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Showing posts with label <b>Bob Holman</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>Bob Holman</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Tuesday, February 03, 2015</span></h2>

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<b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2015/02/14_3.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2015-02-03T00:00:00-05:00'>Tuesday, February 03, 2015</abbr></a>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Wednesday, October 23, 2002</span></h2>

          <div class="date-posts">
        
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<span style="font-family: Arial;">Write about performance
poetry and very quickly you will find yourself the possessor of a flurry of CDs
that relate variously to this side of writing. In the past week, I&#8217;ve received
the CD that accompanies <i style="mso-bidi-font-style: normal;"><a href="http://www.rattapallax.com/fusion.htm">Short Fuse: The Global Anthology
of New Fusion Poetry</a>,</i> a brand new multimedia CD from Edwin Torres
entitled <i style="mso-bidi-font-style: normal;"><a href="http://www.fauxpress.com/b/to.htm">Please</a></i>, put out by Jack
Kimball&#8217;s Faux Press,<i style="mso-bidi-font-style: normal;"> </i>and a slightly
older audio CD, <i style="mso-bidi-font-style: normal;">Triumph of the Damned,</i>
by Arundo, which consists of Actualist impresario G.P. Skratz and
instrumentalist Andy Dinsmoor (not to be confused with the Arundo Clarinet
Quartet). <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The CD that accompanies <i style="mso-bidi-font-style: normal;">Short Fuse </i>is, in some ways, the very
best part of this complex &amp; ambitious project*, offering 76:02 minutes of
work on the part of 34 contributors, ranging from Emily XYZ to Billy Collins,
Edwin Torres to Glyn Maxwell. With Bob Holman, Ian Ferrier, Fortner Anderson,
Charles Bernstein, Willie <span class="SpellE">Perdomo</span>, </span><st1:personname><span style="font-family: Arial;">Richard Peabody</span></st1:personname><span style="font-family: Arial;">, Lucy English, Mat Fraser, Tug Dumbly, <span class="SpellE">Ulli</span> K. Ryder, Michele Morgan, Guillermo Castro, <span class="SpellE">Dawna</span> Rae Hicks, Barbara <span class="SpellE">Decesare</span>,
Heather <span class="SpellE">Hermant</span>, Alicia Sometimes, Sandra <span class="SpellE">Thibodeux</span>, Rob Gee, <span class="SpellE">Regie</span> <span class="SpellE">Cabico</span>, Todd Colby, Corey Frost, </span><st1:personname><span style="font-family: Arial;">Todd Swift</span></st1:personname><span style="font-family: Arial;">&#8217;s Swifty Lazarus, Kim Houghton, Robin Davidson,
Irene <span class="SpellE">Suico</span> <span class="SpellE">Soriano</span>, Peter
Finch, Dwayne Morgan, Patrick Chapman, <span class="SpellE">Ryk</span> McIntyre
&amp; Ian <span class="SpellE">McBryde&#8217;s</span> The Still Company, this disc
presents these oral/aural poets in their best light and hints of the
extraordinary richness to be found throughout the <i style="mso-bidi-font-style: normal;">Short Fuse </i>project. As a whole, the CD is great fun &amp; hangs
together remarkably well given how diverse this collection of writers <span class="GramE">prove</span> to be. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Arial;">Trying to sort through this
cornucopia is an interesting project in itself. Twelve of the poets here use
music in the presentation of their work, ranging from mere background
accompaniment (Alicia Sometimes, Dwayne Morgan, Bob Holman) to complex
productions that transform their poems into something like the role normally
reserved for song lyrics (Edwin Torres, Michele Morgan, Ian Ferrier). This
latter strategy in particular raises once again the issues of performance on
the page versus aurally that I&#8217;ve discussed <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2383209267">previously</a>.
