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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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<h2 class='date-header'><span>Sunday, February 08, 2015</span></h2>

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<br />
<span style="color: red;"><a href="https://media.sas.upenn.edu/pennsound/authors/Bromige/Bromige-David_Buffalo_4-26-76.mp3"><span style="color: red;">reading</span></a><br />
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</span><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%;">@
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2015/02/blog-post_8.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2015-02-08T00:00:00-05:00'>Sunday, February 08, 2015</abbr></a>
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<h2 class='date-header'><span>Tuesday, October 22, 2013</span></h2>

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<b style="mso-bidi-font-weight: normal;"><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/Bromige/Bromige-David_Complete-Reading_Buffalo_1-29-92.mp3"><span style="color: red;">Happy 80<sup>th</sup> Birthday</span></a></span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">,</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://en.wikipedia.org/wiki/David_Bromige"><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;">David</span></a>
<a href="http://epc.buffalo.edu/authors/bromige/"><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;">Bromige</span></a></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 8.0pt; 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;">(being a reading @ <a href="http://media.sas.upenn.edu/pennsound/authors/Bromige/Bromige-David_Complete-Reading_Buffalo_1-29-92.mp3"><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;">SUNY
Buffalo 1992</span></a>)</span></i></b></div>
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<h2 class='date-header'><span>Saturday, December 22, 2012</span></h2>

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<div class="separator" style="clear: both; text-align: center;"><a href="http://farm4.staticflickr.com/3537/3647185252_291cee3c5d_z.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="500" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/3X1IyL89r0iVllcAhRE52WSyTkWt1owFry63Ob6SA3V5E4walhv89w7viruYXtakKZT9hCRIeOujzHuvup8ZsFRmQ16eBBtFpixgOQT_Bq2zsA%3Ds0-d" width="328"></a></div><p class=MsoNormal align=center style='text-align:center;line-height:150%'><b style='mso-bidi-font-weight:normal'><span style='font-size:16.0pt;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://epc.buffalo.edu/authors/bromige/"><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"'>David</span></a> <a href="http://en.wikipedia.org/wiki/David_Bromige"><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"'>Bromige</span></a><br> </span></b><b style='mso-bidi-font-weight:normal'><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://media.sas.upenn.edu/pennsound/groups/St-Marks-Talks/10-04-85/Bromige-David_01_Reading_Poetry-Project-St-Marks-Talks_New-York_10-04-1985.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"'>Condition, Information &amp; the Paranoia of the New</span></a></span></b><span style='font-size:12.0pt;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"'><o:p></o:p></span></p><p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:10.0pt;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://media.sas.upenn.edu/pennsound/groups/St-Marks-Talks/10-04-85/Bromige-David_02_Discussion_Poetry-Project_St-Marks-Talks_New-York_10-04-1985.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"'>Post-talk discussion</span></a><br style='mso-special-character:line-break'> <!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'> <!--[endif]--><o:p></o:p></span></p><p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:10.0pt;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://writing.upenn.edu/pennsound/x/St-Marks-Talks.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"'>The Poetry Project</span></a>, <br> October 4, 1985<o:p></o:p></span></p><br />
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<h2 class='date-header'><span>Thursday, October 22, 2009</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center;line-height:normal'><a href="http://www.speakeasy.org/~subtext/images/photoGallery/davidBromige_dub.jpg"><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt;color:black;text-decoration:none;text-underline:none'><img border="0" height="300" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/fSEw-QDOZK_yBe8v6zAJgwK7R08lRiu9UKNtJyut21uqrDjzyyHkvRDMKF0uHQvyP6oItCXHzu_xOqQoLYwvAhA5mbmzI1Opl3xr1cUrB-arB12zfmUVIGO6Dw04og%3Ds0-d" width="603"></span></b></a><b><span style='font-size:12.0pt;color:black;mso-no-proof:no'><br>
</span></b><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;color:black;mso-bidi-font-weight:bold;mso-no-proof:no'>David Bromige reading in Seattle, May 2003</span></i><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-bidi-font-weight:bold;mso-no-proof:no'><o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-bidi-font-weight:bold;mso-no-proof:no'>Today is David Bromige&#8217;s 76<sup>th</sup> birthday &amp; it will be the first time in many a decade that I won&#8217;t have the opportunity to call or at least email him to wish him well. David&#8217;s baritone has long been a touchstone for me, one of those familiars that immediately bring comfort, no doubt because I associate it with love &amp; wit. Thanks to <a href="http://writing.upenn.edu/pennsound/x/Bromige.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>PennSound</span></a>, I can revisit that voice whenever I need to, as no doubt I will today. The latest addition there, I think, is a <a href="http://media.sas.upenn.edu/pennsound/authors/Bromige/Bromige-David_Complete-Recording_Poetry-and-Intention_Perelman-Talks-Curated_1220-Folsom-San-Franciso_06-02-77.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>talk David gave</span></a> in Bob Perelman&#8217;s talk series in 1977 on &#8220;Poetry and Intention.&#8221; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-bidi-font-weight:bold;mso-no-proof:no'>Last Friday, I traveled to Manhattan to participate in a memorial service for David at <a href="http://poetshouse.org/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Poets House</span></a>, now ensconced into its Battery Park City home with something akin to a 70-year lease &#8211; the venerable organization has room to grow, but also happens to be in the one place on the island that actually is hard to get to without walking several windy rainy blocks along the Hudson River. Joel Lewis, the bard of Hoboken, joked that it was easier to get to from New Jersey. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-bidi-font-weight:bold;mso-no-proof:no'>The following roster will give you some idea who spoke &amp; what they read. Stephen Motika, who&#8217;s just finished working on a Collected Poems for Leland Hickman, was the organizer &amp; moderator. </span><span style='color:black;mso-bidi-font-weight:bold;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Kathleen Fraser:&nbsp;taped remembrance of David<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Ron Silliman:&quot;First&quot; and &quot;The Final Mission&quot; from <i>The Ends of the Earth</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Nicholas Piombino:&nbsp;&quot;Soul Mates&quot; and&nbsp;&quot;The End of The Stranger&quot; from <i>Desire</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Gary Sullivan:&nbsp; first two pages of the piece <i>My Poetry</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Bob Perelman: from <i>My Poetry<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Geoffrey Young: from <i>My Poetry</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span lang=EN style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-ansi-language:EN;mso-no-proof:no'>Charles Bernstein: &quot;My Daddy's at His Office Now&quot; from &quot;American Testament 4&quot;</span><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Laura Sims for Rachel Levitsky: comments and poem (I forgot to note which)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Corina Copp reading from &quot;Joy Cone&quot; from Hills 9 (1983)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-bidi-font-weight:bold;mso-no-proof:no'>Taking Amtrak&#8217;s Keystone Special up that afternoon, I&#8217;d thought this would be a terrific, joyous event, with no sense of sadness at David&#8217;s passing. The work is just so damn great &amp; I&#8217;d never had the opportunity to read these two special poems in public before, almost as tho they were my own. But the instant I started to talk, I could hear my voice break &#8211; just a little &#8211; so I cut my palaver short &amp; dove directly into the joy of the work. </span><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-bidi-font-weight:bold;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-bidi-font-weight:bold;mso-no-proof:no'>Because we were asked to keep our remarks generally to 7 minutes each (to keep the reading to a reasonable [by NY standards] time &#8211; even with nine readers, it ran to 90 minutes &#8211; neither Bob Perelman or I were able to read our sections from the forthcoming 9<sup>th</sup> volume of <I style='mso-bidi-font-style:normal'><a href="http://thegrandpiano.org/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>The Grand Piano</span></a>, </i>both of which deal with David. It was interesting &#8211; and proves a long-held hunch of mine (or at least is evidence for same) &#8211; that <i style='mso-bidi-font-style:normal'>My Poetry </i>was the work most often cited here. It is, as I note in my piece for the <i style='mso-bidi-font-style:normal'>Piano, </i>David&#8217;s iconic book, even though it appeared only in an edition of 650 copies and was never reprinted. Geoff Young, who published <i style='mso-bidi-font-style:normal'>My Poetry, </i>conceded that he too has just one copy of this great book. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-bidi-font-weight:bold;mso-no-proof:no'>For my reading,I turned to earlier work &#8211; the premise of the order that night (at least after Kathy Fraser) was by the chronology of David&#8217;s writing &#8211; two poems that I heard David read on the night that I first met him in 1968. But since I didn&#8217;t get to read it at Poets House, here is my section from the next <i style='mso-bidi-font-style:normal'>Grand Piano, </i>which should be out in a week or two. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-bidi-font-weight:bold;mso-no-proof:no'>--------<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><b><span style='font-size:12.0pt;color:black;mso-no-proof:no'>Furthest Up the Trail <span style='mso-spacerun:yes'> </span><span style='mso-spacerun:yes'> </span><o:p></o:p></span></b></p> 

