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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Canadian Poetry</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>Canadian Poetry</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, November 11, 2014</span></h2>

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on <a href="http://en.wikipedia.org/wiki/Canadian_Confederation"><span style="color: #0d0d0d; 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;">Canadian</span></a>
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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:14.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.irvinglayton.com/"><span style='color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Irving</span></a> <a href="http://en.wikipedia.org/wiki/Irving_Layton"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Layton</span></a><br> was born <a href="http://irvinglayton.blogspot.com/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>100 years ago</span></a> today<o:p></o:p></span></p>
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<h2 class='date-header'><span>Sunday, March 13, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Compliments of PennSound<br> from <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/pennsound/x/North-Of-Invention.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>North of Invention</span></a><o:p></o:p></i></span></p>
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<h2 class='date-header'><span>Tuesday, March 08, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://writing.upenn.edu/pennsound/x/Brossard.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Nicole</span></a> <a href="http://media.sas.upenn.edu/pennsound/groups/North-Of-Invention/Brossard-Nicole_North-of-Invention_KWH-UPenn_01-20-2011.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Brossard</span></a><br> introduced by Rachel Blau DuPlessis<o:p></o:p></span></p>
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<param name="allowfullscreen" value="true" /><p><a href="http://get.adobe.com/flashplayer/">Install the Flash plugin</a> to watch this video.</p></object></object></p>
<p class=MsoNormal align=center style='text-align:center'><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Compliments of PennSound<br> from <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/pennsound/x/North-Of-Invention.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>North of Invention</span></a><o:p></o:p></i></span></p>
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<h2 class='date-header'><span>Tuesday, March 01, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>M. <a href="http://writing.upenn.edu/pennsound/x/Philip.php"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>NourbeSe</span></a> <a href="http://media.sas.upenn.edu/pennsound/groups/North-Of-Invention/Philip_Nourbese_North_of_Invention_1-20-2011.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Philip</span></a><br> introduced by Janet Neigh<o:p></o:p></span></p>
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 <p class=MsoNormal align=center style='text-align:center'><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Compliments of PennSound<br> from <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/pennsound/x/North-Of-Invention.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>North of Invention</span></a><o:p></o:p></i></span></p>
<p class=MsoNormal align=center style='text-align:center'><a href="http://writing.upenn.edu/wh/archival/events/northofinvention/images/dme_th-flag_canada.gif"><span style='font-size:8.0pt;line-height:115%;color:black;mso-themecolor:text1; mso-no-proof:yes;text-decoration:none;text-underline:none'><img border="0" height="79" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/AIMfIRWqlv1DdVX259sUSRrhbdf9N0lusQPtN9pANJBpY_MMCZjq12BJAsVvmau37j6OpEBFcYIOZMjmEEcSr-6YbQ-XwvBG_bebQNAanI1SIt3uVuqa56En77-fusgDXj4dYjxLjvjlI7hB2Bw%3Ds0-d" width="119"></span></a><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, July 23, 2010</span></h2>

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<p align="center" style="text-align:center"><span style="font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;color:black;mso-themecolor:text1">Video clips from <br> <br> </span><b style="mso-bidi-font-weight:normal"><span style="font-size:14.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;color:black;mso-themecolor:text1"><a href="http://talonbooks.com/"><span style="color:black;mso-themecolor:text1">Talon Books&#8217;</span></a> 2010 <i style="mso-bidi-font-style:normal"><a href="http://talonbooks.com/news/video-clips-from-talon-spring-2010-vancouver"><span style="color:black;mso-themecolor:text1">Cross-Canada Poetry Tour</span></a></i></span></b><span style="font-size:10.0pt;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;color:black; mso-themecolor:text1"><br> <br> with <br> <a href="//www.youtube.com/watch?v=AvdEIH1gSNU&amp;feature=related"><span style="color:black;mso-themecolor:text1">Frank Davey</span></a>, <a href="//www.youtube.com/watch?v=G2uCe2bAZqc&amp;feature=related"><span style="color:black;mso-themecolor:text1">Stephen Collis</span></a>, <a href="//www.youtube.com/watch?v=yGpNWf7v9zo&amp;feature=channel"><span style="color:black;mso-themecolor:text1">George Bowering</span></a>, <br> <a href="//www.youtube.com/watch?v=TaKCsJF6Z4c&amp;feature=channel"><span style="color:black;mso-themecolor:text1">Ken Norris</span></a>, <a href="//www.youtube.com/watch?v=kX4UW_pqpME&amp;feature=channel"><span class="SpellE"><span style="color:black;mso-themecolor:text1">derek</span></span><span style="color:black;mso-themecolor:text1"> <span class="SpellE">beaulieu</span></span></a>, <a href="//www.youtube.com/watch?v=G_G-AsA6GBY&amp;feature=channel"><span style="color:black;mso-themecolor:text1">Ken Belford</span></a>, <br> <a href="//www.youtube.com/watch?v=tERowCavArY&amp;feature=channel"><span class="SpellE"><span style="color:black;mso-themecolor:text1">Weyman</span></span><span style="color:black;mso-themecolor:text1"> Chan</span></a>, &amp; <a href="//www.youtube.com/watch?v=v7x7gwGb6Cw&amp;feature=channel"><span style="color:black;mso-themecolor:text1">Garry Thomas Morse</span></a><o:p></o:p></span></p>

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<h2 class='date-header'><span>Saturday, January 16, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><a href="http://www.griffinpoetryprize.com/media/gpp2003/page256.wmv"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="388" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/FcLeYLXgr4j8PDTgosVfapZOyNVeNoE4K9BeFzEK7Cr21aqvz5bdknplyAicUDuHONpCPyDYMOrwrStDWavo33FPPSvfbGp7fheDonpnwf-1BwQ%3Ds0-d" width="260"></span></a><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height: 115%;color:black;mso-themecolor:text1'><br> </span></b><br> <b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt; line-height:115%;color:black;mso-themecolor:text1'><a href="http://www.griffinpoetryprize.com/shortlist_2003.php?t=3"><span style='color:black;mso-themecolor:text1'>P.K.</span></a> <a href="http://www.pkpage.ca/"><span style='color:black;mso-themecolor:text1'>Page</span></a></span></b><span style='color:black;mso-themecolor:text1'><br> <br> </span><span style='font-size:12.0pt;line-height:115%;color:black;mso-themecolor: text1'><a href="http://en.wikipedia.org/wiki/P._K._Page"><span style='color:black;mso-themecolor:text1'>1916</span></a> <a href="http://www.pkpage.ca/art.html"><span style='color:black;mso-themecolor: text1'>&#8211;</span></a> <a href="http://www.cbc.ca/arts/books/story/2010/01/14/obit-page-pk.html"><span style='color:black;mso-themecolor:text1'>2010</span></a><o:p></o:p></span></p>

