online and print repository of recordings, printed texts and manuscripts, focusing on innovative contemporary poetry being written or performed in </span></span><st1:country-region><st1:place><span class=GramE><span   style='font-size:10.0pt;font-family:Verdana;color:black'>Britain</span></span></st1:place></st1:country-region><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;color:black'>.</span></span><span style='font-size:10.0pt;font-family:Verdana;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'>What a breath of fresh air! <span class=GramE>And what resources already in place.</span> The Archive already has in place some materials on the following 44 poets:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/timatkins/start.html"><span style='color:black'>Tim Atkins</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/andreabrady/start.html"><span style='color:black'>Andrea Brady</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/ceribuck/start.html"><span class=SpellE><span style='color:black'>Ceri</span></span><span style='color:black'> Buck </span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/stuartcalton/start.html"><span style='color:black'>Stuart <span class=SpellE>Calton</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/vahnicapildeo/start.html"><span class=SpellE><span style='color:black'>Vahni</span></span><span style='color:black'> <span class=SpellE>Capildeo</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/adrianclarke/start.html"><span style='color:black'>Adrian Clarke</span></a><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/kelvincorcoran/start.html"><span style='color:black'>Kelvin Corcoran</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/emilycritchley/start.html"><span style='color:black'>Emily <span class=SpellE>Critchley</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/iandavidson/start.html"><span style='color:black'>Ian Davidson </span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/andrewduncan/start.html"><span style='color:black'>Andrew Duncan</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/kenedwards/start.html"><span style='color:black'>Ken Edwards</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/kaifierlehedrick/start.html"><span style='color:black'>Kai <span class=SpellE>Fierle</span>-Hedrick </span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/allenfisher/start.html"><span style='color:black'>Allen Fisher</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/royfisher/start.html"><span style='color:black'>Roy Fisher</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/harrygilonis/start.html"><span style='color:black'>Harry <span class=SpellE>Gilonis</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/chrisgoode/start.html"><span style='color:black'>Chris Goode </span></a><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/billgriffiths/start.html"><span style='color:black'>Bill Griffiths</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/alanhalsey/start.html"><span style='color:black'>Alan Halsey</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/roberthampson/start.html"><span style='color:black'>Robert <span class=SpellE>Hampson</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/michaelhaslam/start.html"><span style='color:black'>Michael <span class=SpellE>Haslam</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/ianhunt/start.html"><span style='color:black'>Ian Hunt</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/elizabethjames/start.html"><span style='color:black'>Elizabeth James</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/tomjones/start.html"><span style='color:black'>Tom Jones</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/christinekennedy/start.html"><span style='color:black'>Christine Kennedy</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/davidkennedy/start.html"><span style='color:black'>David Kennedy</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/michaelkindellan/start.html"><span style='color:black'>Michael <span class=SpellE>Kindellan</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/tonylopez/start.html"><span style='color:black'>Tony Lopez</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/petermanson/start.html"><span style='color:black'>Peter Manson</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/timmorris/start.html"><span style='color:black'>Tim Morris</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/geraldinemonk/start.html"><span style='color:black'>Geraldine Monk </span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/peterlarkin/start.html"><span style='color:black'>Peter Larkin</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/dellolsen/start.html"><span style='color:black'>Redell Olsen</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/maggieosullivan/start.html"><span style='color:black'>Maggie O'Sullivan</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/outtolunch/start.html"><span style='color:black'>Out to Lunch </span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/ianpatterson/start.html"><span style='color:black'>Ian Patterson</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/neilpattison/start.html"><span style='color:black'>Neil <span class=SpellE>Pattison</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/reithapattison/start.html"><span class=SpellE><span style='color:black'>Reitha</span></span><span style='color:black'> <span class=SpellE>Pattison</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/simonperril/start.html"><span style='color:black'>Simon <span class=SpellE>Perril</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/peterrobinson/start.html"><span style='color:black'>Peter Robinson</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/johnseed/start.html"><span style='color:black'>John Seed</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/simonsmith/start.html"><span style='color:black'>Simon Smith</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/kestonsutherland/start.html"><span class=SpellE><span style='color:black'>Keston</span></span><span style='color:black'> Sutherland</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/lawrenceupton/start.html"><span style='color:black'>Lawrence Upton</span></a><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'><a