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-no-proof:no'>SOMETIME AROUND late 1967, a then recent graduate of Bard, David Perry, arrived in San Francisco State&#8217;s creative writing program &amp; he &amp; I quickly discovered that we shared an enthusiasm for the work of Robert Kelly &amp; the many poets Kelly had been teaching, basically <i>The New American Poetry</i>. David also knew all the recent Bard College grads who either lived in the Bay Area (John Gorham, Harvey Bialy) or were visiting (Tom Meyer, still then a teenager I believe). One day very early in &#8217;68, David convinced me that we had to go to the Albany Public Library to hear Bialy read. It was the very place where I&#8217;d first discovered poetry some six years earlier, but I hadn&#8217;t set foot in that building on Solano since I&#8217;d left home, so for me the reading was already laden with symbolic power before Paul Mariah, who curated the series there, introduced the readers. Bialy was fine, maybe a little quieter than I&#8217;d expected, but it was the poet reading with him, somebody I&#8217;d never heard of before, who blew me away. David Bromige was tall with a long face, a resonant baritone, a mastery of syntax that I had not found anywhere, even in the work of Robert Duncan, &amp; a ready, almost twinkly wit that gave me the impression that had Charles Dickens been alive and a New American poet, he would have been very much like this fellow. It was a stunning, eye-opening performance &amp; I vowed to get to know this poet.</span><span style='font-size:8.0pt;color:black;mso-no-proof:no'>1</span><span style='font-size:8.0pt'> </span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-no-proof:no'>At thirty-five, Bromige was a grad student at Berkeley, writing a dissertation on the Black Mountain poets, far more widely read than I &amp; just a little suspicious of the motives of twenty-one-year-olds. He lived in a cottage apartment with his then-wife, fiction writer Sherril Jaffe, just north of the campus, not far from Josephine Miles&#8217;s place &amp; a short walk to Serendipity Books, which in those days encompassed not only the rare books business it is today, but a bookstore &amp; the distribution operations that subsequently evolved into SPD. I would meet David at his place or at Serendipity, or we would walk over to a beer &amp; pizza den on Shattuck just off University &amp; have long discussions, part gossip, part theory.<span style='mso-spacerun:yes'>  </span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-no-proof:no'>Our positions in those days were not at all equivalent. Having already had poems accepted by <i>Poetry</i>, <i>TriQuarterly</i>, <i>Chicago Review </i>&amp; the like, I was full of myself, hyperconscious of my status as a &#8220;published poet,&#8221; which was somewhat unusual among undergraduates even at San Francisco State. But I was also painfully aware of just how hollow all of that truly was &amp; appalled&#8212;daily!&#8212;at how little I knew &amp; how much I had yet to learn. Not that I</span> <span style='color:black;mso-no-proof:no'>would have admitted that to anyone, least of all myself. Compared with David Bromige, I was an absolute beginner. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-no-proof:no'>As the 60s gave way to the next decade, the grand pooh-bah of poetry in the Bay Area was manifestly Robert Duncan, who was only too happy to remind you of this himself. Of all the poets around him, David was by far the most accomplished, most published, most widely read. David already had four books: <i>The Gathering</i>, <i>The Ends of the Earth</i>, <i>The Quivering Roadway </i>&amp; <i>Please, Like Me</i>. Two of these volumes were from Black Sparrow Press, a &#8220;big&#8221; small press publisher that aimed to be more to be like New Directions or City Lights than, say, White Rabbit or Oyez. <o:p></o:p></span></p>
<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>To read more, pick up the 9<sup>th</sup> volume of the <i style='mso-bidi-font-style:normal'><a href="http://thegrandpiano.org/order.html"><span style='color:black;mso-themecolor:text1'>Grand Piano</span></a>.<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='color:black;mso-themecolor:text1'>-----------------------<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;line-height:normal'><span style='font-size:8.0pt;color:black;mso-themecolor:text1;mso-no-proof:no'>1. Nor did this prove to be my only important discovery that evening. Hitchhiking back to my apartment by Lake Merrit in Oakland, I caught a ride with someone who recognized me from the reading&#8212;David Melnick. Forty-one years later, I&#8217;m actively involved in editing the collected works of both Davids.</span><span style='font-size:8.0pt;color:black;mso-themecolor:text1'> <o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, October 16, 2009</span></h2>

