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Showing posts with label <b>Charles Bernstein</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>Charles Bernstein</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>Friday, October 03, 2014</span></h2>

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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://marjorieperloff.com/"><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;">Marjorie</span></a> <a href="http://en.wikipedia.org/wiki/Marjorie_Perloff"><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;">Perloff</span></a><br />
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on<br />
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</span></b><b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;"><a href="http://media.sas.upenn.edu/pennsound/authors/Perloff/Perloff-Marjorie_Close-Listening_Conversation-2_11-9-09.mp3"><span style="color: red;">divergences in 20<sup>th</sup> century poetry</span></a><br />
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</span></i></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">with <a href="https://www.poetrysociety.org/psa/poetry/crossroads/red_white_blue_poets_on_politics/charles_bernstein/"><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;">Charles</span></a>
<a href="http://beinecke.library.yale.edu/about/blogs/poetry-beinecke-library/2014/09/18/charles-bernstein-papers"><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;">Bernstein</span></a></span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"><br />
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/10/blog-post.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-10-03T00:00:00-04:00'>Friday, October 03, 2014</abbr></a>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Charles%2520Bernstein' rel='tag'>Charles Bernstein</a>,
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Marjorie%2520Perloff' rel='tag'>Marjorie Perloff</a>
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<h2 class='date-header'><span>Thursday, October 02, 2014</span></h2>

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<b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 115%;"><a href="http://media.sas.upenn.edu/pennsound/authors/Bernstein/radio/Tardos-Goldsmith_Bernstein_Swedish-Radio_June-2008.mp3"><span style="color: red;">3 American Poets</span></a></span></b><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><o:p></o:p></span></b></div>
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<a href="http://annetardos.com/"><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;">Tardos</span></a><o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, July 16, 2012</span></h2>

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<h2 class='date-header'><span>Saturday, October 08, 2011</span></h2>

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<h2 class='date-header'><span>Saturday, December 04, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span class=SpellE><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"'>Youngmin</span></span><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"'> Kim &amp; Charles Bernstein<br> <a href="http://epc.buffalo.edu/authors/bernstein/blog/#11-29-10"><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 &amp; talking</span></a> at<br> <a href="http://writing.upenn.edu/pennsound/x/images/Dongguk-Korea_Bernstein-poster.pdf"><span class=SpellE><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"'>Dongguk</span></span><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"'> University</span></a></span>, Seoul, Oct. 19, 2010</p>
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<h2 class='date-header'><span>Wednesday, September 15, 2010</span></h2>

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<h2 class='date-header'><span>Tuesday, August 24, 2010</span></h2>

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<h2 class='date-header'><span>Saturday, December 30, 2006</span></h2>