<p class=MsoNoSpacing align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>&#167;<o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='text-align:center'><a href="http://www.themercurypress.ca/?q=authors/barbara_caruso"><span style='color:black;mso-themecolor:text1;text-decoration:none;text-underline: none'><img border="0" height="287" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/nRaINlmb9ufBUzHWMkiVwt9CTnY6ctrIw1jJh9sG2-IveATd3qXHQzWoOiCDtJ2yKfEaP7OOXO8pKZU-jk4OQKtEFVwgfusHWdh-ddayyKxuq64%3Ds0-d" width="197"></span></a><b style='mso-bidi-font-weight:normal'><span style='font-size:26.0pt;line-height: 115%;color:black;mso-themecolor:text1'><br> </span></b><span style='color:black;mso-themecolor:text1'><br> </span><b style='mso-bidi-font-weight:normal'><span style='font-size:26.0pt; line-height:115%;color:black;mso-themecolor:text1'><a href="http://www.ccca.ca/c/writing/c/campbell/camp003t.html"><span style='color:black;mso-themecolor:text1'>Barbara</span></a> <a href="http://www.artword.net/website/Gallery/Exhibitions/barbara_caruso_1999.htm"><span style='color:black;mso-themecolor:text1'>Caruso</span></a><br> </span></b><span style='color:black;mso-themecolor:text1'><br> </span><span style='font-size:12.0pt;line-height:115%;color:black;mso-themecolor: text1'><a href="http://library.mcmaster.ca/archives/findaids/fonds/s/seripres.htm"><span style='color:black;mso-themecolor:text1'>1937</span></a> <a href="http://saidlikereedsorthings.ca/?p=5"><span style='color:black; mso-themecolor:text1'>&#8211;</span></a> <a href="http://robmclennan.blogspot.com/search/label/Barbara%2520Caruso"><span style='color:black;mso-themecolor:text1'>2009</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, December 12, 2002</span></h2>

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<p class=MsoNormal><span style='font-family:Arial'>Turning to George Stanley&#8217;s
&#8220;Vancouver, Book One&#8221; in <i style='mso-bidi-font-style:normal'>The Poker </i>this
morning, I realize several things:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:1.0in;text-indent:-.25in;mso-list:l0 level1 lfo2;
tab-stops:list 1.0in'><!--[if !supportLists]--><span style='font-family:Wingdings;
mso-fareast-font-family:Wingdings;mso-bidi-font-family:Wingdings'><span
style='mso-list:Ignore'>&#167;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]--><i style='mso-bidi-font-style:normal'><span
style='font-family:Arial'>The Poker&#8217;s</span></i><span style='font-family:Arial'>
table of contents is alphabetical by first name &#8211; good fortune for Chris
Stroffolino, not so good for Tom Devaney &amp; it takes me awhile to find the
page number again for George.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:1.0in;text-indent:-.25in;mso-list:l0 level1 lfo2;
tab-stops:list 1.0in'><!--[if !supportLists]--><span style='font-family:Wingdings;
mso-fareast-font-family:Wingdings;mso-bidi-font-family:Wingdings'><span
style='mso-list:Ignore'>&#167;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]--><span style='font-family:Arial'>The section published
here is not all of </span><st1:City><st1:place><i style='mso-bidi-font-style:
  normal'><span style='font-family:Arial'>Vancouver</span></i></st1:place></st1:City><i
style='mso-bidi-font-style:normal'><span style='font-family:Arial'>, Book One</span></i><span
style='font-family:Arial'>, but rather just section 8.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:1.0in;text-indent:-.25in;mso-list:l0 level1 lfo2;
tab-stops:list 1.0in'><!--[if !supportLists]--><span style='font-family:Wingdings;
mso-fareast-font-family:Wingdings;mso-bidi-font-family:Wingdings'><span
style='mso-list:Ignore'>&#167;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]--><span style='font-family:Arial'>The work
partakes of not one, but two distinct (though related) genres: the poem as
journal &amp; the poem written on transit.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span class=GramE><span style='font-family:Arial'>An epic in
the form of a journal?</span></span><span style='font-family:Arial'> It&#8217;s an
interesting concept, problematic from the outset (which I suspect is </span><st1:State><st1:place><span
  style='font-family:Arial'>del</span></st1:place></st1:State><span
style='font-family:Arial'>iberate). </span><st1:PersonName><span
 style='font-family:Arial'>Kevin Davies</span></st1:PersonName><span
style='font-family:Arial'> &#8211; one of the editors of </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s forthcoming selected, <i style='mso-bidi-font-style:
normal'><a
href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2385049898">A
Tall, Serious Girl</a> </i>&#8211; recently sent me a note that mutual friend Ben
Friedlander had posted to another list on the subject of journals. It read in
part:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'>[Paul] <st1:place>Blackburn</st1:place>
is incredible; he and [Joanne] Kyger are to my mind the most underrated poets
of their generation. Both of them take the journal as their basic form, and
both are geniuses at naturalizing peculiar verbal gestures by fixing them in
narrative structures. I suspect that similarity has something to do with the
lack of respect they get: the journal form looks dated, I guess, and the
naturalizing leads people to take them as simple. Otherwise, they&#8217;re very
different. Kyger uses the journal as a way of investigating the nature of space
and time. <st1:place>Blackburn</st1:place> is a social historian. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><o:p>&nbsp;</o:p></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>This
recalled what I&#8217;d written about </span><st1:place><span style='font-family:
 Arial'>Blackburn</span></st1:place><span style='font-family:Arial'>&#8217;s <i
style='mso-bidi-font-style:normal'>Journals</i> in the <a
href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2385147325">blog</a>:
&#8220;even a fine poet does not necessarily make for great reading when writing
becomes all but dissociated from intention.&#8221; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>But
</span><st1:place><span style='font-family:Arial'>Blackburn</span></st1:place><span
style='font-family:Arial'> clearly distinguished between journals &amp; poems &#8211;
you have to go 474 pages into <i style='mso-bidi-font-style:normal'>The
Collected Poems </i>before you find the first piece identified as a journal
entry, dating from 1967, when </span><st1:place><span style='font-family:Arial'>Blackburn</span></st1:place><span
style='font-family:Arial'> was already 40 and a significant figure in American
poetry. Kyger likewise makes the distinction. Many of her poems may seem
occasional &amp;, as with </span><st1:place><span style='font-family:Arial'>Blackburn</span></st1:place><span
style='font-family:Arial'>, they&#8217;re often dated, either at the foot of the poem
or in its title. But these works are radically different from <i
style='mso-bidi-font-style:normal'>The </i></span><st1:country-region><st1:place><i
  style='mso-bidi-font-style:normal'><span style='font-family:Arial'>Japan</span></i></st1:place></st1:country-region><i
style='mso-bidi-font-style:normal'><span style='font-family:Arial'> and </span></i><st1:country-region><st1:place><i
  style='mso-bidi-font-style:normal'><span style='font-family:Arial'>India</span></i></st1:place></st1:country-region><i
style='mso-bidi-font-style:normal'><span style='font-family:Arial'> Journals 1960-1964.
