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Showing posts with label <b>David Shapiro</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>David Shapiro</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>Sunday, November 27, 2011</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Nothing is harder or <span class=GramE>more tricky</span> than a selected poems. As Robert Grenier demonstrated when he delivered a selected Creeley that showed the poet&#8217;s work centering <span class=GramE>around</span> the poems that confront language most directly &#8211; focusing on <i style='mso-bidi-font-style:normal'>Words </i>and <i style='mso-bidi-font-style:normal'>Pieces </i>more than on the earlier &#8220;popular&#8221; <i style='mso-bidi-font-style:normal'>For Love </i>&#8211; not everybody views the same poet the same way. Several Quietist poets have suggested that <i style='mso-bidi-font-style:normal'>Mauberly </i>represents the pinnacle of Pound&#8217;s achievement, but then I would edit a selected Eliot completely absent of the molasses that is the <i style='mso-bidi-font-style:normal'>Quartets. </i>It would be fun, just as an exercise, to see just how many different John <span class=SpellE>Ashberys</span> we could create via a selected poems. And we know how some poets, including both Auden &amp; Moore, actively revised their own pasts through cautious, if injudicious, editing. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>So it pleases me no end to see that the David Shapiro <span style='color:black'>who emerges from <i style='mso-bidi-font-style:normal'><a href="http://www.overlookpress.com/book.php?ISBN=1-58567-877-5"><span style='color:black'>New and Selected Poems (1965-2006)</span></a> </i>captures what is unique about this most difficult (&amp; just possibly most rewarding) of all </span></span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> poets. One way of looking at Shapiro might be</span><span style='font-size:10.0pt;font-family:Arial'> to import Zukofsky&#8217;s musical notion of the integral &amp; to suggest that for Shapiro, the upper limit is Joe Ceravolo, the lower one Kenneth Koch. That&#8217;s a range with a discernible path, but an enormous reach from one to the other: Here is a poem that has elements of both:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-align:justify;text-indent:-.25in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>A Problem<o:p></o:p></span></b></p> 
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-align:justify;text-indent:-.25in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p>&nbsp;</o:p></span></b></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>There are two ways of living on the earth<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Satisfied or dissatisfied. If satisfied,<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Then leaving it for the stars will only make matters mathematically worse<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>If dissatisfied, then one will be dissatisfied with the stars.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p>&nbsp;</o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>One arrives in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>England</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>, and the train station is a dirty toad.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Father takes a plane on credit card with medical telephone.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>One calls up </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> at three-thirty, one&#8217;s fiancée is morally alone.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>But the patient is forever strapped to the seat in mild turbulence.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p>&nbsp;</o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Thinking of </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> along psychoanalytic lines, and then<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:1.95in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>delicately engraving nipples<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>On each of two round skulls<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>You have learned nothing from music but Debussy&#8217;s ions<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>And the cover of the book is a forest with two lovers with empty cerebella.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p>&nbsp;</o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Beyond the couple is a second girl, her head smeared out.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>This represents early love, which is now &#8220;total space.&#8221;<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>These are the ways of living on the earth,<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Satisfied or  unsatisfied. Snow keeps falling into the brook of wild rice. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>It took me quite a few years to learn how to read a poem like this, in good part because, while I &#8220;got&#8221; Joe Ceravolo instinctively as a young poet, it took me a long time to warm toward the work of Kenneth Koch whose surrealism originally struck me as far too derivative of what I&#8217;d read elsewhere translated from the French. Here, I once would have found myself loving certain lines &amp; images (&#8220;the train station is a dirty toad&#8221; and that great final sentence, which has both image &amp; tonal echoes of Grenier&#8217;s early work &#8211; I&#8217;m not sure that Shapiro even knew of Grenier at the time this must have been written in the very early 1970s), wishing they hadn&#8217;t been &#8220;stuck&#8221; in the midst everything else. Now, however, I can see all the ways in which &#8220;everything else&#8221; really is necessary, just how very closely calculated every decision is, like when to use punctuation &amp; when not. There&#8217;s a whole narrative here just in how periods are used &amp; where: it&#8217;s no accident that they turn up midline just twice, both times following the very same phrase, each at the end of similar, tho not entirely parallel, sentences. Aesthetically, read aloud, the two sentences could not have a more profoundly different sense of sensuality &#8211; and the second makes the final sentence so much more powerful. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The poem is also both sad &amp; serious in ways quite unlike Koch, unlike Ceravolo also for that matter, an emotional register that one finds in Shapiro that is rare anywhere else in the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>New York</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'> &#8211; there are instances of wistful regret in Ashbery perhaps, but that&#8217;s about it. As if one of the registers of how difficult it is to live day-to-day in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial'>New York City</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> is that, even as a poet, you never can let your guard down. In this way, Shapiro is completely different from Berrigan, O&#8217;Hara, Padgett &amp; many later poets, precisely because he lets us see the jagged vulnerability that is such an important part of his psyche:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>The snow is alive<br> 
<br>
But my son cries<br>
<br>
The snow is not alive<br>
The snow cannot speak!<br>
The snow cannot come inside!<br>
You cannot break the snow!<br>
<br>
But the snow is alive<br>
<br>
And the tree is angry<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>This is the first section, of two, of a poem that takes its title from that first line, a part of the title series from <i style='mso-bidi-font-style:normal'>After a Lost Original, </i>written some 20 years after &#8220;A Problem.&#8221; Formally, you can see how close this poem gets to <span class=SpellE>Ceravolo&#8217;s</span> sense of a magical world, but nowhere in Ceravolo will you ever find this tone, which is both layered &amp; complicated, with more than a little hurt. <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 Shapiro is emotionally the bravest poet among the New Yorkers, it&#8217;s not accidental that he&#8217;s also the most political &#8211; indeed, one might say he&#8217;s almost the only political presence, at least for his generation. Once you get to Joel Lewis, Eileen Myles &amp; after, this isn&#8217;t so rare, but before Shapiro &#8211; who was <a href="http://beatl.barnard.columbia.edu/students/his3464y/grinberg+perry/office.gif"><span style='color:black'>very visibly a presence</span></a> during the </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Columbia</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> student strike circa 1968 &#8211; it appears not to have been even an imagined possibility. Try to imagine Frank O&#8217;Hara or John Ashbery at an anti-war rally a la Ginsberg, Bly, Levertov or Rothenberg. <span class=GramE>Or Ted Berrigan organizing a rally to support his best friend Anselm Hollo back when the immigration service was trying to deport this partaker of cannabis.</span> Political action is not only a fact of Shapiro&#8217;s <span class=GramE>biography,</span> it&#8217;s in the work, in poems as diverse as &#8220;House (Blown Apart)&#8221; from the 1980s or the very recent &#8220;A Burning Interior,&#8221; one of whose sections is this &#8220;Song for Hannah Arendt&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Out of being torn apart<br>
comes art.<br>
<br>
Out of being split in two<br>
comes me and you. HA <span class=SpellE>HA</span>!<br>
<br>
Out of being torn in three<br>
comes a logical poetry. (She laughed but not at poetry.)<br>
<br>
Out of the essential mistranslation<br>
emerges an illegitimate nation.<br>
<br>
Better she said the enraged<br>
than the impotent slave sunk in the Bay.<br>
<br>
Out of being split into thirteen parts<br>
comes the eccentric knowledge of &#8220;hearts.&#8221;<br>
<br>
(Out of being torn at all<br>
comes the poor-rich rhyme of not knowing, after all.)<br>
<br>
And out of this war, of having fought<br>
