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Showing posts with label <b>Barrett Watten</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Tuesday, December 24, 2002</span></h2>

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<span style="font-family: Arial;">It was quite dark the other
morning between rain storms, and, as is almost always the case when this
occurs, the gloom reminded me of &#8220;The Dark Day&#8221;:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The
&#8220;dark day&#8221; of last week, so strange in its complexion, so altogether unlike
anything that has been recorded within our time, served to frighten many
superstitious people as if it were an omen of ill fate, and to fill the general
talk with wonder and speculation, while it draws attention also to the fact
that this is in every respect, over large regions of the earth, an exceptional
summer, marked by extraordinary weather and by &#8220;signs in the sky&#8221; as
extraordinary. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The piece goes on from
there. The term &#8220;dark day&#8221; itself dates back, at least in the United States, to
May 19, 1780 when smoke from distant forest fires caused New England to grow so
dark at midday that candles were needed and farm animals went to sleep.
Certainly anyone who has experienced this kind of phenomenon, as I did on the
day of the Oakland Firestorm in 1991 &#8211; which I first noticed in my backyard in
Berkeley when the sun &#8220;set&#8221; at 11:30 AM &#8211; will not soon forget the sense of
disorientation that ensues until one figures out the cause. In that instance,
the fire consumed over 3,400 units of housing within a 5&#188; fire perimeter and
cost some 25 lives (including that of my cousin Bob Cox), taking two days to
control &amp; turning the </span><st1:city><st1:place><span style="font-family: Arial;">Oakland</span></st1:place></st1:city><span style="font-family: Arial;">
&amp; </span><st1:city><st1:place><span style="font-family: Arial;">Berkeley</span></st1:place></st1:city><span style="font-family: Arial;"> hills into an imitation of </span><st1:city><st1:place><span style="font-family: Arial;">Nagasaki</span></st1:place></st1:city><span style="font-family: Arial;">. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The &#8220;dark day&#8221; of the text
above, however, precedes the Oakland Firestorm by some 90 years, being dated </span><st1:date day="11" month="9" year="1881"><span style="font-family: Arial;">September 11,
 1881</span></st1:date><span style="font-family: Arial;">. The text appears in
the fourth issue of <span class="GramE"><i style="mso-bidi-font-style: normal;">This</i></span>,
published in the Spring of 1973. Even in 1973, found texts were not unheard of,
although they were still uncommon in most literary journals. <i style="mso-bidi-font-style: normal;">This </i>4, the first not to list Robert
Grenier as co-editor*, was formally pushing its own envelope &#8211; in addition to a
lengthy interview with Clark &amp; Susan Coolidge &amp; a series of &#8220;station
breaks&#8221; by Joanne Kyger (e.g. &#8220;What are your references&#8221; or &#8220;A swirl of white
petals / momentarily blind him&#8221;) that eat up as much available white space at
the end of selections as possible, the issue came with an insert (not listed in
the table of contents) of &#8220;30 from <i style="mso-bidi-font-style: normal;">Sentences</i>&#8221;
by Grenier, a series of 16 4&#189;<span style="mso-spacerun: yes;">&nbsp; </span>by 6&#190;-inch
cards wrapped in a red rubber band. This issue also contains Watten&#8217;s &#8220;Factors
Influencing the Weather,&#8221;** the piece among Watten&#8217;s early poems that certainly
had the strongest impact on me as a poet &#8211; I&#8217;ve stolen from it again &amp;
again over the years. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">A newspaper article that
commingles weather with cosmology, &#8220;The Dark Day&#8221; continues for three pages.
It&#8217;s not especially great prose. One sentence could in fact qualify for one of
Jay <span class="SpellE">Leno&#8217;s</span> patented &#8220;stupid newspaper items&#8221;:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The sky
has been marked by noticeably brilliant sunsets, and some <span class="SpellE">auroral</span>
displays of peculiar nature have occurred, like that of the night of July 2,
following the attempt to assassinate President Garfield, which was repeated
with more remarkable beauty last Monday evening. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A few years after <span class="GramE"><i style="mso-bidi-font-style: normal;">This</i></span><i style="mso-bidi-font-style: normal;"> </i>4 came out, I would have a job in which
one of my duties included reading through selected dates &amp; sections of the <i style="mso-bidi-font-style: normal;">San Francisco Examiner</i> over the course
of the previous 80 years. As &#8220;The Dark Day&#8221; makes evident, what passed for both
news and journalistic prose style was quite different at the end of the
Victorian era. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">But what I got from it in
1973 was the idea of language as evidence, an idea that may have been proposed
elsewhere previously, but with which I never actually connected until I saw it
at work almost simultaneously in two very different contexts. One was &#8221;The Dark
Day,&#8221; the other was the early novels of Kathy Acker, <i style="mso-bidi-font-style: normal;">I Dreamt I Was a Nymphomaniac Imagining,</i> <i style="mso-bidi-font-style: normal;">The Childlike Life of the Black Tarantula </i>&amp; <i style="mso-bidi-font-style: normal;">The Adult Life of Toulouse Lautrec</i>. The
idea of language as evidentiary is what really enabled me to think of sentences
as doing something other than &#8220;telling a story,&#8221; a recognition that led within
a year to my beginning work on <i style="mso-bidi-font-style: normal;">Ketjak</i>.
In retrospect, I think it may well have been the range of usage between the
absolutely non-committal presentation of &#8220;The Dark Day&#8221; in <i style="mso-bidi-font-style: normal;">This</i> &amp; the openly transgressive appropriation in Acker&#8217;s
fiction that made it apparent just how much room there was to investigate the
uses of language in writing. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">So often, on a &#8220;dark day,&#8221; I
think back to this old anonymous newspaper article and the tremendous impact it
had on my life.<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;">* In fact,
Grenier had pulled back from editing duties well before this.<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;">** In a single-stanza
version visually quite different from the one that begins on p. 290 of <i style="mso-bidi-font-style: normal;">Frame.<o:p></o:p></i></span></div>
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at
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002/12/it-was-quite-dark-other-morning.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2002-12-24T07:12:00-05:00'>Tuesday, December 24, 2002</abbr></a>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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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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