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<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>A Theory's Evolution<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in;line-height:150%'><span style='font-size:10.0pt;line-height:150%;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>The Theory of Flawed Design is not a scientifically proven<br>
Alternative to evolution. It is based on the everyday life<br>
Experience that natural selection could not have produced<br>
Such a catastrophic outcome. Optimists and the religiously<br>
Inclined will naturally prefer evolution as an explanation<span class=GramE>,</span><br>
Since ascribing Design to the state of humanity is almost<br>
Unbearable. For the rest of us, we must continue to insist<br>
That the theory of Flawed Design be taught cheek and jowl<span class=GramE>,</span><br>
Neck and neck, mano a mano, with Mr. Darwin's<br>
Speculations. The Theory postulates a creator who is Mentally<br>
Impaired, either through some genetic defect or because of<br>
Substance abuse, and is predisposed to behave in a sociopathic<br>
Manner; although some Benign Flawed Design theorists, as<br>
They call themselves, posit the radical alternative that the<br>
Creator was distracted or inattentive and the flaws are not the<br>
Result of Malevolent Will but incompetence or incapacity.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The above poem by Charles Bernstein ran on the op-ed page of yesterday&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.philly.com/mld/inquirer/news/editorial/16340276.htm"><span style='color:black'>Philadelphia Inquirer</span></a>.<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#169; 2006 by Charles Bernstein<o:p></o:p></span></p>
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<p class=MsoNormal><span style='color:black'><img height="376" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/ASykknZuhgmPcfUjm-xJ9HBzgiWbADxoCOFB8ypz7J0vtr3McQfmd9MFQ17fwvaQ-boremurkDqfcMDuit2TFvxrms4qmIYCIhAbOc42qLjh6nlFkVtFc4Gf0ScWyjyXy2ixGpI%3Ds0-d" width="263"><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>On Wednesday of last week, there was a book party &amp; reading for <a href="http://en.wikipedia.org/wiki/Charles_Bernstein"><span style='color:black'>Charles</span></a> <a href="http://epc.buffalo.edu/authors/bernstein/index.html"><span style='color:black'>Bernstein&#8217;s</span></a> latest collection, <i style='mso-bidi-font-style:normal'><a href="http://epc.buffalo.edu/authors/bernstein/books/girly-man/"><span style='color:black'>Girly Man</span></a>, </i>at Kelly Writer&#8217;s House. It was instructive to get to hear Bernstein &amp; Barrett Watten in something akin to a back-to-back format to get a sense of just how very wide the range of poetries can be that are known historically as language writing, for while their deepest long-term goals are quite similar, their strategies as poets could not be further apart. Nor are these the only two poles of difference one might find among the langpos &#8211; take Clark Coolidge, especially the early work, &amp; Rae Armantrout as two others &amp; maybe you will start to get a sense of just how radically wide &#8211; or perhaps widely radical &#8211; langpo truly is. Maybe add another axis with Hannah Weiner &amp; Tina Darragh as its &#8220;logical&#8221; pair of opposites. You could take any five of these examples &amp; then pose the question about the sixth, <i style='mso-bidi-font-style:normal'>Why is he/she a language poet? </i>and it would almost feel like a plausible question.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Of all the language poets, Watten is perhaps the closest to the tradition of the troubadours, and especially of the concept of <i style='mso-bidi-font-style:normal'>trobar clus, </i>a literature that pulls out all the stops &amp; tries to be all that language might be, that makes conscious demands on readers &amp; expects them to actually want these demands, &amp; to understand the pleasure that comes in reading a dense (if not &#8220;difficult&#8221;) text. The experience at the end of one of Watten&#8217;s works, especially those that go more than a single page, is not dissimilar from the feeling one has at the end of a good workout in the weight training facility, or perhaps great sex &#8211; one feels the muscles used, there is a &#8220;burn&#8221; that lingers, an exhilaration integral to the event. The ambivalence and irony that circulate about the title of Watten&#8217;s masterpiece, <i style='mso-bidi-font-style:normal'>Progress, </i>operate on so many different levels, for example, that one <i style='mso-bidi-font-style:normal'>never </i>fully exhausts them: it is true &amp; not true at a dizzying rate. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This approach places Watten into a literary tradition that has clear antecedents in the work &amp; life of Louis Zukofsky, with some aspects of Ezra Pound, with the Williams of <i style='mso-bidi-font-style:normal'>Spring &amp; All</i>, and beyond them with the critical writing &#8211; and the role of critical writing &#8211; of Coleridge. If Watten is a troubadour, he is most definitely an Enlightenment one. He comes closer to Habermas&#8217; model of returning to modernism &#8211; Watten&#8217;s preferred term is constructivism &#8211; and this time getting it right than any other poet I have ever met. As a result, Watten is the ideal test case for an argument &#8211; <i style='mso-bidi-font-style:normal'>my </i>argument, anyway &#8211; that langpo ultimately is not post-modern, but rather an argument with modernism &amp; postmodernism alike. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>If Watten&#8217;s approach to the reader is <i style='mso-bidi-font-style:normal'>in your face, </i>Bernstein comes from virtually every other direction. He is the most Brechtian poet </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> has yet produced, concerned not with demonstrating everything language can be (indeed, there is a deliberate slightness to his writing), but rather unveiling all the social processes through which we process &#8211; and by inference <span class=SpellE><i style='mso-bidi-font-style:normal'>misprocess</i></span><i style='mso-bidi-font-style:normal'>, <span class=SpellE>dysprocess</span>, <span class=SpellE>malprocess</span> </i>&#8211; all the language we consume. I sometimes imagine Watten&#8217;s poems as being not unlike the monolith in the film <i style='mso-bidi-font-style:normal'>2001: A Space Odyssey. </i>They&#8217;re inescapable &amp; force readers to confront the Other. Bernstein&#8217;s poems, in contrast, are more like the deadpan (but deadly) computer <i style='mso-bidi-font-style:normal'>HAL </i>in that same flick: <i style='mso-bidi-font-style:normal'>I&#8217;m sorry, Dave. I cannot do that.<span style='mso-spacerun:yes'>  </span><o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I think it&#8217;s easy &#8211; and this is the primary risk in Bernstein&#8217;s work &#8211; to mistake him for, or take him merely as, a &#8220;funny poet,&#8221; the hip version of Billy Collins. It&#8217;s possible to read <i style='mso-bidi-font-style:normal'>Girly Man </i>just this way, consuming it straight through because it goes down as easily as a comic novel. In fact, a good reading of this book would prove to be almost the antithesis of that. Take a look, for example, at <a href="http://epc.buffalo.edu/authors/bernstein/reviews/silliman2.html"><span style='color:black'>this close reading</span></a> I did more than three years ago of &#8220;<a href="http://www.prx.org/pieces/4073/stationinfo;jsessionid=7F2E78DDBA9D8FCE2A0F905B7 08BF1F3.jvm1"><span style='color:black'>Thank You for Saying Thank You</span></a>,&#8221; one of the key poems collected in this edition. It is, of course, completely possible to read that poem straight through, to sense the ironies, and to move on. But to actually <i style='mso-bidi-font-style:normal'>read the poem </i>takes an
effort of a whole other order. And the poem doesn&#8217;t necessarily let you know that. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I vacillate as to whether Watten or Bernstein has the much more reader friendly model for poetry. In one sense, you can get there, wherever there might be, either way. But it is possible &#8211; I know because I&#8217;ve heard people make the argument &#8211; to say that Watten writes only for those willing to make the effort to get deeply into his poems &amp; that to others his work can seem intimidating. However, Bernstein writes in a way that allows some &#8211; how many is anybody&#8217;s guess &#8211; to think they&#8217;re reading him when they&#8217;re not getting it at all. That is exactly the point being made in &#8220;Thank You for Saying Thank You,&#8221; but how many will really follow through, acting on the implications of that text? Watten comes as close as is humanly possible to ensuring that nobody who attempts to read his poetry seriously is going to misread it. Bernstein flirts with that result all the time. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One consequence of this is that I know readers who love one of these poets &amp; despise &#8211; basically just don&#8217;t get &#8211; the other. My argument would be that you need to understand, to really &#8220;<span class=SpellE>grok</span>&#8221; in Robert Heinlein&#8217;s sense of that term, the logic within each path. Both, I would argue, are absolutely necessary. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Sunday, December 22, 2002</span></h2>