</span></i><span style='font-family:Arial'>In this way, Blackburn &amp; Kyger
are both like Larry Eigner or Ted Berrigan, two other great poets who used the
form of the occasional poem, literally the poem as the register of an occasion.
It&#8217;s not, I would argue with Ben, quite the same. The occasional poem &#8211; a genre
far too neglected critically &#8211; utilizes its originating or motivating event as
both instigator &amp; determinant of boundary for the poem, but that <span
class=SpellE>boundedness</span>, that sense of a defined edge, is precisely
what journals lack. Journals have a tendency to be formless in their outer
exoskeletal concerns &amp; often proceed merely chronologically. So while I
agree with Friedlander&#8217;s assessment of </span><st1:place><span
 style='font-family:Arial'>Blackburn</span></st1:place><span style='font-family:
Arial'> &amp; especially of Kyger, for my money the most significant woman
writing from the late 1950s until the 1970s &amp; always a wonderful poet, I
don&#8217;t see either as taking &#8220;the journal as their basic form.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>So
the idea of a longpoem in the mode of a journal &#8211; it was </span><st1:PersonName><span
 style='font-family:Arial'>Kevin Davies</span></st1:PersonName><span
style='font-family:Arial'> who first used the term &#8220;epic&#8221; to characterize </span><st1:City><st1:place><i
  style='mso-bidi-font-style:normal'><span style='font-family:Arial'>Vancouver</span></i></st1:place></st1:City><span
style='font-family:Arial'> &#8211; strikes me as a consciously challenging project.
Its secret underbelly, of course, is the reality that <i style='mso-bidi-font-style:
normal'>every epic is at some level a journal</i>. It is not an accident, I
think, that the most studied &amp; revered portion of Pound&#8217;s <i
style='mso-bidi-font-style:normal'>Cantos </i>are <i style='mso-bidi-font-style:
normal'>The <span class=SpellE>Pisan</span> Cantos</i>, very much Pound&#8217;s
journal of imprisonment in the cages at </span><st1:City><st1:place><span
  style='font-family:Arial'>Pisa</span></st1:place></st1:City><span
style='font-family:Arial'>. All the fog &amp; pretense of writing about Van
Buren&#8217;s </span><st1:PersonName><span style='font-family:Arial'>admin</span></st1:PersonName><span
style='font-family:Arial'>istration, for example, is revealed by contrast to
have been just that: fog &amp; pretense. Rather, the great epic quest of
bringing together these disparate historic particulars simply gave Pound
something to write &#8220;about&#8221; while writing, just as a translation is itself a way
for a person to write without having anything of their own to say. In both
senses, the process of writing is almost entirely apart from any question of
content. <i style='mso-bidi-font-style:normal'>We write because we write </i>is
the secret motto of every poet. Having &#8220;something to say&#8221; is nice, but hardly
necessary. Are you really interested in the history of a fishing village
northeast of </span><st1:City><st1:place><span style='font-family:Arial'>Boston</span></st1:place></st1:City><span
style='font-family:Arial'>? Can anyone tell even remotely what the &#8220;subject&#8221; of
<i style='mso-bidi-font-style:normal'>&#8220;A&#8221; </i>might be? Far from damning, the
answers to these questions tell us something very important about poetry, its
relation to the self-valuable signifier &amp; the importance of process. Thus I
think that the great challenge of any &amp; every longpoem has always been how <i
style='mso-bidi-font-style:normal'>not</i> to be &#8220;just a journal.&#8221; </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>, it would appear, has decided to turn that question
on its head &amp; tackle it straight on.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>The
poem of public transit, as you might imagine, is another genre very close to my
heart, having written books both explicitly (<i style='mso-bidi-font-style:
normal'>BART</i>) and implicitly (<i style='mso-bidi-font-style:normal'>Sitting
Up, Standing, Taking Steps </i>or, say, <i style='mso-bidi-font-style:normal'>What</i>)
entirely while riding around on buses &amp; trains. There is even a section of <i
style='mso-bidi-font-style:normal'>The Alphabet, </i>in <i style='mso-bidi-font-style:
normal'>Ketjak2: Caravan of Affect,</i> in which I take the process of <i
style='mso-bidi-font-style:normal'>BART</i>, riding around the entire course of
an urban transit system, &amp; apply it to the comparable system in a city that
I barely know at all, </span><st1:City><st1:place><span style='font-family:
  Arial'>Atlanta</span></st1:place></st1:City><span style='font-family:Arial'>.