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<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><b style='mso-bidi-font-weight:normal'><span style='font-size:24.0pt;line-height:115%;color:red'>Today, 7:00pm<br>
</span></b><a href="http://farm3.static.flickr.com/2575/3998195335_0ccd96be2d_o.jpg"><b style='mso-bidi-font-weight:normal'><span style='font-size:24.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;text-decoration:none;text-underline:none'><img border="0" height="357" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/Yv85E_ZIFy5MpPTB0uB_b6DjC4wI0ETWwdhSEh9McVKk8EyCra_BPLT635_5TRUfGQ1kaofUSYNtiazAOzWKexArXGse3dI_K6Z3ZLOpqwU-D5g%3Ds0-d" width="452"></span></b></a><b style='mso-bidi-font-weight:normal'><span style='font-size:24.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><strong><span style='font-size:24.0pt;line-height:115%;font-family:"Arial","sans-serif";color:red'>Living in Advance: <br>
A Tribute to </span></strong><strong><span style='font-size:24.0pt;line-height:115%;font-family:"Arial","sans-serif";color:red;font-weight:normal;mso-bidi-font-weight:bold'><a href="http://bromige.wordpress.com/"><b style='mso-bidi-font-weight:normal'><span style='color:red'>David Bromige</span></b></a></span></strong><b><span style='font-size:16.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><br>
</span></b><strong><span style='font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;font-weight:normal;mso-bidi-font-weight:bold'>with Charles Bernstein, Corina Copp, Rachel Levitsky, <br>
Daniel Nohejl, Bob Perelman, Nick Piombino, <br>
Ron Silliman, Gary Sullivan, Geoffrey Young &amp; Others<o:p></o:p></span></strong></p>

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<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><span style='font-size:16.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><a href="http://poetshouse.org"><span style='color:black;mso-themecolor:text1'>Poets House</span></a> | 10 River Terrace | New York, NY 10282 <br>
(212) 431-7920 | <a href="mailto:info@poetshouse.org" bitly="BITLY_PROCESSED"><span style='color:black;mso-themecolor:text1'>info@poetshouse.org</span></a><o:p></o:p></span></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><em><span style='font-size:12.0pt;line-height:115%;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Cosponsored by the Poetry Project<o:p></o:p></span></em></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><strong><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1;font-weight:normal;mso-bidi-font-weight:bold'>Admission Free</span></strong><b style='mso-bidi-font-weight:normal'><span style='font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p></o:p></span></b></p>
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<h2 class='date-header'><span>Sunday, October 11, 2009</span></h2>

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<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><b style='mso-bidi-font-weight:normal'><span style='font-size:24.0pt;line-height:115%;color:red'>Friday, October 16, 7:00pm<br>
</span></b><a href="http://farm3.static.flickr.com/2575/3998195335_0ccd96be2d_o.jpg"><b style='mso-bidi-font-weight:normal'><span style='font-size:24.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;text-decoration:none;text-underline:none'><img border="0" height="357" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/Yv85E_ZIFy5MpPTB0uB_b6DjC4wI0ETWwdhSEh9McVKk8EyCra_BPLT635_5TRUfGQ1kaofUSYNtiazAOzWKexArXGse3dI_K6Z3ZLOpqwU-D5g%3Ds0-d" width="452"></span></b></a><b style='mso-bidi-font-weight:normal'><span style='font-size:24.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><strong><span style='font-size:24.0pt;line-height:115%;font-family:"Arial","sans-serif";color:red'>Living in Advance: <br>
A Tribute to </span></strong><strong><span style='font-size:24.0pt;line-height:115%;font-family:"Arial","sans-serif";color:red;font-weight:normal;mso-bidi-font-weight:bold'><a href="http://bromige.wordpress.com/"><b style='mso-bidi-font-weight:normal'><span style='color:red'>David Bromige</span></b></a></span></strong><b><span style='font-size:16.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><br>
</span></b><strong><span style='font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;font-weight:normal;mso-bidi-font-weight:bold'>with Charles Bernstein, Corina Copp, Rachel Levitsky, <br>
Daniel Nohejl, Bob Perelman, Nick Piombino, <br>
Ron Silliman, Gary Sullivan, Geoffrey Young &amp; Others<o:p></o:p></span></strong></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><strong><span style='font-size:12.0pt;line-height:115%;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><o:p>&nbsp;</o:p></span></strong></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><span style='font-size:16.0pt;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'><a href="http://poetshouse.org"><span style='color:black;mso-themecolor:text1'>Poets House</span></a> | 10 River Terrace | New York, NY 10282 <br>
(212) 431-7920 | <a href="mailto:info@poetshouse.org" bitly="BITLY_PROCESSED"><span style='color:black;mso-themecolor:text1'>info@poetshouse.org</span></a><o:p></o:p></span></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;line-height:normal;mso-outline-level:1'><em><span style='font-size:12.0pt;line-height:115%;font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Cosponsored by the Poetry Project<o:p></o:p></span></em></p>

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<h2 class='date-header'><span>Wednesday, August 26, 2009</span></h2>