href="http://people.brunel.ac.uk/%7Eenstaab2/authors/johnwilkinson/start.html"><span style='color:black'>John Wilkinson</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'>For someone who has been  complaining, as have I, that I have some difficulty <i style='mso-bidi-font-style:normal'>hearing </i>the work of many British authors, this site is a patent &amp; blunt challenge to me to put up or shut up. If I want (need) to listen, <span class=GramE>it&#8217;s</span> right here. In fact, I shall. Roy Fisher&#8217;s poems here have already sent me out to find the one lone bookshop in </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Chester</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'>County</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> that had a copy of his collected poems, <i style='mso-bidi-font-style:normal'><a href="http://www.bloodaxebooks.com/titlepage.asp?isbn=1852247010"><span style='color:black'>The Long and the Short of It</span></a>, </i>but I&#8217;ve done so &amp; thus I&#8217;m diving in. <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'>Is the site perfect? Hardly, but this appears to be mostly because it&#8217;s just getting under way. It has, as of this week, 44 poets in contrast with the Archive of the <span class=SpellE>Then&#8217;s</span> 133 &amp; PENNsound&#8217;s 196<span class=GramE>..</span> So the obvious immediate need at Archive of the Now is for more authors. Some of the obvious enough omissions at present include Thomas A. Clark, Lee Harwood, Drew Milne, Tom Pickard, J.H. Prynne, Tom Raworth &#8211; Raworth, in fact, can be found on Motion&#8217;s site, which is selling a CD of him reading. <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'>Like the <a href="http://epc.buffalo.edu/"><span style='color:black'>Electronic Poetry Center</span></a>, the <a href="http://www.soton.ac.uk/~bepc/guide.htm"><span style='color:black'>British Electronic Poetry Center</span></a>, <a href="http://www.ubu.com/"><span style='color:black'>Ubuweb</span></a>, <a href="http://www.poets.org/index.php"><span style='color:black'>the Academy of American Poets</span></a>, <a href="http://www.english.uiuc.edu/maps/index.htm"><span style='color:black'>Modern American Poetry</span></a>, PENNsound, &amp; even Motion&#8217;s slickness, Archive of the Now is part of the new encyclopedic impulse on the web itself, poetry-specific offshoots of the same impulses that lie behind Wikipedia and Google. Further, zines &amp; reading series themselves are beginning to understand the value of same, for example <i style='mso-bidi-font-style:normal'><a href="http://jacketmagazine.com/00/home.shtml"><span style='color:black'>Jacket</span></a>, <a href="http://www.how2journal.com/"><span style='color:black'>How2</span></a></i> &amp; <i style='mso-bidi-font-style:normal'><a href="http://www.mipoesias.com/"><span class=SpellE><span style='color:black'>MiPoesias</span></span></a></i>.<span style='mso-spacerun:yes'>  </span>We stand at the cusp of a period in which an enormous number of resources for the enjoyment &amp; study of poetry over the past century, especially the last half century, are about to explode exponentially. Indeed, we are rapidly approaching the moment when some smart person is going to start pulling together an index of such resources, thus noting, for example, sites concerning Allen Ginsberg (often with sound files) on<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.poets.org/poet.php/prmPID/8"><span style='color:black'>The Academy of American Poets</span></a><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.poetryarchive.org/poetryarchive/singlePoet.do?poetId=1547"><span style='color:black'>Archive of the Then</span></a><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://epc.buffalo.edu/authors/ginsberg/"><span style='color:black'>The Electronic Poetry Center</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><i style='mso-bidi-font-style:normal'><a href="http://www.acn.net.au/search97cgi/s97_cgi"><span style='color:black'>Jacket</span></a></i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.english.uiuc.edu/maps/poets/g_l/ginsberg/ginsberg.htm"><span style='color:black'>Modern American Poetry</span></a><o:p></o:p></span></p> 
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://writing.upenn.edu/pennsound/x/Ginsberg.html"><span style='color:black'>PENNsound</span></a><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.ubu.com/sound/ginsberg.html"><span style='color:black'>Ubuweb</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'>Not to mention <a href="http://www.allenginsberg.org/"><span style='color:black'>Ginsberg&#8217;s own home site</span></a>. Just multiply that level of detail for each of the 10,000-plus English language poets now publishing &#8211; not to mention those who, like Ginsberg, have come &amp; gone before &#8211; and you begin to get a sense of simply the scale of what is out there already. And what should be out there (and will be, soon enough). <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'>Thus, to Andrea Brady, who appears to have done the bulk of the work in getting Archive of the Now up &amp; running, we can only say welcome &amp; huzzah. May the project live long &amp; prosper. <o:p></o:p></span></p>
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<h2>Silliman Sites</h2>
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<li><a href='http://www.poets.org/poet.php/prmPID/1544'>Academy of American Poets</a></li>
<li><a href='http://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
<li><a href='http://www.facebook.com/ron.silliman'>Facebook</a></li>
<li><a href='http://www.goodreads.com/search/search%3Fsearch_type%3Dbooks%26search%5Bquery%5D%3Dron%2Bsilliman'>GoodReads</a></li>
<li><a href='http://www.english.illinois.edu/maps/poets/s_z/silliman/silliman.htm'>Modern American Poetry</a></li>
<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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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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<h2 class='title'>Other Books in Print</h2>
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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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