<o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>For
me the great poets of transit have always been Robert Duncan &amp; Phil Whalen
&amp; while Whalen&#8217;s poetry also edges up against that concept of the journal
that Friedlander is trying to get at, </span><st1:City><st1:place><span
  style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'> is certainly the furthest poet imaginable from that
mode. Yet </span><st1:City><st1:place><span style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'> once told me that he could not have written &#8220;This
Place <span class=SpellE>Rumord</span> to Have Been Sodom&#8221; &#8211; the very poem that
</span><st1:City><st1:place><span style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'> takes direct aim at in his own early great work &#8220;</span><st1:City><st1:place><span
  style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'>&#8221; &#8211; without having been on the </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'> <span class=SpellE>Muni</span> &amp; that that poem
carried within it the rhythms of <span class=SpellE>Muni&#8217;s</span> tracks.*<o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>Stanley
himself has used transit <i style='mso-bidi-font-style:normal'>in </i>his poems,
even if not as a process <i style='mso-bidi-font-style:normal'>for </i>the
poems, before. In fact, when going through the manuscript for <i
style='mso-bidi-font-style:normal'>A Tall, Serious Girl</i>, I&#8217;d misremembered
one of his early </span><st1:City><st1:place><span style='font-family:Arial'>San
  Francisco</span></st1:place></st1:City><span style='font-family:Arial'>
works, &#8220;Flesh Eating Poem,&#8221; as being about the </span><st1:place><span
 style='font-family:Arial'>N Judah</span></st1:place><span style='font-family:
Arial'> because there is a reference to that streetcar, as well as to the 22
Fillmore line. Since in reality that&#8217;s a serious misreading (or rather
misremembering, the mind revising as it does, constantly), I was surprised not
to find what I recalled as the &#8220;</span><st1:place><span style='font-family:
 Arial'>N Judah</span></st1:place><span style='font-family:Arial'>&#8221; poem in the
manuscript. In fact, &#8220;Flesh Eating Poem&#8221; &#8211; that title gives you just a taste &#8211;
is included. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'>Now,
in </span><st1:City><st1:place><i style='mso-bidi-font-style:normal'><span
  style='font-family:Arial'>Vancouver</span></i></st1:place></st1:City><i
style='mso-bidi-font-style:normal'><span style='font-family:Arial'>,</span></i><span
style='font-family:Arial'> we are very much getting on the bus or off the bus &#8211;
the <span class=SpellE>SeaBus</span> included &#8211; &#8220;Writing in the dark &#8211; outside
the college &#8211; in the sodium glare through the bus window.&#8221; Perhaps the poem of
transit is a genre within a genre here &#8211; &amp; I know that I&#8217;m more deeply
attracted to it as a model for writing than <s>almost</s> anyone I&#8217;ve ever met
&#8211; but it makes me especially pleased, gleeful even, to see it rise up again at
the start of a new longpoem.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-size:10.0pt;
font-family:Arial'>* Some of my very best discussions with </span><st1:City><st1:place><span
  style='font-size:10.0pt;font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'> came on the &#8220;F&#8221; bus between the
original <span class=GramE>location</span> of Serendipity Books on Shattuck
&amp; San Francisco. </span><st1:City><st1:place><span style='font-size:10.0pt;
  font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'> went to Serendipity almost every
Wednesday afternoon &amp; then would walk over to the Shattuck Co-op to shop
for groceries before catching the bus &amp; an attentive person who also lived
in the City could sometimes make this same journey &#8211; I still think of those
trips as my Symposium of the Bus. I rue the day, moving back to the </span><st1:place><st1:PlaceName><span
  style='font-size:10.0pt;font-family:Arial'>East</span></st1:PlaceName><span
 style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span
  style='font-size:10.0pt;font-family:Arial'>Bay</span></st1:PlaceType></st1:place><span
style='font-size:10.0pt;font-family:Arial'> in 1987, when I realized that
politicians had devastated the AC Transit system since I&#8217;d headed to </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'> in 1972 (I&#8217;d also lived in SF in
1966-67). It meant that I had no choice at that point but to learn to drive. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-right:.5in'><span style='font-size:10.0pt;
font-family:Arial'><span style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span>I want to
note also that </span><st1:City><st1:place><span style='font-size:10.0pt;
  font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'> shopped at the Co-op not because he
liked carting groceries 10 miles in his lap &amp; then via the <span
class=SpellE>Muni</span> to his home in the </span><st1:City><st1:place><span
  style='font-size:10.0pt;font-family:Arial'>Mission</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'>, but because the Co-op&#8217;s attendant
credit union, Twin Pines Federal Savings, had &#8220;not blinked an eye&#8221; (Duncan&#8217;s
phrase) at the idea of issuing a mortgage loan to two men in the early &amp;
deeply homophobic 1950s. One more vote for a socialist bank.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, November 25, 2002</span></h2>

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<p class=MsoNormal><span style='font-family:Arial'>Sometime in 1967, Jack
Gilbert introduced George Stanley to his creative writing class at </span><st1:place><st1:PlaceName><span
  style='font-family:Arial'>San Francisco</span></st1:PlaceName><span
 style='font-family:Arial'> </span><st1:PlaceType><span style='font-family:
  Arial'>State</span></st1:PlaceType></st1:place><span style='font-family:Arial'>
by calling Stanley, &#8220;the finest poet now writing.&#8221; That may seem like an
incongruous pairing for such an elaborate compliment today, but in the late
1960s in </span><st1:City><st1:place><span style='font-family:Arial'>San
  Francisco</span></st1:place></st1:City><span style='font-family:Arial'>,
there was something approaching a consensus about </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s talent and promise. Having been raised in </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'>, where Duncan, Spicer, Rexroth, all the Beats, <span
class=GramE>were</span> transplants in exile from Elsewhere, George Stanley was
poetry&#8217;s home town favorite. He cut that narrative of the Golden Boy short by
moving to British Columbia around 1970, a time when the border was far less
permeable (&amp; far more one-directional) in terms of literary influence than
it is today. For the past 32 years, he has lived and worked in </span><st1:place><span
 style='font-family:Arial'>Western Canada</span></st1:place><span
style='font-family:Arial'>. Once one of the most visible poets working in the
New American idiom, he has all but dropped from view in the </span><st1:country-region><st1:place><span
  style='font-family:Arial'>United States</span></st1:place></st1:country-region><span
style='font-family:Arial'>.* <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>This may be about to change
as Qua Books prepares <i style='mso-bidi-font-style:normal'>A Tall, Serious
Girl: Selected Poems, 1957-2000</i>, co-edited by </span><st1:PersonName><span
 style='font-family:Arial'>Kevin Davies</span></st1:PersonName><span
style='font-family:Arial'> and Larry Fagin, for publication. At 228 pages, it&#8217;s
a sizable volume, although, containing just 63 poems written over 43 years,
this is not yet the <i style='mso-bidi-font-style:normal'>Collected</i> for
which we will hopefully not have to wait too many more decades. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><st1:City><st1:place><span style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'> was the sort of young writer who absorbs and
synthesizes his influences almost effortlessly, not unlike Curtis Faville 15
years later. &#8220;</span><st1:City><st1:place><span style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'>,&#8221; literally the second poem in this book, was one of
the <span class=GramE>handful</span> of works by which </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'> poets gauged themselves in the 1960s. It situates
itself almost perfectly halfway between Spicer, </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s early mentor, and Robert Duncan or perhaps I
should say, </span><st1:City><st1:place><span style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s H.D. Here is the opening section:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>When I read this poem I
think of </span><st1:City><st1:place><span style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>When they dug up </span><st1:City><st1:place><span
  style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'> the poems were gone,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>flower-</span></span><span
style='font-family:Arial'>like and fragile in the stone,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>giving</span></span><span
style='font-family:Arial'> nothing to the stone,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>honey</span></span><span
style='font-family:Arial'> alloyed to the stone,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>making</span></span><span
style='font-family:Arial'> nothing sweet.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>The eyes of the matrons
burned on the dark blue walls,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>under</span></span><span
style='font-family:Arial'> their eyes in shallow pools,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>the</span></span><span