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<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal'><b><span style='font-size:14.0pt;mso-fareast-font-family:"Arial";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-no-proof:no'><a href="http://www.krcb.org/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>KRCB</span></a>-FM&#8217;s Tribute to <a href="http://bromige.wordpress.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>David Bromige</span></a></span></b><span style='font-size:14.0pt;mso-fareast-font-family:"Arial";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal'><b><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>August 26, 2009 &nbsp;<br>
7:00 p.m. Pacific Daylight Time</span></b><span style='mso-fareast-font-family:"Arial";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-no-proof:no'>Katherine Hastings presents a one-hour tribute to the late poet&nbsp;<b><a href="http://writing.upenn.edu/pennsound/x/Bromige.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>David</span></a> <a href="http://epc.buffalo.edu/authors/bromige/index.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Bromige</span></a><i>.</i> </b>The author of dozens of books and the recipient of many literary honors, <a href="https://www.blogger.com/comment.g?blogID=3738579&amp;postID=7554866812634625370&amp;isPopup=true"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>David Bromige</span></a> was also a former Poet Laureate of Sonoma County, a professor at Sonoma State University, and a mentor to many. His experimental style and sharp wit translated to a large collection of work so varied that the poems could easily be mistaken as the work of many. Born in London in 1933, Bromige died in Sebastopol in June of this year. Participating in tonight's program will be his wife, Cecelia Belle, their daughter, Margaret, and others. Recordings of Bromige reading his work will also be featured.<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>&nbsp;To listen to the program:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>&nbsp;1)<span style='mso-spacerun:yes'>   </span>Tune in to KRCB 91.1 FM<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>2)<span style='mso-spacerun:yes'>   </span><span style='mso-spacerun:yes'> </span>Stream live at <a href="http://www.krcb.org/"><span style='color:black;mso-themecolor:text1'>www.krcb.org</span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>3)<span style='mso-spacerun:yes'>   </span><span style='mso-spacerun:yes'> </span>iTunes:Go to Radio/Public/KRCB<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:.5in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>4)<span style='mso-spacerun:yes'>   </span><span style='mso-spacerun:yes'> </span>Comcast Cable TV, Santa Rosa, Channel 961<o:p></o:p></span></p>
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<h2 class='date-header'><span>Saturday, July 04, 2009</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><img height="598" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/o6rlKZT0gaZiYJGv12LwxUCZ7qbuUtMmFjs8N9LxaLwgM_4APXW74NKapaojkx51Ig2YniO5HA2bXzVYTLXV-HtbH4MbNMhOvbBmv1T2EoVlIA4wgM4%3Ds0-d" width="387"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>In the 14 years and two months since we &#8211; my wife, my then-three-year-old sons &amp; I &#8211; first moved to Pennsylvania, there have really been just two moments when it felt like hell to be so distant from the Bay Area. The first occurred early in 1996, still in the depths of our first real winter here, when Larry Eigner died. The second will be this Sunday, when there will be </span><a href="http://bromige.wordpress.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>a memorial service for David Bromige</span></a><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> at Ragle Ranch Park in Sebastapol from 1:00 to 4:30 pm (further details, with map, behind that link). <o:p></o:p></span></p>

<p class=MsoNormal>David was like an older brother to me, tho looking at those dates above I realize that he is closer to my parents&#8217; age &#8211; six years younger than my dad, seven than my mother &#8211; than he is to mine. There is nothing I have written in the 41 years since I first met him that doesn&#8217;t have some tinge of his influence about it somewhere, even to my use of ampersands or the spelling of <i style='mso-bidi-font-style:normal'>tho </i>at the beginning of this paragraph, a last nod to what I once heard David call Robert Duncan Spelling, tho Duncan got it from Pound as Pound did from Blake, etc., an acknowledgement of the changeable <i style='mso-bidi-font-style:normal'>and personal </i>dimensions of language. And of a heritage that reaches back centuries, to the days when Shaxberd cld spell his name any way he damn pleased. Or pleas&#8217;d. Or pleasd. </p>

<p class=MsoNormal>When the first issue of <i style='mso-bidi-font-style:normal'>This </i>came out in 1971, David had already published six books. David never once played the &#8220;I&#8217;m the older poet&#8221; card with us youngsters, and if he could easily have garnered more fame had he just stayed what he had been in his youth &#8211; the heir apparent to whole SF Renaissance scene &#8211; he moved on from that with no sign of a second thought. His first appearance in <i style='mso-bidi-font-style:normal'>This, </i>in its third issues in 1972,<i style='mso-bidi-font-style:normal'> </i>was a far cry from the circuitous sentences &amp; magesterial line breaks that had characterized his earlier books. Instead, he presented a series of six works from a larger (and I believe otherwise unpublished) project called &#8220;Homage to N. Rosenthal.&#8221; One piece was a single word: <i style='mso-bidi-font-style:normal'>prettier. </i>Two others were works of a single line, including the epic <i style='mso-bidi-font-style:normal'>Get off my tits. </i>One was a couplet as complex &amp; mysterious as any two-line work I&#8217;ve ever read:</p>

<p class=MsoNormal style='margin-left:2.5in'>light work but<br>
dear materials</p>

<p class=MsoNormal>You have to hear how that couplet opens &amp; closes around the liquids of the two els that bracket this work to appreciate just how fine David&#8217;s ear could be. At one level, this poem might be read as being &#8220;about&#8221; writing, but at another, deeper level, it&#8217;s a celebration of the <i style='mso-bidi-font-style:normal'>a </i>sounds in its second line. Nor is the vowel sequence of the first &#8211; <span style='mso-spacerun:yes'> </span><i style='mso-bidi-font-style:normal'>i, o, u </i>&#8211; any less exquisite. Ditto the way hard consonants shut each one-syllable word of the first line, yet appear just twice &#8211; at the opening of <I style='mso-bidi-font-style:normal'>dear </i>and within <i style='mso-bidi-font-style:normal'>materials.</i>&#185; David makes this look / sound effortless, but clearly it&#8217;s not. It&#8217;s a compression of formal detail at a level of force a new formalist, so-called, couldn&#8217;t even imagine. Just two years after Melnick &amp; I weren&#8217;t sufficiently courageous to gamble on Robert Grenier in the <I style='mso-bidi-font-style:normal'>Chicago Review</i>, this couplet shows that David&#8217;s not only reading Grenier, but thoroughly gets it, to a degree that would take some of us (me, for example) several years still.</p>

<p class=MsoNormal>I think David held his relationship to what was soon to be known as language poetry every bit as lightly he did his relation to the New American Poetry. What was interesting about this new work evolving in San Francisco interested him; whatever he found tedious, was easily ignored. When his doctoral committee at Berkeley balked at the first draft of his dissertation &#8211; it wasn&#8217;t sufficiently tailored to the MLA idea of prose &#8211; David decided that it was the degree itself that was unnecessary. He had what he needed to stay at Sonoma State &amp; he&#8217;d done the thinking that was the actual core of the project. The rest ultimately was unimportant. As I think the many statements that can be read at the David Bromige website his son Chris has put up make clear, teaching for David was really about his students. He showed no interest in using the position to build a power base or an institution. </p>