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<st1:personname><span style="font-family: Arial; font-size: 12.0pt;">Gary Sullivan</span></st1:personname><span style="font-family: Arial; font-size: 12.0pt;"> ended his dissertation on humor &amp; context the other day
with what I would characterize as an imponderable: &#8220;<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">How is Celan&#8217;s work read by
those who don&#8217;t know who he was, his history?&#8221; Now Annie Finch sends an email
to ratchet the issue of irony up one more notch: </span></tt><o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Dear
Ron, <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">the whole
[Jennifer] Moxley discussion has been fascinating. if this inspires thought for
your blog, I'd be interested to read your response. I think the poems I was
recalling are in <i style="mso-bidi-font-style: normal;">With Strings</i> or if
not, another recent book. I guess part of the question raised is, how much does
the context of the writer's other work affect the irony that individual poems
can retain? <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">"Charles
Bernstein has written some poems that I would not be surprised to see in a book
by X.J. Kennedy. Ron, can you imagine a time in which the context separating
those two is lost, or is that taking the idea too far?"<o:p></o:p></span></div>
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<span style="font-family: Verdana;">Two
more thoughts/questions:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Do
you think poems that go too much the other way, that don't have enough irony,
are just as vulnerable to being lost after their originary time is over as
poems that depend too much on transitory irony? <o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Then
there is the phenomenon of poems that are written with irony and STILL survive
after the irony is long gone in most reader's minds. Examples: Frost's The Road
Not Taken and Blake's Songs of Innocence. Where do these fit in?<o:p></o:p></span></div>
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<span style="font-family: Verdana;">Annie<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">I would
suspect that one of the Bernstein poem&#8217;s Annie might be remembering is &#8220;The Boy
Soprano&#8221;:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Daddy loves me this I know<br />
Cause my granddad told me so<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Though he beats me blue and black<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">That&#8217;s because I&#8217;m full of crap<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">My mommy she is ultra cool<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Taught me the Bible&#8217;s golden rule<o:p></o:p></span></div>
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<st1:personname><span style="font-family: Verdana; mso-bidi-font-family: Arial;">Don</span></st1:personname><span style="font-family: Verdana; mso-bidi-font-family: Arial;">&#8217;t talk back, do what
you&#8217;re told<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Abject compliance is as good as gold<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">The teachers teach the grandest things<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Tell how poetry&#8217;s words on wings<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">But wings are for Heaven, not for earth<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Want my advice: hijack the hearse<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">Compare
this with Kennedy&#8217;s &#8220;<a href="http://www.poemtree.com/poems/BratsReward.htm">A
Brat&#8217;s Reward</a>&#8221;:<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">At the market Philbert Spicer<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Peered into the bacon slicer &#8211;<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Whiz! the wicked slicer sped<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Back and forth across his head<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Quickly shaving &#8211; What a shock! &#8211;<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Fifty chips off Phil&#8217;s old block,<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Stopping just above the eyebrows.<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Phil&#8217;s not one of them thar highbrows.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">Kennedy,
poetry editor of the <i style="mso-bidi-font-style: normal;">Paris Review</i> in
the 1960s betwixt </span><st1:personname><span style="font-family: Arial; font-size: 12.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 12.0pt;">ald Hall &amp; Tom Clark, is a long-time practitioner of
light verse as well as poetry for children &#8211; the smoothness of his metrics here
is an index of just how good at this he is. Considering that we&#8217;re discussing
mutilation in the market place, it&#8217;s remarkable just how free &#8220;Reward&#8221; is of
even the slightest hint of social comment. The only moment it shows up is at
the very end &#8211; that distancing effect of slang in &#8220;them thar highbrows.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">Even if we
were unaware of the Anna Bartlett Warner hymn &#8211; hard to envision in a world in
which Google shows over 40,000 pages devoted to it &amp; its variants* &#8211; on
which Bernstein&#8217;s poem is based, there&#8217;s a depth of sarcasm in the writing that
is impossible to erase over time. Even presuming we don&#8217;t recognize the
allusion &#8211; a presumption basic to satire &#8211; this displacement of &#8220;Daddy&#8217;s&#8221; love
to granddad&#8217;s word for verification &amp; the references to family violence in
the first stanza make it unmistakable. As does the use of the term &#8220;abject&#8221; in
the second stanza. As does the &#8220;advice&#8221; of the final line. Even prosodically,
the degree to which Bernstein pushes away from the seven-syllable line of the
original twists the poem away from the harmonic closure of the 19<sup>th</sup>
century lyrics toward a result whose dissonance &#8211; the degree to which it sounds
&#8220;off&#8221; or &#8220;wrong&#8221; &#8211; underscores the connotative domain. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">What we
have are two poetries that have certain surface similarities, one of which is
adamantly social &amp; will remain so, even if many topical elements are
drained away, the other of which is only incidentally (&amp; possibly unknowingly)
social. So while in theory the possibility of two poetries merging in such a
way as to dissolve their original differences exists, in practice I think this
is apt to happen only with much more parallel kinds of writing, the way the
elliptical side of the mainstream (say, Jorie Graham&#8217;s work) shades over into
aspects of post-avant writing (someone like Ann Lauterbach sits almost
perfectly in the middle here, as do Forrest Gander &amp; C. D. Wright). But not
in work that is truly diverse, regardless of surface features.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">Is it
possible for poems to not have <i style="mso-bidi-font-style: normal;">enough </i>irony?
My sense is no, in that I suspect that writing can incorporate an almost total
spectrum of metalinguistic distancing effects, from no irony whatsoever (Denise
Levertov) all the way to total irony (Joe Brainard). It is, however, possible
for poems to use irony ineffectively, as Walter Conrad Arensberg does in &#8220;To
Hasekawa.&#8221; That&#8217;s a different issue.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">But as time
passes, contexts fade. There are poems in which irony disappears only to reveal
other strengths of the poem &#8211; that&#8217;s pretty much the situation with Blake. But
other elements shift around as well. Just as Bernstein&#8217;s poem will continue to
reveal a social structure regardless of whether we recognize Warner&#8217;s hymn, so
too will the dark world envisioned by Paul Celan remain, whether or not the
reader relates it to the holocaust: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">BY THE UNDREAMT etched,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">the sleeplessy wandered-through breadland<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">casts up the life mountain.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">From its crumb<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">you knead anew our names<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">which I, an eye<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">similar<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">to yours on each finger,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">probe for<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">a place, through which I<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">can wake myself toward you,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">the bright<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">hungercandle in mouth.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Hungercandle
(&#8220;Hungerkerze&#8221;) is not a term that is mistakable, any more than &#8220;mouth&#8221; can
ever be softened without a pronoun. The bleakness of the situation could be </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 12.0pt;">Kampuchea</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 12.0pt;">, </span><st1:place><span style="font-family: Arial; font-size: 12.0pt;">Babi Yar</span></st1:place><span style="font-family: Arial; font-size: 12.0pt;"> or the Balkans. What is not
relieved, however, is the underlying sense of deprivation. Only in a world in
which hunger &amp; genocide were both abolished &amp; forgotten could these
lines appear to lose their sense of deprivation. Which I fear means that we are
a long, long way from being able to test the ability of Celan&#8217;s work to operate
without context.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Of the
writers mentioned here, Jennifer Moxley is perhaps closest to Celan in her
overall vision of humanity. Like him, she is on the low end of the irony
spectrum. Neither has any interest in letting the reader escape the enveloping
circumstance of the poem &#8211; like Celan, her poems may long for relief, but they
seldom if ever offer any. That her works employ a neutral language, rather
than, say, the high-torque neologisms of a Celan, is part of the analysis. Like
Annie Finch, I&#8217;m fascinated by the reactions to her work. They underscore my
own sense of its importance. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">* Including a few that touch
on its use by the Ku Klux Klan.<o:p></o:p></span></div>
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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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