style='font-family:Arial'> bell of a xylophone, silver,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>bell</span></span><span
style='font-family:Arial'> of an ambulance,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>bell</span></span><span
style='font-family:Arial'> of a burglar alarm,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>a</span></span><span
style='font-family:Arial'> trying to watch the slowest of motion,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>a</span></span><span
style='font-family:Arial'> grinding explosion,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>change</span></span><span
style='font-family:Arial'> everything in the complexity of a second.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>When I read this poem I
know </span><st1:City><st1:place><span style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'> is at hand.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>They were unready. It came
at the wrong<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>hour</span></span><span
style='font-family:Arial'> for them, the silver bell.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>Some little dignity argued
a minute with the enclosing,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>and</span></span><span
style='font-family:Arial'> all that was left then was the gesture,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>virginity</span></span><span
style='font-family:Arial'>, the little lost dog come home<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>leaping</span></span><span
style='font-family:Arial'> and leaping caught as in a cartoon.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>When I read this poem I
know </span><st1:City><st1:place><span style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'> is imminent,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>I know we are moving
easily into frenzy,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>I feel like taking off my
hat to </span><st1:City><st1:place><span style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>before</span></span><span
style='font-family:Arial'> running.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>It is the Spicerian touches,
the ambulance &amp; the burglar alarm, the Buster <span class=SpellE>Keaton</span>-like
gesture in that last couplet above, that keep this poem from being what, on
another level, it actually is: a shadow of </span><st1:City><st1:place><span
  style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s great &#8220;This Place <span class=SpellE>Rumord</span>
to Have Been Sodom.&#8221; Yet as a shadow, it&#8217;s a curiously ambitious one. </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'> seems to have set out to deliberately out-Duncan </span><st1:City><st1:place><span
  style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'> and to some degree does. It&#8217;s a move Rimbaud would
have understood.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>Like any Spicerian monolog,
&#8220;</span><st1:City><st1:place><span style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'>&#8221; invokes a palpable but silenced you as it considers
the paralysis of the decadent state &#8211; even if it is the state of poetry &#8211;
moving through two slightly longer sections before arriving at the final two:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span style='font-family:Arial'>There was a time for
consolation<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>in</span></span><span
style='font-family:Arial'> the morning of the state, you and me, Republicans,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>read</span></span><span
style='font-family:Arial'>, &#8220;The unexamined life is not worth living.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span style='font-family:Arial'>That could console
us. But now we cannot<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>get</span></span><span
style='font-family:Arial'> consolation from Greek maxims<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>when</span></span><span
style='font-family:Arial'> everybody is licking his lips, expectant.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span style='font-family:Arial'>&#8226;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in'><span
style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><st1:City><st1:place><span style='font-family:Arial'>Bell</span></st1:place></st1:City><span
style='font-family:Arial'> of a xylophone,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><st1:City><st1:place><span style='font-family:Arial'>Bell</span></st1:place></st1:City><span
style='font-family:Arial'> of an ambulance,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><st1:City><st1:place><span class=GramE><span
  style='font-family:Arial'>Bell</span></span></st1:place></st1:City><span
class=GramE><span style='font-family:Arial'> of a burglar alarm, silver.</span></span><span
style='font-family:Arial'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span style='font-family:Arial'>Now time has fallen
into our hands<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>out</span></span><span
style='font-family:Arial'> of all the clocks. You look to me<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>for</span></span><span
style='font-family:Arial'> consolation, and the hot wind<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>pours</span></span><span
style='font-family:Arial'> by unconcerned, flushing our <span class=SpellE>steepled</span>
faces,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.75in;text-indent:-.25in;mso-layout-grid-align:
none;text-autospace:none'><span class=GramE><span style='font-family:Arial'>and</span></span><span
style='font-family:Arial'> the thick flow of death winnows down the window like
grass.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>The &#8220;Greek maxims&#8221; that are
being rejected here can be read I think precisely in terms of </span><st1:City><st1:place><span
  style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'> and beyond him the modernist project, of which he
represents (at least here) the last moment.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>&#8220;</span><st1:City><st1:place><span
  style='font-family:Arial'>Pompeii</span></st1:place></st1:City><span
style='font-family:Arial'>&#8221; reveals another aspect of </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s art &#8211; its penchant for elegy. &#8220;<span class=SpellE>Attis</span>,&#8221;
one of </span><st1:City><st1:place><span style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s later </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'> poems, and one that I&#8217;ve always read as a kind of
deliberate farewell, is as successful an elegy as has been written in the last
50 years:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>This is dying, to cut off
a part of <span class=GramE>yourself</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>and</span></span><span
style='font-family:Arial'> let it grow.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:1.0in;text-indent:.5in;mso-layout-grid-align:
none;text-autospace:none'><span style='font-family:Arial'>The whole self<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>crawls</span></span><span
style='font-family:Arial'> at the thought of being mutilated,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>even</span></span><span
style='font-family:Arial'> self-mutilated, as occurred to me<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>when</span></span><span
style='font-family:Arial'> you mentioned you had never looked at<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>the</span></span><span
style='font-family:Arial'> poem about <span class=SpellE>Attis</span>, and
neither had I<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>nor</span></span><span
style='font-family:Arial'> at where in a poem feeling dries up &#8211;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>A waterfall-filled Sierra
canyon dammed<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=SpellE><span class=GramE><span
style='font-family:Arial'>Hetch</span></span></span><span class=GramE><span
style='font-family:Arial'> <span class=SpellE>Hetchy</span> of our spirit.</span></span><span
style='font-family:Arial'> <span class=SpellE>Attis&#8217;s</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>cock</span></span><span
style='font-family:Arial'>, in some tree, in some jug of wine<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>or</span></span><span
style='font-family:Arial'> beautiful lips mouthing Who we love<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>growing</span></span><span
style='font-family:Arial'>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>So the fireflies go, with
small lunchboxes,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>mooning</span></span><span
style='font-family:Arial'> around trees. We cut<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>our</span></span><span
style='font-family:Arial'> conversation off, too, in sacrifice<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>Birds,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>brinks</span></span><span
style='font-family:Arial'>, even<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>our</span></span><span
style='font-family:Arial'> whole environment, out to the farthest star<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>you</span></span><span
style='font-family:Arial'> can never reach<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>(<span class=GramE>because</span>
of light&#8217;s unchanging speed)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>and</span></span><span