<p class=MsoNormal>David had two gifts that stuck with him throughout his life. First, he had the best sense of the tension between line or linebreak &amp; the sentence of any writer I have read. He might have learned this from Duncan, Creeley &amp; Olson, but it was something he took deeper than any of his masters. Which may be why, when he started producing the little prose poems of <I style='mso-bidi-font-style:normal'>Tight Corners &amp; What&#8217;s Around Them, </i>many of his devoted readers gasped. For the master of the line to forego his most powerful tool underscored just how serious he was about moving on as a poet. <span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Bromige&#8217;s second gift was that he was the finest reader I&#8217;ve ever heard. His voice, a warm baritone, combined with an accent that held equal measures of his childhood in Britain, his young adulthood in British Columbia &amp; his life as an American. As I told Carolyn Jones of the <i style='mso-bidi-font-style:normal'>Chronicle </i>the other day, listening to David gave you a sense of what Dickens might have sounded like as a post-avant poet. But a Dickens tempered with the likes of Louis Dudek, Fred Wah, Robert Creeley &amp; just possibly some American noir slang as well. You can hear a number of his <a href="http://writing.upenn.edu/pennsound/x/Bromige.php"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>East Coast readings</span></a> on PennSound, but for me the archetypal Bromige events were always the ones in the Bay Area where David might know as much as 75% of the audience personally. David&#8217;s give &amp; take with the audience between poems was as much a part of his presence as the poems themselves. All I have to do to hear David at his best, is just to think of them &#8211; they&#8217;re quite etched in my imagination, going all the way back <span style='mso-spacerun:yes'> </span>to the reading at the Albany Public Library in 1968 where I first heard David, reading with Harvey Bialy &amp; introduced by Paul Mariah. David Perry, a Bard grad &amp; acolyte of Robert Kelly who was a fellow student of mine at San Francisco State, had coaxed me out to that event so that I could hear Bialy, who was fine. But it was the other reader, with this not quite British, not quite placeable accent, with this resonant voice &amp; fine wit, who flat out blew me away. 41 years later, that remains one of the most eventful readings in my life.&#178;<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>So this Sunday, starting at 1:00 PM Pacific Time, I will be turning my heart &amp; my thoughts toward Sebastapol &amp; toward the great gift that was David Bromige and to the people who loved him. <o:p></o:p></span></p>

<p class=MsoNormal><o:p>&nbsp;</o:p></p>

<p class=MsoNormal><span style='font-size:8.0pt;line-height:115%'>&#185; Really at the start of the second syllable, a &#8220;soft&#8221; echo of the <i style='mso-bidi-font-style:normal'>d </i>in <i style='mso-bidi-font-style:normal'>dear, </i>the <I style='mso-bidi-font-style:normal'>t </i>serves almost as a pause to set up the flourish of the couplet&#8217;s final phonemes. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:8.0pt;line-height:115%'><span style='mso-spacerun:yes'> </span>&#178; Hitchhiking on my way home afterward that night, I got a ride with another of the event&#8217;s attendees, one David Melnick, who has likewise turned into a lifelong<span style='mso-spacerun:yes'> </span>friend &amp; influence.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, June 11, 2009</span></h2>

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<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Trailer for a documentary on <a href="//www.youtube.com/watch?v=-jvaTA5MQds"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>David Bromige</span></a> by James Garrahan<o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, November 04, 2002</span></h2>