comes thinking, comes thought.<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 very flatness of these lines almost echoes <span class=SpellE>Levertov&#8217;s</span> most political pieces, even if Shapiro&#8217;s source undoubtedly is (again) Koch, (again) put to purposes Koch himself could never have imagined. But it&#8217;s simplicity is undercut with the two post-rhyme interjections &#8211; and consider how that laughter sounds at the end of the fourth line: it is very much laughter without joy, an extraordinarily complicated emotion to present in a poem, even in this one, which in so many ways is heart-breaking. <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'>When Joe <span class=SpellE>Ceravolo&#8217;s</span> selected poems, <i style='mso-bidi-font-style:normal'><a href="http://pages.csam.montclair.edu/~ceravolo/green.html"><span style='color:black'>The Green Lake is Awake</span></a>, </i>appeared, it had a huge impact on people&#8217;s sense of the New York School, gen. 3 and beyond, because Ceravolo had been something of a secret save to the people for whom he was <i style='mso-bidi-font-style:normal'>really <span class=SpellE>really</span> </i>important (a situation not unlike Jack Spicer&#8217;s during the decade between his death and the appearance of the <i style='mso-bidi-font-style:normal'>Collected Books</i>). Shapiro&#8217;s selected won&#8217;t have the same impact &#8211; tho it should &#8211; in part because he&#8217;s never truly disappeared, steadily bringing forth books now for more than 40 years, doing important work as an art critic, visibly a presence around New York. Yet I&#8217;ve never been certain just how many poets actually <i style='mso-bidi-font-style:normal'>know </i>David Shapiro &amp; his work. Because Shapiro wrote superbly when he was very young &#8211; <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/2j8twu"><span style='color:black'>January</span></a> </i>was not only a book of poems published Holt, Rinehart &amp; Winston in 1965, a time when even Frank O&#8217;Hara couldn&#8217;t find a real publisher among the trades (Grove Press was a bottom feeder there), but was written for the most part by Shapiro when he was still in high school &#8211; it would have been easy (but wrong) to impose on him the narrative of the brilliant savant, and not to recognize the decades of discipline he&#8217;s subsequently added to what he brought to the blank page in the 1960s. He&#8217;s not Frank Stanford goes to </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>. Nor is he a jack of all arts, master of none, tho his skills as violinist (the career ultimately not taken) and art <span class=GramE>critic are</span> daunting. And because he&#8217;s one of the more anxious souls around the poetry scene, I&#8217;m not sure just how many people really know him as the generous, loyal, brilliant friend to so many poets he&#8217;s been all these years. The person he reminds me of most in that regard is Bob Creeley.<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'>So this volume is one of the great &#8220;must have&#8221; books of the year. If you have any interest in the New York School, or in the New American Poetries, or even just broadly in the history of the post-avant, David Shapiro&#8217;s <i style='mso-bidi-font-style:normal'>New and Selected Poems </i>is required reading. It&#8217;s also a great, if complicated, joy. </span><span style='font-size:10.0pt;font-family:Arial'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Saturday, March 01, 2003</span></h2>

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<p class=MsoNormal><span style='font-size:12.0pt;font-family:Arial'>David
Shapiro on collaboration, the late John Hejduk, architecture, politics &amp;
the </span><st1:place><st1:PlaceName><span style='font-size:12.0pt;font-family:
  Arial'>New York</span></st1:PlaceName><span style='font-size:12.0pt;
 font-family:Arial'> </span><st1:PlaceType><span style='font-size:12.0pt;
  font-family:Arial'>School</span></st1:PlaceType></st1:place><span
style='font-size:12.0pt;font-family:Arial'>:<o:p></o:p></span></p>

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

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>About
writing the history of collaboration: Kenneth Koch's issue of <i
style='mso-bidi-font-style:normal'>Locus Solus</i> was the first that I know to
pursue seriously a collection of French AND American and other (Japanese, etc.)
collaborations. Do you have it? Also, I wrote on the aesthetics of
collaboration for Denver Museum (Poetry and Painting) and I gave a kind of
&quot;theory&quot; of the politics of collaboration for a show I helped with at
the Corcoran years ago: with Hobbs and Cynthia McCabe: <i style='mso-bidi-font-style:
normal'>Collaboration</i>. All of my books since January (l965) have had
collaborations with my sister, kids from Bedford Stuyvesant (I worked there
with Kenneth and edited an issue of <i style='mso-bidi-font-style:normal'>Learn
Something, </i></span><st1:country-region><st1:place><i style='mso-bidi-font-style:
  normal'><span style='font-family:Verdana'>America</span></i></st1:place></st1:country-region><span
style='font-family:Verdana'> from a children&#8217;s museum). My idea had been since
about l962 to collaborate with everyone I could or wanted to or who wanted to
collaborate with me. One of the things I've been teaching architects since l980
at Cooper Union is collaboration.<o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>I
collaborated with <a
href="http://www.architectureweek.com/2000/0726/news_2-1.html">John Hejduk</a>
on a <a href="http://www.fragmentsweb.org/stuff/palach.html"><span
class=SpellE>Palach</span></a> project in </span><st1:City><st1:place><span
  style='font-family:Verdana'>Prague</span></st1:place></st1:City><span
style='font-family:Verdana'>. When you speak of the absence of politics in some
<span class=SpellE>NYSchool</span> work, I always find it strange because my
earliest book had poems against apartheid, my second book is filled with
anti-war poems written at </span><st1:place><st1:PlaceName><span
  style='font-family:Verdana'>Columbia</span></st1:PlaceName><span
 style='font-family:Verdana'> </span><st1:PlaceType><span style='font-family:
  Verdana'>University</span></st1:PlaceType></st1:place><span style='font-family:
Verdana'>, which I helped paralyze in resistance to its practices. <i
style='mso-bidi-font-style:normal'>A Man Holding an Acoustic Panel</i> is a
long work explicitly concerned with colonialism and empire, etc. Somehow, the
politics of the work with children that I helped start (first footnote in <i
style='mso-bidi-font-style:normal'>Wishes, Lies and Dreams</i> points to my
work before Kenneth) due to the total left-wing tilt of my work since
childhood. The idea that <span class=SpellE>NYPoets</span> were nonpolitical
hedonists is a tiny part of the dogma that was useful, I always thought, to
those who wanted to pigeonhole name-call and reduce. Even Kenneth's rather
noble &quot;Pleasures of Peace,&quot; maybe one of the best antiwar poems ever
written and a critique of the kitsch of the &quot;antiwar&quot; poem --this
work, so jubilant and political and explosive, never gets talked about. Anyway,
I mention the <i style='mso-bidi-font-style:normal'>Locus Solus</i> issue and <span
class=SpellE>KK's</span> whole love of the theme of collab, and my own for
about forty years with children, as interesting. I'm not writing this well in
collaboration with my son's computer. It's funny to have been on the FBI
Lookout list for so long, humiliated at airports, and then <span class=GramE>belong</span>
to a history that is defaced of its politics.<o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>I am
always amazed at the boutiquing of Marxism in <a
href="http://www.essogallery.com/Pozzi.html"><span class=SpellE>Lucio</span> <span
class=SpellE>Pozzi's</span></a> phrase, and I do indeed find it amazing, as a
kid whose first and last poems are against empire, that hardly anyone finds
politics or collaboration, for that matter, except in the voices they are close
to...It reminds me of your skepticism about me because I was published in a
&quot;commercial&quot; press. But you could have also seen me in <i
style='mso-bidi-font-style:normal'>C</i> magazine and many wild publications. I
too was skeptical of Holt, until I got them to publish Ashbery and got Dutton
to publish the poems of Frank Lima, a poet with Puerto Rican roots whom I find
completely disappeared from the 300 volumes I have read of L=A criticism. A
poet who found it hard to get his books published until we begged Lingo to do a
<i style='mso-bidi-font-style:normal'><a
href="http://www.raintaxi.com/online/1997winter/lima.shtml">Selected</a></i>,
and I find absolutely no mention of him in the archives. He and I collaborated
for the last 30 years. <o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>Anyway,
I'm not proofing this letter and probably I have it all wrong, bitter-sweet,
sweet-bitter, the sting of the honeybee. Hejduk, my best friend, was called a
nonpolitical fantasist until, in </span><st1:City><st1:place><span class=GramE><span
  style='font-family:Verdana'>Prague</span></span></st1:place></st1:City><span
class=GramE><span style='font-family:Verdana'>,</span></span><span
style='font-family:Verdana'> <a
href="http://www.whitney.org/information/press/88.html">his so-called fantasies</a>
(seen again this year at the Whitney with my poems and completely ignored) were
liberties beloved by the </span><st1:country-region><st1:place><span
  style='font-family:Verdana'>Czech.</span></st1:place></st1:country-region><span
style='font-family:Verdana'> When I did an opera with Morty Feldman and creatures
(winged) with videos by me and Connie Beckley about collaboration, as it were,
between <span class=GramE>a</span> architecture and poetry, it was never
reviewed except by a few parochial architecture critics. Anyway, those
interested in the Black Mountainous experiment should look to books published
by Cooper Union and <span class=SpellE>Monacelli</span> and Rizzoli about the
Cooper collaborations the last 30 years. Many of the most important
architects--<a href="http://www.daniel-libeskind.com/"><span class=SpellE>Libeskind</span></a>,
<a href="http://www.tdrinc.com/eugene.html"><span class=SpellE>Tsui</span></a>,
my student <a
href="http://www.archinform.net/arch/2349.htm?ID=b5e6a6a53703f4781cca7091b3fa23e8">Shigeru
Ban</a>, and others--come out of Hejduk and my idea of making a school that
would synthesize architecture and poetry. Our students learned by having
exercises in which houses were built in the condition of Rimbaud, Shklovsky or
the <a href="http://www.baymoon.com/~ariadne/form/pantoum.htm">pantoum</a>. The
work was centered in my own course around three revolutionary moments and three
cities and three groups of poets: </span><st1:City><st1:place><span
  style='font-family:Verdana'>Moscow</span></st1:place></st1:City><span
style='font-family:Verdana'>, </span><st1:place><st1:City><span
  style='font-family:Verdana'>Paris</span></st1:City><span style='font-family:
 Verdana'>, </span><st1:State><span style='font-family:Verdana'>New York</span></st1:State></st1:place><span
style='font-family:Verdana'>, l848, l870, l9l7 and the present tense. Despite
my constantly writing about this and Hejduk, I have never hardly been able to
intrigue poets in the politics of this, though it has ended in such things as
Shigeru's WT project and <a
href="http://www.time.com/time/innovators/design/profile_ban.html">his paper
houses</a> for the poor in Japan, many books of criticism, etc. <a
href="http://hallauthorbooks.com/S/376.shtml">Hejduk poetry</a>, which I
selected for MIT, was hardly reviewed. All of this might intrigue you, or not.
