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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>Dale Smith</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>Dale Smith</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>Saturday, September 21, 2002</span></h2>

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<st1:city><st1:place><span style="font-family: Arial;">Philadelphia</span></st1:place></st1:city><span style="font-family: Arial;"> is just large enough as a literary scene to occasionally
present the &#8220;problem&#8221; of two good readings on the same evening. Due to some
fortuitous timing, I was able to scoot between venues and hear Dale Smith &amp;
Hoa Nguyen at Writers House on the Penn campus, followed by Joan Retallack
&amp; Matt Chambers at the Temple Gallery in </span><st1:place><st1:placename><span style="font-family: Arial;">Olde</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">City</span></st1:placetype></st1:place><span style="font-family: Arial;">.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Smith &amp; Nguyen are two </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;"> poets who relocated a couple of years back to </span><st1:place><st1:city><span style="font-family: Arial;">Austin</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">Texas</span></st1:state></st1:place><span style="font-family: Arial;">, where they publish a range of
American poetry under the banner of Skanky Possum (<a href="http://www.skankypossum.com/">http://www.skankypossum.com/</a>). While
there are many poets today who have become established as writers in relative
isolation far from the major writing centers of New York &amp; San Francisco
(or even secondary ones such as </span><st1:state><st1:place><span style="font-family: Arial;">Washington</span></st1:place></st1:state><span style="font-family: Arial;">, </span><st1:city><st1:place><span style="font-family: Arial;">Philadelphia</span></st1:place></st1:city><span style="font-family: Arial;">, </span><st1:city><st1:place><span style="font-family: Arial;">San Diego</span></st1:place></st1:city><span style="font-family: Arial;"> or </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;">), it&#8217;s an exceptionally challenging task, especially
for someone who is working within alternative or post-avant traditions. Poets
such as Tom Beckett, Lorenzo Thomas, Charles Alexander and Sheila Murphy all
have demonstrated that it is possible to craft a successful poetic career in
such a context that is not local in its scope, but they all also can probably
attest to just how difficult this can be. Or see Juliana <span class="SpellE">Spahr&#8217;s</span>
comments on the blog for September 14 on the use of <i style="mso-bidi-font-style: normal;">Chain</i> as a mechanism for keeping her connected to the literary
community &#8220;over there (continent).&#8221; Nguyen &amp; Smith are like Thomas, in that
they&#8217;ve used their pre-move literary connections wisely to keep them plugged
in. And they have the advantage, historically, of the web&#8217;s erasure of physical
distance &#8211; there is more connectivity, for example, between poets <span class="GramE">as distant as </span></span><st1:country-region><st1:place><span class="GramE"><span style="font-family: Arial;">Ireland</span></span></st1:place></st1:country-region><span class="GramE"><span style="font-family: Arial;"> and </span></span><st1:country-region><st1:place><span class="GramE"><span style="font-family: Arial;">New Zealand</span></span></st1:place></st1:country-region><span class="GramE"><span style="font-family: Arial;"> today than</span></span><span style="font-family: Arial;"> has ever been the case before in history. But it&#8217;s a
challenge that I as a young poet would not have had the courage to tackle.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Smith &amp; Nguyen have
distinct voices and are given to working on different sorts of projects.
Listening or reading to Smith, one hears the influence, say, of the late Ed
Dorn, in Smith&#8217;s uses of scholarship, though not in the actual devices or
strategies of the poem. <span class="GramE">That a poet under the age of 40
thinks to make use of the work of <span class="SpellE">Haniel</span> Long, for
example, ought to be grounds for celebration for that fact alone.</span> After
reading from her chapbooks, Nguyen sampled fragments from a piece in progress,
a narrative about the life of her mother*, that promises to turn into something
fabulous. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But the problem with two
readings in one night in </span><st1:city><st1:place><span style="font-family: Arial;">Philadelphia</span></st1:place></st1:city><span style="font-family: Arial;"> is that the audience isn&#8217;t quite there to support both equally. The
event at Writers House had no more than 20 people &#8211; no one at Penn is
apparently teaching Nguyen &amp; Smith&#8217;s work this term &#8211; while there were 100
crammed into the oxygen-deprived Temple Gallery** to hear Joan Retallack. Matt
Chambers, a &#8220;second-year writer&#8221; at Temple (and formerly of SUNY Buffalo),
opened with a piece filled with dense philosophic metalanguage, undercut by the
presence of multiple tape players scattered throughout the audience that echoed
elements of the reading. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Retallack has arrived at
that wonderful moment in a poet&#8217;s life &#8211; she is at the top her game, completely
confident in what she&#8217;s doing (&amp; with good reason) while continuing to go
new places with every project she takes on. The excitement is both palpable and
contagious. Hearing her read was the perfect capstone to the evening &#8211; and made
me realize that had the four readers shared a single stage, the order could not
have been better. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*&#8221;I haven&#8217;t
even gotten to the part where she runs away with the circus yet&#8230;&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">**The
Temple Gallery can be an especially difficult space to hear poetry and
exacerbates this by being the only venue I&#8217;ve ever been to that lacks
restrooms, drinking fountains <i style="mso-bidi-font-style: normal;">and</i>
wheelchair accessibility all at once. This is not what Zukofsky meant by the
&#8220;test of poetry.&#8221;<o:p></o:p></span></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002/09/philadelphia-is-just-large-enough-as.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2002-09-21T07:31:00-04:00'>Saturday, September 21, 2002</abbr></a>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<li><a href='http://www.poets.org/poet.php/prmPID/1544'>Academy of American Poets</a></li>
<li><a href='http://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
<li><a href='http://www.facebook.com/ron.silliman'>Facebook</a></li>
<li><a href='http://www.goodreads.com/search/search%3Fsearch_type%3Dbooks%26search%5Bquery%5D%3Dron%2Bsilliman'>GoodReads</a></li>
<li><a href='http://www.english.illinois.edu/maps/poets/s_z/silliman/silliman.htm'>Modern American Poetry</a></li>
<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<h2 class='title'>Other Books in Print</h2>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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