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<span style="font-family: Arial;">David Bromige &amp; New
Zealand poet &amp; book dealer Richard Taylor have been discussing the relative
value of some of David&#8217;s books in the rare book market on the Poetics Listserv.
It made me think of the path mapped out by the early Bromige, volumes that I
still consider indispensable, but which have become hard to find. The list that
follows is <b style="mso-bidi-font-weight: normal;">not</b> exhaustive. But what
matters to me personally is the absolute logic of his journey, as articulate a
personal history of the evolution of poetry from the 1960s to the 1980s as has
been written.<o:p></o:p></span></div>
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<span class="GramE"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">The Gathering</span></b><span style="font-family: Arial;"> (Buffalo, <span class="SpellE">Sumbooks</span>, 1965).</span></span><span style="font-family: Arial;"> My copy of Bromige&#8217;s first book has turned almost
unimaginably dark with oxidation, worse even than Wieners&#8217; <i style="mso-bidi-font-style: normal;">Hotel Wentley Poems </i>(which is seven years older). <i style="mso-bidi-font-style: normal;">The Gathering</i> shows a still-Canadian
Bromige moving under the spell of the Projectivists, a consequence of the first
</span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> poetry conference and his friends at the magazine <span class="SpellE"><i style="mso-bidi-font-style: normal;">Tish</i></span>. <span class="GramE">Published by another Canadian with a strong interest in the New
American Poetry, Fred <span class="SpellE">Wah</span>.</span> Bromige already
shows the great wit &amp; care for which he will become known, as evidenced by
the first line break in the title poem:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Picking
mushrooms out of a horse<br />
pasture, evening, seemingly<br />
none when we first look, then<br />
one, a dozen, luck turns or they<br />
grow, <span class="SpellE">youd</span> swear, at the turn of a back &#8211;<o:p></o:p></span></div>
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<span class="GramE"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">The Ends of the Earth</span></b><span style="font-family: Arial;"> (Los Angeles, Black Sparrow, 1968).</span></span><span style="font-family: Arial;"> <span class="GramE">Bromige&#8217;s one true Projectivist
volume, written while in graduate school at </span></span><st1:city><st1:place><span class="GramE"><span style="font-family: Arial;">Berkeley</span></span></st1:place></st1:city><span class="GramE"><span style="font-family: Arial;">, he is already pushing the
received formalism of this tendency, mostly with an ear almost perfect in its
capacity to make distinctions.</span></span><span style="font-family: Arial;">
Here is the first stanza of &#8220;First&#8221;:<o:p></o:p></span></div>
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<span style="font-family: Arial;">One
aches to know<br />
one fact as axiom<br />
to act. Whatever I do<br />
I die<br />
as you<br />
also at times doubt<br />
the beneficence of the inevitable<br />
terror<br />
Earth-bound as one is. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The work in this volume is
what Bromige was writing when I first saw him read with Harvey Bialy in the
Albany Public Library Series (the same reading where I was to meet David
Melnick while hitch-hiking back to </span><st1:city><st1:place><span style="font-family: Arial;">Oakland</span></st1:place></st1:city><span style="font-family: Arial;">). I remember being filled with envy at Bromige&#8217;s
ability to combine the demands of both the sentence &amp; line together <span class="GramE">like</span> that &#8211; and I still am. This is a slender book,
especially for Black Sparrow, with just 56 pages, but there are several poems
here, in addition to the one cited above, that are among the very best I have
ever read: &#8220;A Final Mission,&#8221; &#8220;Weight Less Than the Shadow,&#8221; and &#8220;Forgets
Five.&#8221; If Bromige had never written another word after this, he still would
have been one of the great poets of the 20<sup>th</sup> century.<o:p></o:p></span></div>
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<span class="GramE"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Threads</span></b><span style="font-family: Arial;"> (</span></span><st1:city><st1:place><span class="GramE"><span style="font-family: Arial;">Los Angeles</span></span></st1:place></st1:city><span class="GramE"><span style="font-family: Arial;">: Black Sparrow, 1971).</span></span><span style="font-family: Arial;"> This is a more complex &amp; larger book, difficult
precisely because Bromige is straining against / struggling with the limits of
Projectivism. In retrospect, the most important poems in this volume are among
its very shortest, such as &#8220;Precept&#8221;:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I&#8217;ve
helped you in the past<br />
Okay, go ahead, <span class="GramE">help</span> me in the past again <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">It seems like a wise crack &#8211;
&amp; at one level that&#8217;s exactly what it is &#8211; but at its core, Bromige&#8217;s
poetry is starting to look at the role of logic &amp; its relation to both
meaning &amp; syntax. It was only today (after having owned this book for 31
years) that it dawned on me that the other major influence at that first </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> shindig besides the Black Mountaineers was of course
Spicer &amp; his circle, Spicer being pre-eminently a poet of consciously
contradictory logics. If Spicer&#8217;s relation <span class="GramE">to</span> much of
the New American Poetry was as its guilty conscience (implying always that
&#8220;language is not the solution you think it to be&#8221;), <i style="mso-bidi-font-style: normal;">Threads </i>represents a book in which that same nagging whisper has
started to emerge.<o:p></o:p></span></div>
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<span class="GramE"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Birds of the West</span></b><span style="font-family: Arial;"> (</span></span><st1:city><st1:place><span class="GramE"><span style="font-family: Arial;">Toronto</span></span></st1:place></st1:city><span class="GramE"><span style="font-family: Arial;">: Coach House Press, 1973).</span></span><span style="font-family: Arial;"> The exceptionally thick cover of this book has
always made it a hard one to handle &#8211; you are forced to choose between opening
the pages slightly or else breaking the binding. My binding is still intact.
Because <i style="mso-bidi-font-style: normal;">Birds of the West</i> was
distributed more actively in </span><st1:country-region><st1:place><span style="font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="font-family: Arial;"> than in the </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;">, this book seems not to have had the influence on
this side of the border that it warranted. Bromige is continuing to work
through the same issues as in <i style="mso-bidi-font-style: normal;">Threads</i>,
but in a far more relaxed, less anxious fashion. Especially wonderful is the
long section of short pieces entitled &#8220;The White-Tailed Kite&#8221; which begins to
approach langpo in rather the same way that Creeley&#8217;s <i style="mso-bidi-font-style: normal;">Pieces </i>could be said to have done. Also of great interest here is
the afterword, &#8220;Proofs,&#8221; a sensible &amp; insightful assessment of Bromige&#8217;s
processes as a poet.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Tight Corners &amp; What&#8217;s Around Them: Prose &amp;
Poems</span></b><span style="font-family: Arial;"> (</span><st1:city><st1:place><span style="font-family: Arial;">Los Angeles</span></st1:place></st1:city><span style="font-family: Arial;">: Black Sparrow, 1974). <span class="GramE">Subtitled <i style="mso-bidi-font-style: normal;">(being the brief &amp; endless adventures of
some pronouns in the sentences of 1972-73).</i></span><i style="mso-bidi-font-style: normal;"> Tight Corners </i>is a book that could <span class="GramE">seen</span>
as documenting the move from Projectivism to langpo, although I don&#8217;t think
many people recognized it as such at the time. The volume begins with one of
Bromige&#8217;s finest poems &#8220;in the old style,&#8221; &#8220;They Are Eyes.&#8221; But soon,
interspersed with these poems, the short prose pieces called &#8220;Tight Corners&#8221;
overtake the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t. Each figured in the text with a graphic symbol