There is, I promise, almost no way for even the most inventive &amp; flamboyant
<span class="GramE">reader to translate this passage by Edwin Torres from the
page with even</span> a fraction of the flair that the poet&#8217;s own
Latin-flavored performance offers:<o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<span class="SpellE"><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;">Peesacho</span></span><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;">, NO macho<o:p></o:p></span></div>
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<span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;">Much cha-cha? NO mucho, P-<span class="SpellE">sycho</span>
NOT cha-cha / cha-CHA<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; text-align: center; text-autospace: none;">
<span class="GramE"><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;">is</span></span><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;"> the HER
with the HAIR of hay <span class="SpellE">hay</span><o:p></o:p></span></div>
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<span class="GramE"><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;">in</span></span><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;"> the HAIR
not the HER is the HEART<o:p></o:p></span></div>
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<span class="GramE"><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;">of</span></span><span style="color: black; font-family: Arial; mso-bidi-font-family: Garamond;"> <span class="SpellE">PeeSAAAAAAAcho</span>...<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Torres starts off the CD and
gives it the feeling of any pop music disc, leading with its hit single. &#8220;<span class="SpellE">Peesacho</span>&#8221; is an extraordinary piece, the single best
recording I&#8217;ve heard yet of Torres&#8217; own work**. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In fact, all of the pieces
on the CD that have the greatest impact use music: Torres&#8217; &#8220;<span class="SpellE">Peesacho</span>,&#8221;
<span class="SpellE">XYZ&#8217;s</span> Arabic ode to an al-Qaeda pilot, Bob Holman&#8217;s
wry &amp; ironic monolog, Michele Morgan&#8217;s jazz performance of a poem that can
be heard as a high-style homage to Beat poetry, or Ian Ferrier&#8217;s piece, with
its chorus right out of Dylan&#8217;s <i style="mso-bidi-font-style: normal;">Nashville
Skyline </i>period. Had the CD focused only on works that utilized music, <i style="mso-bidi-font-style: normal;">Short Fuse </i>might have set off a
revolution in poetic song, because the overall quality of these best works is <span class="GramE">startling.</span> The musical pieces are what ultimately <span class="GramE">holds</span> this disc together.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The two dozen texts that are
unaugmented by music can themselves be divided into somewhat overlapping
groups: straight readings of straight poems, recordings of live readings, one
piece by Charles Bernstein obviously chosen for its jabberwocky. Many of these
pieces simply document the poet&#8217;s reading of the text and some, such as
Guillermo Castro&#8217;s &#8220;A Deli on </span><st1:street><st1:address><span style="font-family: Arial;">First Avenue</span></st1:address></st1:street><span style="font-family: Arial;">,&#8221; <span class="GramE">do</span> so quite well.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I&#8217;ve <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2383247807">argued</a>
that stand-up comedy is a major formal referent for the spoken word movement
and there are seven clear examples on the CD: Rob Gee&#8217;s unaccompanied theme
song for &#8220;Viagra,&#8221; Corey Frost&#8217;s shtick, <span class="SpellE">Regie</span> <span class="SpellE">Cabico&#8217;s</span> sexual assessment of the <i style="mso-bidi-font-style: normal;">Dawson Creek </i>cast, Barbara <span class="SpellE">Decesare&#8217;s</span>
vicious impression of a nagging mother, Robin Davidson&#8217;s terrorism nursery
rhymes, Alicia <span class="SpellE">Sometime&#8217;s</span> funny song of a man&#8217;s love
for the female (I can&#8217;t say more without giving away the <span class="SpellE">punchline</span>,
literally), and Lucy English&#8217;s explanation of why she wants to be in &#8220;The
Company of Poets.&#8221; Only Gee&#8217;s would stand a chance at a competition in a comedy
club. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Alicia Sometimes&#8217; piece,
which uses music, does so in a way that has no intelligible relation to the
content of her poem, referring as the text does to a musical instrument. It&#8217;s
one of three works on the CD that comes off in ways that seem to be at odds
with the poet&#8217;s original intent, suggesting a level of risk in this kind of
production. The other two such works are both by poets not normally associated
with slam poetics, but who stand revealed when placed into such a context.
Billy Collins&#8217; poem &#8220;Love&#8221; comes across very much like a Daniel <span class="SpellE">Pinkwater</span> essay for NPR radio, but less insightful, less
well written, not so funny &amp; with a cloying last image that is to cringe
for. Even more pronounced in the unintentional humor vein is Glyn Maxwell&#8217;s
&#8220;The Stones in Their Array,&#8221; which explains why stones are special in precisely
the same kind of terms that TV&#8217;s Mr. Rodgers used to explain that <i style="mso-bidi-font-style: normal;">you </i>were special. It&#8217;s a howler and
anybody who confuses Maxwell with a serious writer should be forced to listen
to this. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* It&#8217;s
interesting to note that the CD was edited by Rattapallax editor </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Ram Devineni</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">, and not by Phil Norton or </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Todd Swift</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">, who edited the paperback and
e-book. All Rattapallax books are accompanied by CDs.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">**
Including <span class="GramE">his own</span> CD, <i style="mso-bidi-font-style: normal;">Please,</i> which I&#8217;ll examine in more depth tomorrow.<o:p></o:p></span></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002/10/write-about-performance-poetry-and.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2002-10-23T06:49:00-04:00'>Wednesday, October 23, 2002</abbr></a>
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<h2 class='date-header'><span>Friday, October 18, 2002</span></h2>

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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Arial;"><a href="http://www.rattapallax.com/fusion.htm">Short Fuse</a></span></i><span style="color: black; font-family: Arial;"> is an extraordinarily ambitious project.