style='font-family:Arial'> so your dying can never reach either &#8211;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>Blood,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>not</span></span><span
style='font-family:Arial'> sinking into the ground, mysteriously,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span class=GramE><span style='font-family:Arial'>but</span></span><span
style='font-family:Arial'> in the Roman sewers, forever, our home town.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>There is a moment of grief
in that last phrase that Spicer could never have managed, and </span><st1:City><st1:place><span
  style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'> never imagined. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>Because Davies &amp; Fagin
generally steered from including work that is still in print, <i
style='mso-bidi-font-style:normal'>A Serious Girl </i>offers something akin to
an entropic reading in </span><st1:City><st1:place><span style='font-family:
  Arial'>Stanley</span></st1:place></st1:City><span style='font-family:Arial'>&#8217;s
career, with eight poems totaling 40 pages representing </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s first four years of writing, then seven poems (but
only 16 pages) for two years spent in </span><st1:State><st1:place><span
  style='font-family:Arial'>New York</span></st1:place></st1:State><span
style='font-family:Arial'>, followed by 13 poems for the final nine years in </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'>, then just 35 for the final thirty years in British
Columbia. But if </span><st1:City><st1:place><span style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'> emigrated physically from </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'>, he appears never to have done so as poet. The streets
and locales of </span><st1:City><st1:place><span style='font-family:Arial'>San
  Francisco</span></st1:place></st1:City><span style='font-family:Arial'> are
as constant in the last half of the book as in the first. Indeed, the longest
poem of all is entitled &#8220;</span><st1:City><st1:place><span style='font-family:
  Arial'>San Francisco</span></st1:place></st1:City><span style='font-family:
Arial'>&#8217;s Gone.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>The elegy </span><st1:State><st1:place><span
  style='font-family:Arial'>ind</span></st1:place></st1:State><span
style='font-family:Arial'>ex hasn&#8217;t dropped much either. </span><st1:City><st1:place><span
  style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'> illuminates why in a passage of the relatively
recent &#8220;At Andy&#8217;s,&#8221; one of the few pieces actually set in </span><st1:country-region><st1:place><span
  style='font-family:Arial'>Canada</span></st1:place></st1:country-region><span
style='font-family:Arial'>:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:.5in;mso-layout-grid-align:none;
text-autospace:none'><span style='font-family:Arial'>Poetry means (a) I&#8217;m going
to die &#8211; &amp; (b) this notebook will be read by someone who will see how
lacking I am &#8211; unless I destroy it &#8211; &amp; I can&#8217;t do that &#8211; that would be
worse than keeping it &#8211; that would mean thinking of it.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>As this prose passage
suggests, </span><st1:City><st1:place><span style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s style has relaxed some in recent years &#8211; even if
his obsessions haven&#8217;t &#8211; not unlike (although generally not as much as)
Creeley&#8217;s later work. Yet the volume&#8217;s most taut &#8211; and best &#8211; poem is its very
last, &#8220;</span><st1:State><st1:place><span class=SpellE><span style='font-family:
  Arial'>Veracruz</span></span></st1:place></st1:State><span style='font-family:
Arial'>,&#8221; a remarkable gender-bending piece of autoerotic incest fantasy in
which </span><st1:City><st1:place><span style='font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-family:Arial'> declares his desire to have been &#8220;a tall, serious
girl.&#8221; In this poem, which I&#8217;m not going to quote so that you&#8217;ll have to go out
&amp; buy this book, all the promise of </span><st1:City><st1:place><span
  style='font-family:Arial'>San Francisco</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s Golden Boy is fulfilled. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>* Even in
the late 1970s, George Stanley&#8217;s star power 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'> was impressive. As I noted in the
blog on <a
href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_22_ronsilliman_archive.html%2381947753">September
22</a>, when </span><st1:City><st1:place><span style='font-size:10.0pt;
  font-family:Arial'>Stanley</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'> read with Ted Berrigan at the Grand
Piano, each brought half of the overflow crowd. <o:p></o:p></span></p>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Friday, November 08, 2002</span></h2>

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<p class=MsoNormal><span style='font-family:Arial'>This blog is <b
style='mso-bidi-font-weight:normal'>not</b> the official sponsor of the
Canadian poetry wars. <span class=GramE>Nor, for that matter, any other.</span>
There has been speculation on at least the Poetics listserv as to why there
isn&#8217;t a comments section here. Part of it simply has to do with Blogger&#8217;s lack
of such a function in its software &amp; my own meager HTML skills, attempting
sans success to import a comments capacity from a third-party provider.* But I
haven&#8217;t tried harder to solve that technical challenge because of the quality
&amp; tone of such discussions as one sees them, for example, in emails &amp;
on listservs. The vituperation that has characterized some of the recent </span><st1:place><span
 style='font-family:Arial'>Cana</span></st1:place><span style='font-family:
Arial'>dian exchanges, for example, has been depressing &amp;
counterproductive. Even more depressing has been the fact that I&#8217;ve never
written anything of substance about a female poet here, at least until my piece
on Ange Mlinko, without receiving at least one email attack &#8211; the ratio when I
write about male poets is about one such blast per ten items. What an amazing
coincidence that isn&#8217;t. If you want to send me a comment, the email address is
on the left.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>Underneath the name calling
of the Canadians <span class=GramE>lies</span> a more serious issue: the
question of literary formation in a time of extraordinary post-avant
productivity. There are, as I&#8217;ve listed by name in the postscripts to more than
one anthology, literally <i style='mso-bidi-font-style:normal'>hundreds</i> of
poets now writing compellingly in ways that can be traced back to the New
American Poetry, the Stein-Pound-Williams-Zukofsky tradition or parallel </span><st1:place><span
 style='font-family:Arial'>Europe</span></st1:place><span style='font-family:
Arial'>an innovative traditions. This doesn&#8217;t even touch poets impacted by
subaltern innovative traditions like the modernist prose poem from pre-WW2 </span><st1:country-region><st1:place><span
  style='font-family:Arial'>Japan</span></st1:place></st1:country-region><span
style='font-family:Arial'> or indigenous poetics from every continent save </span><st1:place><span
 style='font-family:Arial'>Antarctica</span></st1:place><span style='font-family:
Arial'>. Tho if we stretch a little to include </span><st1:PersonName><span
 style='font-family:Arial'>Don</span></st1:PersonName><span style='font-family:
Arial'>ald <span class=SpellE>Finkel</span>, we can count the South Pole as
well.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span
style='font-family:Arial'>What about all this writing? </span></i><span
style='font-family:Arial'>No individual, regardless of how voracious &amp;
encyclopedic a <span class=GramE>reader,</span> can ever hope to take in all of
it. Therefore, by definition, one is forced to make choices. Will I read <i
style='mso-bidi-font-style:normal'>Eunoia </i>or <span class=GramE><i
style='mso-bidi-font-style:normal'>The</i></span><i style='mso-bidi-font-style:
normal'> Mood Embosser? </i><span class=GramE>Hoa Nguyen or </span></span><st1:City><st1:place><span
  class=GramE><span style='font-family:Arial'>Jena</span></span></st1:place></st1:City><span
class=GramE><span style='font-family:Arial'> Osman?</span></span><span
style='font-family:Arial'> <span class=GramE>Barbara Guest or David Bromige?</span>
<span class=GramE>Ange Mlinko or Mary Burger?</span> <span class=GramE>Simon
Ortiz or Simon Armitage?</span> This volume by Ed Foster or C.D. Wright or
Bruce Andrews means how many other texts will never be gotten to, regardless of
how good they are, or of how much I might get out of them? I have a stack of
unread books in my bedroom &#8211; next to an entire bookcase of same &#8211; that is as
tall as I am. Eleven other bookcases in my house are overflowing. &amp; yet
there is always some book that I want or need <i style='mso-bidi-font-style:
normal'>right now </i>(this week it&#8217;s Adelaide Morris&#8217; <i style='mso-bidi-font-style:
normal'>Sound States</i>) that I don&#8217;t have &amp; can&#8217;t get easily.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>Such conundrums may bedevil
the individual reader, but they have corollaries throughout the field of poetry
that have consequences &#8211; many of them less than happy &#8211; for </span><st1:State><st1:place><span
  style='font-family:Arial'>ind</span></st1:place></st1:State><span
style='font-family:Arial'>ividual poets, especially those without a lot of
power, such as younger writers. First, editors run into the exact same problems
as do readers. This is as true for a web journal hosted on an advertising-based
&#8220;free&#8221; server as it is the most expensively produced hard copy publication.