(roughly &#9484;) that hovers just to the left of the first letter, these
pieces are constructed almost entirely through the syllogistic connections of a
disruptive sense of logic, sort of <span class="SpellE">Frege</span> as rewritten
by Lenny Bruce:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Faceless
<span class="SpellE">Fussduck</span> put away his dry revolver. The closet was
wet.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">As the title of the book
suggests, <i style="mso-bidi-font-style: normal;">Tight Corners</i> is obsessed
with the connections between things &amp; the possibility of altering direction
(a process that at a<span style="mso-spacerun: yes;">&nbsp; </span>line &#8220;break&#8221; is
called &#8220;verse&#8221;) while in motion. This will be Bromige&#8217;s last large collection
of new work for six years.* <o:p></o:p></span></div>
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<span class="GramE"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">My Poetry</span></b><span style="font-family: Arial;">
(</span></span><st1:city><st1:place><span class="GramE"><span style="font-family: Arial;">Berkeley</span></span></st1:place></st1:city><span class="GramE"><span style="font-family: Arial;">: The Figures, 1980).</span></span><span style="font-family: Arial;"> One of the masterworks of poetry &#8211; there is not a
single false move in its 98 pages (nor in the 99<sup>th</sup>, &#8220;My Palaver,&#8221; a
poem that gently parodies the various notes &amp; dedications Bromige has been
using ever since <i style="mso-bidi-font-style: normal;">The Ends of the Earth</i>).
Picking it up is, for me, an experience not unlike holding a copy of <i style="mso-bidi-font-style: normal;">Sgt. Pepper</i> or <i style="mso-bidi-font-style: normal;">Highway 61 Revisited</i>. This book as a whole is very much like a
symphony, carefully executed. After the initial title piece, a mock review of
his own poetic past taken in part from seriously transformed versions of real
reviews, Bromige proceeds with &#8220;Six of One, Half-a-Dozen of the Other,&#8221; a
reprinting of seven of his better known poems, each paired with a discussion,
halfway between a memoir &amp; a critical unpacking, of each. The echo of Jack
Spicer&#8217;s &#8220;Homage to Creeley,&#8221; from <i style="mso-bidi-font-style: normal;">After
Lorca,</i> but with Bromige having turned the prose on its edge in utter
seriousness (or such as Bromige&#8217;s irrepressible wit can commit). The third
section contains four poems in a &#8220;new&#8221; mode. The first, &#8220;Our Tongues,&#8221; turns
Projectivism on its head, right side up, a prose poem that discusses the organ
of speech ranging from <span class="SpellE">neomedical</span> physical
description to comic &#8220;how to&#8221; instruction. This section takes its title from
the second piece, &#8220;An American Heritage History,&#8221; a long, skinny (3 columns to
the page to underscore the point) piece, perhaps what you might expect if Ted
Berrigan had happened to write one of the middle sections of Zukofsky&#8217;s &#8220;A.&#8221;
The third piece, &#8220;Authority,&#8221; is <span class="SpellE">Oulipudlian</span> in its
impulses &#8211; two of its five sections only use words beginning with &#8220;a.&#8221; The
fourth piece, &#8220;One Spring,&#8221; is one of Bromige&#8217;s most famous works, a long,
luxurious détournement taken entirely from language lifted from the local
newspaper over a season. The next section of the book is a series of seven
works, including a reasonably straightforward &#8220;torture poem&#8221; intended to be
read at political occasions, the previously published &#8220;<span class="SpellE">Credences</span>
of Winter,&#8221; and a </span><st1:state><st1:place><span style="font-family: Arial;">del</span></st1:place></st1:state><span style="font-family: Arial;">ightful &amp; daft play whose eight speakers include <span class="SpellE">istorian</span>, aspirant, <span class="SpellE">objectist</span>, <span class="SpellE">anthony</span> abstract, one more authentic voice, love poet,
chainsaw jack and I. <span class="SpellE">Speakes</span>. After the play comes
what might best be called a short story, although it occupies that middle space
that is neither story nor poem exactly but both, then a prose poem, &#8220;By Visible
<span class="SpellE">Truh</span> We Mean the Apprehension of the Absolute
Condition of Present Things,&#8221; that I included in the critical &#8220;Second Front&#8221;
section of <i style="mso-bidi-font-style: normal;">In the American Tree,</i> and
finally two more prose pieces, &#8220;My Career&#8221; &amp; &#8220;My Plan&#8221; that are from the
same series that the title poem (&amp; the afterword) were also taken.**
Finally, Bromige closes with &#8220;Hieratics: A Triptych,&#8221; which, tellingly enough,
is in five parts numbered 0 &#8211; 4. A prose poem with a sense for overall surface
texture &#8211; I don&#8217;t think it can be successfully quoted here &#8211; that is as strong
in tone as Bromige&#8217;s earlier works were in their fabulous push-pull between
sentence &amp; line, &#8220;Hieratics&#8221; perhaps points most clearly to the later work,
which is the writing that perhaps today is best known of Bromige&#8217;s work. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Many of the poems, from <i style="mso-bidi-font-style: normal;">My Poetry </i>&amp; the other early <span class="GramE">books,</span> can be found in <i style="mso-bidi-font-style: normal;">Desire</i>,
the 1988 </span><st1:place><st1:placename><span style="font-family: Arial;">Western</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;">s
Book Award volume from <i style="mso-bidi-font-style: normal;">Black Sparrow, </i>but
not in the same order. And not in the same order means not as part of the same
evolving literary narrative as the earlier books themselves articulated. For
example, one finds &#8220;<span class="SpellE">Hieractics</span>,&#8221; but not &#8220;One Spring&#8221;
or &#8220;My Poetry,&#8221; nor is extraordinary sense of occasion that was <i style="mso-bidi-font-style: normal;">My Poetry</i> available through a selected,
any more than one can grasp the full import of Williams&#8217; <i style="mso-bidi-font-style: normal;">Spring &amp; All </i>from the poems printed in Williams&#8217; <i style="mso-bidi-font-style: normal;">Collected.<o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Only 650 copies of <i style="mso-bidi-font-style: normal;">My Poetry </i>were ever produced, in spite
of the lush Francie Shaw cover that suggests to my eye a much larger printing.
Only three copies are available through <a href="http://www.abebooks.com/">abebooks</a>,
the website for rare and used books. The same site currently shows seven copies
available of <i style="mso-bidi-font-style: normal;">The Gathering, </i>15 of <i style="mso-bidi-font-style: normal;">The Ends of the Earth, </i>eight for <i style="mso-bidi-font-style: normal;">Birds of the West. </i>These are among the
treasures of our literary heritage and, as a group, an </span><st1:city><st1:place><span style="font-family: Arial;">essen</span></st1:place></st1:city><span style="font-family: Arial;">tial collection for the history of writing.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* There is,
during this period, a selected, <i style="mso-bidi-font-style: normal;">Ten Years
in the Making, </i>which is typed rather than typeset but which includes two dozen
otherwise uncollected pieces; plus some smaller items, such as <i style="mso-bidi-font-style: normal;">Three Stories, Out of My Hands</i> and <span class="SpellE"><i style="mso-bidi-font-style: normal;">Credences</i></span><i style="mso-bidi-font-style: normal;"> of Winter</i>,<i style="mso-bidi-font-style: normal;"> </i>all chapbooks from Black Sparrow; a slightly larger collection <i style="mso-bidi-font-style: normal;">Spells and Blessings </i>from <span class="SpellE">Talonbooks</span> that I&#8217;ve never seen; a collection of songs
written with Barry Gifford &amp; Paul <span class="SpellE">DeBarros</span>, also
something I&#8217;ve never seen. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** That
section of this series turn up in different places, to different effect, within
<i style="mso-bidi-font-style: normal;">My Poetry</i> is characteristic of
Bromige&#8217;s approach to his work. My only complaint about this book is that it
failed to include my personal favorite of the &#8220;My&#8221; works, one with a curious
title I recall as &#8220;<span class="SpellE">Glurk</span>.&#8221;<o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, October 03, 2002</span></h2>