In addition to the 400 page book released this week by Rattapallax Press is a
CD and a supplementary e-book that one can download with a password found in
the hard copy. Edited by a Philip Norton, a performance poet now in Australia
who was matriculating at DePaul University when Marc Smith's Green Mill poetry
slam events in Chicago<span style="mso-spacerun: yes;">&nbsp; </span>kicked off the
slam scene in 1987, and </span><st1:personname><span style="color: black; font-family: Arial;">Todd Swift</span></st1:personname><span style="color: black; font-family: Arial;">, a Canadian poet with intermedia impulses now in Paris who makes
a living as a television screenwriter, the 175 poets gathered into <i style="mso-bidi-font-style: normal;">Short Fuse</i> represent an attempt on the
part of its editors to jump start what they characterize as Fusion Poetry.<o:p></o:p></span></div>
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<span style="color: black; font-family: Arial;">What is Fusion Poetry? Given
that at least 130 of the 175 poets in <i style="mso-bidi-font-style: normal;">Short
Fuse</i> come out of the spoken word / slam / performance poetry communities of
different English speaking countries, plus a smattering of poets from diverse
traditions -- Simon Armitage and Glyn Maxwell represent the most conservative
tendencies of British neoformalism, Charles Bernstein &amp; myself represent a<span style="mso-spacerun: yes;">&nbsp; </span>performative side of langpo, and even Billy
Collins is on the CD to incorporate that side of the plain-speaking McPoem
tradition that can be enjoyed as<span style="mso-spacerun: yes;">&nbsp;
</span>stand-up comedy<span style="mso-spacerun: yes;">&nbsp; </span>-- it would seem
to be an attempt to place oral poetries into a broader &amp; perhaps more
legitimated context. At its most grandiose, <i style="mso-bidi-font-style: normal;">Short
Fuse</i> may be an attempt to overcome the various skirmishes in the poetry
wars by proposing performativity<span style="mso-spacerun: yes;">&nbsp; </span>as the
glue that would bring all these other aesthetics together into one world-wide
happy family. The book even promises to donate "a portion of the
proceeds" to UNICEF.<o:p></o:p></span></div>
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<span style="color: black; font-family: Arial;">Time will tell how far the
editors can take that agenda, but it certainly doesn't want for lack of scale.
What it may do, however, and this would be unfortunate, is to obscure just what
a wonderfully global collection of performance poetry the editors have put
together. </span><st1:country-region><st1:place><span style="color: black; font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="color: black; font-family: Arial;">, the </span><st1:country-region><st1:place><span style="color: black; font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="color: black; font-family: Arial;">, the </span><st1:place><span style="color: black; font-family: Arial;">British Isles</span></st1:place><span style="color: black; font-family: Arial;">, </span><st1:country-region><st1:place><span style="color: black; font-family: Arial;">Australia</span></st1:place></st1:country-region><span style="color: black; font-family: Arial;">, and the Anglophone scenes of several
other countries are all represented. From the </span><st1:country-region><st1:place><span style="color: black; font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="color: black; font-family: Arial;">, you have a good representation of the
slam scene: Patricia Smith, Bob Holman, Edwin Torres &amp; some of the more
stellar poets who came out of the Nuyorican Poetry Cafe scene, such as Willie <span class="SpellE">Perdomo</span> and Guillermo Castro. While there certainly are
some glaring omissions, especially among the older, more established
performance poets (</span><st1:personname><span style="color: black; font-family: Arial;">Steve McCaffery</span></st1:personname><span style="color: black; font-family: Arial;"> &amp; his fellow Four Horsemen, Hazel Smith, the late Bob <span class="SpellE">Cobbing</span>, anything with a taste of Fluxus*), <i style="mso-bidi-font-style: normal;">Short Fuse</i> can be read as an Olympian
panorama of performance poetics, one that stands up on these terms quite well,
with a curious sprinkling of "performance-like" poetries out of other
more page-based traditions.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* There are
moments when, reading <i style="mso-bidi-font-style: normal;">Short Fuse</i> and
listening to its editors, one has the eerie sense that this what it might be
like to want to be Jerome Rothenberg if one had never heard of Jerome
Rothenberg.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></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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