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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>Carol Watts</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>Carol Watts</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>Wednesday, June 15, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><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"'><a href="http://www.dusie.org/watts.html"><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"'>Carol</span></a> <a href="http://www.facebook.com/people/Carol-Watts/621576382"><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"'>Watts</span></a><br> at <a href="http://otherroom.org/"><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"'>The Other Room</span></a><span class=GramE>,</span><br> Manchester, UK<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><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"'>Reading from<br> <i style='mso-bidi-font-style:normal'><a href="http://www.realitystreet.co.uk/carol-watts.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"'>Occasionals</span></a><o:p></o:p></i></span></p>

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<h2 class='date-header'><span>Thursday, May 28, 2009</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>One of the joys of poetry is coming across the work of somebody first rate whose writing you had not previously known. This was true when I was 16, first coming across William Carlos Williams&#8217; <i style='mso-bidi-font-style:normal'>The Desert Music </i>in the Albany Public Library &amp; having my first &#8220;aha experience&#8221; with poetry, something that had eluded me previously reading Robert Frost, <st1:City w:st="on"><st1:place w:st="on">Lawrence</st1:place></st1:City> Ferlinghetti &amp; randomly about in various <a href="http://tinyurl.com/q52cl6"><span style='color:black'>Oscar Williams</span></a> anthologies. And it was true this past week when I was reading (&amp; rereading) Carol Watts&#8217; <i style='mso-bidi-font-style:normal'><a href="http://www.oystercatcherpress.com/cwatts.html"><span style='color:black'>When blue light falls</span></a>, </i>a chapbook from Oystercatcher Press in the <st1:place w:st="on"><st1:country-region w:st="on">U.K.</st1:country-region></st1:place><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>In the past I&#8217;ve written about the difficulty I sometimes have hearing British poetry on the page &amp;, reading <i style='mso-bidi-font-style:normal'>blue light, </i>I tried to recall the last time I a book of poems by a Brit made me excited about line breaks. My immediate thought was <a href="http://tinyurl.com/p45ap3"><span style='color:black'>Basil Bunting</span></a>, but that was over 40 years ago. That&#8217;s obviously an overstatement &#8211; Lee Harwood, Thomas A. Clark &amp; Tom Raworth all come to mind (tho that&#8217;s not necessarily what I focus on in Tom&#8217;s work) &#8211; but not as much of an overstatement as I wish it was. Actually, thinking about the last time I had the same reaction to the line breaks of an American poet &#8211; perhaps Joseph Massey&#185; &#8211; I realize that this is not a great moment for thinking about line breaks (for which I may be partly to blame), and that the people who are doing really interesting work here are in fact going against the grain to a degree we may not realize.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>When blue light falls </span></i><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>clearly is one of those books. It contains what the author characterizes as the &#8220;first 16 of a cyanometric work in progress,&#8221; which immediately poses the questions <i style='mso-bidi-font-style:normal'>when will it be complete? </i>And <i style='mso-bidi-font-style:normal'>when can I get the entire volume? </i>I sure hope that <st1:place w:st="on">Watts</st1:place> works faster than I do. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Watts also characterizes the project as &#8220;a series of even and odd number sequences,&#8221; which is to say that these 16 poems don&#8217;t proceed 1 to 16, but rather with all the even numbers first, then the odd. There is a considerable difference betwixt the two. Using an epigram to invoke Barbara Guest (&#8220;Blue enters later&#8221;), Watts proceeds as if following Guest&#8217;s airy strategies of the abstract lyric (a mode of poetry she could be said to have invented), but what results feels quite different:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:.5in;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>when it came down<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>did it reach as far as<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>your skin<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:.5in;margin-left:1.75in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>and mine<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>that blue light<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.9in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>opening<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>in absence<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>of air<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>would catch you<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>gaping for<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:.5in;margin-left:1.5in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>the next<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:24.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>so blue never is<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:.5in;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>present<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif"'>how it marks<o:p></o:p></span></p>