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<i><span style="color: black; font-family: Arial;">
O for Opacity: </span></i></div>
<span style="font-family: Arial;">I have been devouring the poetry of David Bromige with
interest ever since I first went to hear him read with Harvey Bialy in 1968 at
the Albany Public Library, a series <span class="SpellE">curated</span> by <i>Manroot
</i>editor Paul Mariah. Having gotten to know the man and his work reasonably
well in the ensuing 34 years, one might think I would not be surprised the
nature of any new book by the British-born, Canadian raised author. One would
be wrong.<o:p></o:p></span><br />
<i><span style="color: black; font-family: Arial;">As in T as in Tether</span></i><span style="color: black; font-family: Arial;"> (Chax, 2002) shows yet a new side to the bard of <span class="SpellE">Sebastapol</span>* as this master of erudition turns instead to
mount arguments so densely packed as to resist yielding beyond the surface
domains of the signifier. It's hardly accidental. The book, which I've thus far
only partly completed (and am reading most slowly because I don't want it to
ever end), is composed of four sections, the first subdivided into five
sections, the remaining three each containing 16. The poems in the last three
sections are numbered 1 through 15: each section contains one poem numbered
7.5. Of the 53 sections or pieces, only one (to which I have not yet gotten) is
in a format other than the centered stanzas that we have most recently come to
associate with the poetry of a very different Bay Area writer, Michael McClure.
<o:p></o:p></span><br />
<span style="color: black; font-family: Arial;">Bromige announces the language as signifier
theme in the first of the four sections, which the first piece proposes as an
alphabet, literally: <o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">A as
in alphabet<br />
B as in baffled <br />
C as in congress<br />
D as in delicate<br />
E as in elephant<br />
F as in fornicate<br />
G as in grass<br />
H as in hands-on<br />
I as in idiot<br />
J as in <span class="SpellE">jouissance</span><o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The arbitrariness of the logic of the
assignment of meaning is never more brutal than in the "obviousness"
of any children's alphabet book, and gradually the poems in the first section
turn up the heat:<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">P as
in <span class="SpellE">elocute</span><br />
O as in excitement<br />
N as in Z<br />
M as in breast<br />
L as in party<br />
K as in Whitman<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The second section,
"Initializing,"** is by far the <span class="GramE">most dense</span>,
reminiscent almost of Jeremy <span class="SpellE">Prynne's</span> work, as in
this excerpt from "To a Drawing Board (2)":<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">Slate
roof drive impel<br />
Hot brown register<br />
Clever-fingered want to fall<br />
Bird-nose valentine<br />
Seizes rainy day<br />
As long as you're there<br />
<span class="SpellE">Reclination</span> monkey<br />
So close as to shut<br />
The trap is studded<br />
Not this the lost access<br />
To a final run<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">Then, gradually, the text opens up again
almost as though it were a natural process that was being observed. Observe
how, in the final piece in the second section, "Stands the Pencil on its
Point," Bromige permits sound to gradually organize the ongoing text,
which in fact arrives at a moment of absolute lucidity:<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">Lists
supplicants<br />
Names the soul<br />
Whereon one stands<br />
Church clock at ten to three<br />
Mentions mellitus<br />
Orders weight be brought<br />
As if to tea or table<br />
Stranger amendment<br />
Checks off by fives<br />
Hot bodies in a hayloft<br />
Combustion baby<br />
Lists pains<br />
Plants punishments<br />
Options death or drunkenness<br />
Insists that choice<br />
Opens in the voice who<br />
Utters numbering<br />
<span class="SpellE">Halfdone</span> figured<br />
Criminal reform<br />
Grants immunity<br />
From mortal<br />
Upshot o love<br />
Pen is sans relation<br />
To its neighbor pencil<br />
Feathers and lead<br />
Islets of almost<br />
Life's no narration<br />
Mentions isolation<br />
Subordinates particulars<br />
Up against the insulation<br />
Poised on the links<br />
Hands touch the keys<br />
Print finish or begin<br />
Write meet again<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The process begins almost inaudibly with
"Lists pains," that first <i>p</i> starting a run of three, the
latter two of which end on the same <span class="SpellE"><i>ts</i></span> as
"lists," the word called up again in the echo of "insists"
followed finally by that clearest of indicators, the rhyme betwixt
"choice" &amp; "voice." One can follow these details
through the sly exploitation of Latinate endings right to the end of the text
with its remarkable equation of "Write" with "meet," the
role of the poem that absolute confrontation with a reader (who might also be
oneself). <o:p></o:p></span><br />
<span style="color: black; font-family: Arial;">The use of centered lines mutes variations
in line length, since the longer ones literally "stick out" less by
moving out in both directions***. But what I think Bromige is ultimately after
here is maximizing the verticality of the language experience, the way in each
line does function as though it were a phrase flashing ever so briefly on an
LCD screen. Writing/Meeting is exactly what this book is about. <i>Tether</i>
is a thrilling, challenging &amp; occasionally sad work, the poet confronting
how the body, particularly one that has long battled diabetes, tethers the
soul. It's one of those books that <span class="GramE">lets</span> you see poetry
responding to its highest calling. We have far too few of these.<o:p></o:p></span><br />
<br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">* &amp; current poet
laureate of Sonoma Country, steering one hopes a solid middle course betwixt
the nonsense of Mr. Collins and that of Mr. <span class="SpellE">Baraka</span>. <o:p></o:p></span><br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">** The second, third and
fourth sections, "Initializing," "Establishing" and "<span class="SpellE">Authenticizing</span>" derive their names from the stages of
Bromige's computer's process of booting up.<o:p></o:p></span><br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">&nbsp;*** Bromige alludes to
the &#8220;spine&#8221; of the text, a <span class="SpellE">spatialization</span> of the left
margin (and one that suggests that a poem &#8220;faces forward&#8221; when centered, and is
viewed &#8220;in profile&#8221; when left as that normative left column).<o:p></o:p></span>
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<h2 class='title'>Upcoming</h2>
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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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<h2 class='title'>Ketjak</h2>
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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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