There are just more good poets than you will ever be able to publish. The
problem ramps up much more steeply when we come to the question of books &#8211; few
publishers of poetry print more than a handful of volumes per year. Without a
sense of a larger project at hand, decisions get made based <span class=GramE>for<span
style='mso-spacerun:yes'>&#160; </span>local</span> &amp; personal reasons, which at
one level is okay. At another, however, there is no way in this system to
assure that good writers don&#8217;t literally fall by the wayside. A poet who is
reclusive or finds it difficult to actively promote his or her work, such as a
Dick Gallup, is apt to disappear from view literally for decades. Has anybody
read a book by Harold Dull in 30 years? <span class=GramE>By Ebbe Borregaard?</span>
Mary Norbert <span class=SpellE>Korte</span>? Gail <span class=SpellE>Dusenbery</span>?
Victoria <span class=SpellE>Rathbun</span>? Kirby Doyle, like Borregaard a
contributor to the Allen anthology, seems literally to have disappeared. A poet
like d Alexander dies &amp; is never heard of again. Darrell Gray&#8217;s landlord
simply dumped his papers into the trash after he died. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>In the current highly
atomized state of the literary scene, books do get published, but what occurs
to them after that remains far too much a matter of happenstance. When a volume
happens to sell well, become, at least in poetry terms, popular, and gets
sucked up into the highly tokenized process of the print industry&#8217;s publishing
awards, the phenomenon appears all but random. Thus Harryette Mullen&#8217;s <i
style='mso-bidi-font-style:normal'>Sleeping with the Dictionary, </i>Alice <span
class=SpellE>Notley&#8217;s</span> <i style='mso-bidi-font-style:normal'>Mysteries of
Small Houses </i>and Christian Bök&#8217;s <i style='mso-bidi-font-style:normal'>Eunoia
</i>end up <span class=GramE>both carrying</span> the hopes &#8211; and resentments &#8211;
of large numbers of other poets. It&#8217;s as though out of the </span><st1:place><st1:PlaceType><span
  style='font-family:Arial'>forest</span></st1:PlaceType><span
 style='font-family:Arial'> of </span><st1:PlaceName><span style='font-family:
  Arial'>poe</span></st1:PlaceName></st1:place><span style='font-family:Arial'>ts,
those seedlings have been anointed by sunlight &amp; thus the opportunity to
thrive. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>We need to look at this
process more critically. I would argue that it is in large measure because of
the almost total absence of discernable shape &amp; shading within the literary
terrain, its sheer <span class=SpellE>unmappability</span>, that such <span
class=SpellE>exceptionalism</span> becomes, by default, the only means
available for the culture &#8211; by which in this instance I mean the totality of
readers of poetry &#8211; to organize itself around points of discernability. But
what it really points to is an abdication by the poets themselves -- &amp; I
don&#8217;t mean Harryette or Alice or Christian. By leaving a vacuum, poets permit
other institutional forces &#8211; especially trade &amp; large institutional
publishers and the awards-givers who are really just an adjunct to the trade
publishers &#8211; to occupy the very space that makes it possible for newcomers to
get a sense of what&#8217;s where in the world of poetry. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>I&#8217;ve ridden this hobby horse
before. &amp; I probably will again. <span class=GramE>The failure of poets,
particularly when they are acting as editors &amp; critics, to articulate a
shape for the writing they want most to see &amp; with which to be associated,
is the necessary precondition for the disappearance of many, perhaps most,
poets.</span> To return to an old lesson from Jean-Paul Sartre: your choice is
between the series &#8211; absolute atomization &#8211; and the group. <span class=GramE>Though
that latter term has multiple meanings.</span> <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>So almost as distressing as
the name calling in the Canadian dispute is <span style='color:black'>Darren <span
class=SpellE>Wershler</span>-Henry&#8217;s reflexive denial of group status: &#8220;there's
no <span class=SpellE>Oulipo</span> branch office here.&#8221; It&#8217;s as puzzling and
ultimately self-defeating a position as that <a
href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_08_ronsilliman_archive.html%2381591973">posed
by Juliana Spahr</a> on this blog back in September when she characterized the
creation of <i style='mso-bidi-font-style:normal'>Chain</i> as an act <b
style='mso-bidi-font-weight:normal'>against</b> articulation:<o:p></o:p></span></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span class=GramE><span
style='color:black'>we</span></span><span style='color:black'> started chain
b/c <b style='mso-bidi-font-weight:normal'>there were too many arguments</b>
being made. <span class=GramE>we</span> started it in the climate of apex and
o-<span class=SpellE>blek</span>. <span class=GramE>there</span> were arguments
already and we needed other sorts of conversations to happen. <span
class=GramE>this</span> felt crucial to us. <span class=GramE>we</span> needed
to make a place for us to think about things in our way--a more sideways way or
a less declaratory way. <span class=GramE>now</span>, perhaps, we/poetry
community need arguments again. <span class=GramE>it</span> is sad that apex
and o-<span class=SpellE>blek</span> are gone and really haven't been replaced.