<p class=ecmsonormal><span style='font-size:10.0pt;font-family:"Arial","sans-serif"'>Set apart thus, individual lines hover, framed as tho each were a text in itself. At the same time, this piece is a small portrait indirectly told. A lot is implicit here, permitting a content term (<i style='mso-bidi-font-style:normal'>noun </i>is too neutral for what&#8217;s going on) like <i style='mso-bidi-font-style:normal'>skin </i>to carry a lot of the narrative. Indeed, the strategy seems to be to having the telling replicate the quality of light to the degree imaginable. Soundwise, the poem seems very aware of its vowels, tho it leads more by how carefully the <i style='mso-bidi-font-style:normal'>p / b </i>sounds are placed (never more than one to a line, and not at all until the fifth line). <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Here is the poem that, if the numbers indicated order in this book, would have preceded the poem above:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Verdana","sans-serif";color:black'>pale cold light<br>
morning<br>
<br>
shrinks<br>
back<br>
<br>
taut gum<span style='mso-spacerun:yes'> &nbsp;</span>skin<br>

will<br>
<br>
switch<span style='mso-spacerun:yes'> &nbsp;</span>in distance<br>
sounds of water<br>
<br>
in beds and<span style='mso-spacerun:yes'> &nbsp;</span>journeying<br>
footfall<br>
<br>

pours from her<br>
mouth<br>
<br>
or through interiors<br>
what she is<br>
<br>
a<br>
floe<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>The equation of a woman with a &#8220;floe&#8221; is the sort of assertion that ought nowadays to be difficult to sustain. It suggests the hokiest sorts of metaphors, not all of which are woman-friendly. But instead of reading &#8220;1&#8221; first, it appears here halfway through the book, after &#8220;16,&#8221; the last of the even-numbered sequence. In context, after dealing with poems explicitly about breathing, obsessed with the qualities of air, especially including its invisibility in the immediate environs while deep blue when observed at a great distance, one reads <i style='mso-bidi-font-style:normal'>interiors</i> very differently &amp; likewise the last couplet. The sum is one of the cagiest demonstrations of the parsimony principle in poetry I&#8217;ve come across. </span><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>What at first glance could have been read as a variation on the old romantic trope <i style='mso-bidi-font-style:normal'>woman is a fluid </i>is instead a portrait of two people on a brisk morning. There ought to be a name for this effect, some verbal equivalent not of <i style='mso-bidi-font-style:normal'>trompe l&#8217;oeil </i>exactly, but a more Escher-like effect, where what you see on the page palpably is not what you get.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>I find such attention to detail &#8211; and such respect for the  reader&#8217;s intelligence &#8211; thoroughly invigorating. This probably shouldn&#8217;t have been news to me &#8211; one can find a fair amount of Watts&#8217; work on the web, including &#8220;<a href="http://www.asu.edu/pipercwcenter/how2journal/vol_3_no_2/ecopoetics/watts.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Zeta Landscape</span></a>&#8221; in <i style='mso-bidi-font-style:normal'>How2, </i>an excerpt from <i style='mso-bidi-font-style:normal'><a href="http://www.signalsmagazine.co.uk/4/watts.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Occasionals</span></a> </i>in <i style='mso-bidi-font-style:normal'>Signals, </i>and something entirely different, <i style='mso-bidi-font-style:normal'><a href="http://www.lulu.com/content/894954"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>alpha</span><b style='mso-bidi-font-weight:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;font-style:normal'>betise</span></b></a></i><b style='mso-bidi-font-weight:normal'>,</b> a downloadable volume that is as much art book as it is &#8220;prose poem chronicle.&#8221; It&#8217;s a complete blast. Charles Alexander, <a href="http://www.lulu.com/content/894954"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>recounting a trip of his own to England</span></a> two years ago, calls Watts&#8217; work &#8220;a revelation,&#8221; &amp; that makes absolute sense to me. <span style='mso-spacerun:yes'> </span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:"Arial","sans-serif"'>&#185; Joel Chace&#8217;s reading at Robins Books May 19 makes me want to look at his linebreaks again as well. <o:p></o:p></span></p>
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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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