<span class=GramE>and</span> somehow for some reason that <span class=SpellE>i'm</span>
not sure <span class=SpellE>i</span> know yet, we keep doing chain. (<span
class=GramE>my</span> emphasis)<o:p></o:p></span></p>

<p class=MsoNormal><b style='mso-bidi-font-weight:normal'><span
style='color:black'><o:p>&nbsp;</o:p></span></b></p>

<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span
style='font-family:Arial;color:black'>Chain&#8217;s </span></i><span
style='font-family:Arial;color:black'>co-editor Jena Osman poses it as being a
choice against canon-building. Which might be the case if one poses it solely
in <span class=GramE>a my</span> community vs. your community context. But, one
thing the poetry of the 1970s certainly attempted (with mixed results) to
demonstrate in practice, articulation &#8211; argument &#8211; need not be destructive at
all. Dialogues between communities ideally begin with an interest in what the
other community is doing. So what is edited out when editors opt for a
telephone book or dictionary model of the alphabet as organizing principle is
precisely &#8220;<a
href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2383290804">Combinations,
interruptions, complex conversations and crossings over</a>.&#8221;<span
style='mso-spacerun:yes'>&#160; </span>What is left is everybody talking
simultaneously with a minimum of listening to one another.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'>The poets behind
<i style='mso-bidi-font-style:normal'>Apex of the M </i>and <span class=SpellE><i
style='mso-bidi-font-style:normal'>O&#8226;bl&#275;k</i></span><i style='mso-bidi-font-style:
normal'> </i>argued for a new spirituality in American poetry. That may seem
like a quirky, even perverse place to begin, but it was at least an attempt to
make a start. In retrospect, those new <span class=SpellE>gnostics</span> look
like the last gasp of poetry organizing itself before utter atomization left
every woman &amp; man to themselves and the poetry scene surrendered over to
the infinite consumerism of picking this book here, that book there, with no
hope of ever creating a larger sense of event. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'>Let me pose what
seems to me an obvious possible grouping, something that, to borrow a phrase
from Peter Balestrieri, I will call The Collectors. The Collectors acquire that
name because of a predisposition to utilize &amp; recycle found language,
although this can also mean the use of a poetic </span><st1:State><st1:place><span
  style='font-family:Arial;color:black'>tex</span></st1:place></st1:State><span
style='font-family:Arial;color:black'>t to process an event. When Mark Peters
searched the internet for every sentence that included the word &#8220;men&#8221; &amp;
then composed a booklength poem by that name, it was just an act of collection.
The détournements of Brian Kim Stefans &amp; event documentation works of Edwin
Torres and Kenny Goldsmith, the text creations of Alan Sondheim as well as the
work of Craig <span class=SpellE>Dworkin</span> all loosely fit this
definition. Around this core one might pose questions of rule-determined work,
which might fall on one side of this equation, and which just might include the
<span class=SpellE>Oulipo</span> non-branch in </span><st1:City><st1:place><span
  style='font-family:Arial;color:black'>Toronto</span></st1:place></st1:City><span
style='font-family:Arial;color:black'>. On the other side would be those
writers interested in documents for precisely what they do and say socially,
incorporating them into their works &#8211; both Spahr and Osman could be posited
there. Further, one could go back and ask about such antecedent poets as Paul
Metcalf on the one hand and David Benedetti&#8217;s computer-written texts of the
1970s on the others. Viewed from the perspective of The Collectors, there is a
context in which both Christian Bök&#8217;s <i style='mso-bidi-font-style:normal'>Eunoia</i></span><span
style='font-family:Arial'> &amp; </span><st1:PersonName><span style='font-family:
 Arial'>Louis Cabri</span></st1:PersonName><span style='font-family:Arial'>&#8217;s <i
style='mso-bidi-font-style:normal'>The Mood Embosser </i>not only complement
one another, they virtually <i style='mso-bidi-font-style:normal'>require</i>
one another. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>This literary formation
exists in everything but the real world. While some of these writers know one
another and might even work together from time to time, there is no attempt
that I&#8217;m aware of on anybody&#8217;s part from within this potential formation to
point it out as a major tendency in contemporary poetry. <span class=GramE>Which
means as a direct consequence that there is nobody trying to create the kind of
internal &#8211; <i style='mso-bidi-font-style:normal'>and external </i>&#8211; dialogues
that would enable it to accelerate its own development.</span> And that its
potential as a point in common for other groups to bounce off of is muted, if
not nil. Only when such formations exist in real time can the &#8220;combinations,
interruptions, complex conversations and crossings over&#8221; that </span><st1:City><st1:place><span
  style='font-family:Arial'>Jena</span></st1:place></st1:City><span
style='font-family:Arial'> Osman envisions begin to occur. You can&#8217;t cross over
until you have identified a place from which to cross. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>The benefits of literary formation
seem to me obvious: we would not have the ready availability of the work of
Carl Rakosi without his relationship to the Objectivists, nor this big fat new
volume of Lorine Niedecker&#8217;s so lovingly produced by the </span><st1:place><st1:PlaceType><span
  style='font-family:Arial'>University</span></st1:PlaceType><span
 style='font-family:Arial'> of </span><st1:PlaceName><span style='font-family:
  Arial'>California Press</span></st1:PlaceName></st1:place><span
style='font-family:Arial'>. Long term, the work of Joe Ceravolo, Dick Gallup
and the other poets of the </span><st1:place><st1:PlaceName><span
  style='font-family:Arial'>New York</span></st1:PlaceName><span
 style='font-family:Arial'> </span><st1:PlaceType><span style='font-family:
  Arial'>School</span></st1:PlaceType></st1:place><span style='font-family:
Arial'>&#8217;s second generation stands to gain enormously because of this same
phenomenon. If anyone ever is to rescue the work of Darrell Gray, it will be
because of his role within Actualism. In each instance, the presence of a
literary formation provides not just strength in numbers, but a situating
context large &amp; complex enough to motivate a graduate student like Andrew <span
class=SpellE>Crozier</span> to locate &amp; approach a man like Carl Rakosi.
Rakosi had not written in a quarter century before <span class=SpellE>Crozier</span>
approached him in the 1960s; by his own account on his <a
href="http://www.english.upenn.edu/~wh/rakosi.html">webcast</a> this past week,
Rakosi had not even <i style='mso-bidi-font-style:normal'>read </i>poetry in a
quarter century.<span style='mso-spacerun:yes'>&#160; </span><o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>But at that level, the idea
of the Collectors is as much a fiction as M.L. Rosenthal&#8217;s Confessional Poetry
once was. So, if we believe <span class=SpellE>Wershler</span>-Henry, is the
experience of a Toronto-centered process-driven poetics. What it all points to <span
class=GramE><span style='color:black'>is</span></span><span style='color:black'>
a profound silence precisely where there needs to be discussion. <span
class=GramE>And organization.</span> And arguments. On this point, Juliana
Spahr is absolutely right: &#8220;we/poetry community need arguments again.&#8221; Lots of
them, conducted in the poems, in readings, in the fundamentally political act
that is editing, in forums like talks &amp; seminars &amp; conferences. <o:p></o:p></span></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'>To which I would
add this one word of warning: name calling seems a better way to shut
discussion <span class=GramE>off, that</span> it does to open it up.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>* Ditto for
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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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