But it does inflect a sense of the political inside the city. Why is it that
the participation of the </span><st1:City><st1:place><span style='font-family:
  Verdana'>Columbia</span></st1:place></st1:City><span style='font-family:Verdana'>
poets like me is passed over without a sense that we were not only political
but getting smashed and beaten and trampled. <span class=GramE>Hmmm.</span>
Just little pieces of history &quot;disappeared.&quot; <o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>To
me, the idea of collaboration was a conspiracy, a revolt between two or more. I
liked the collaborative nature of the blues. I believed in the rebellious
intent of chamber music. I believed that in working with artists and others we
could inflect education. I thought that Cooper and work with children could
assist a new sense, not of NY school formulae, but of storytelling. Lopate
agreed with this and has his own story. I continued throughout my whole life to
teach and work for kids at various institutions like Cooper to create a
political and formal consciousness at once. I resented being disappeared
because I thought this work important. I see that architectural education now
does use my &quot;<span class=SpellE>litertarypoliticalsymnbolist</span>&quot;
approach and my students are the heads of </span><st1:place><span
 style='font-family:Verdana'>Princeton</span></st1:place><span
style='font-family:Verdana'> and many other places. The work that Cooper kids
did from l980-2002 is amazing. You might call Cooper Union Archives and ask to
see some of the books. Hejduk's works are often dedicated to me, collaborations
on anti-masques, film we did together, etc. The work is about community and
includes Victims, perhaps one of the supremely severe meditations on the
Holocaust. His work has been a great influence, but <a
href="http://www.virginia.edu/a-ocpp/Students/MuschampBio.html">Muschamp</a>
usually puts it down as mere poetry and paper drawing. Hejduk had more real
admiration for poets than I have met from any poet in my life. He had Calvino
Ashbery and <span class=SpellE>Hawkes</span> at his school; he used surgeons
like <span class=SpellE>Selzer</span> to explain the cuts in architecture. But
what is most interesting is the amazing mood and mode of experimental
collaboration in his school. There are now at least a few books about it.
Another book that would intrigue you is <i style='mso-bidi-font-style:normal'><a
href="http://hallarchitecture.com/international/59.shtml">The Road That Is Not
a Road</a></i> about a surrealist Chilean group in </span><st1:City><st1:place><span
  style='font-family:Verdana'>Valparaiso</span></st1:place></st1:City><span
style='font-family:Verdana'> that used almost a decade or two before me many
similar modes of teaching collaboratively the idea of surrealist art and
architecture. <span class=GramE>An amazing group.</span><span
style='mso-spacerun:yes'>&#160;&#160; </span><o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>In a
more positive mode, thank you for reading my poem. <span class=GramE>Hope you
found your review (by me) in an old APR, where I tried to rebel from within by
underlining you, Hilton Obenzinger (another </span></span><st1:City><st1:place><span
  class=GramE><span style='font-family:Verdana'>Columbia</span></span></st1:place></st1:City><span
class=GramE><span style='font-family:Verdana'> kid) who fought and fights) and
Coolidge, etc.</span></span><span style='font-family:Verdana'><span
style='mso-spacerun:yes'>&#160; </span><o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'>Yours,
or am <span class=SpellE>i</span>?<o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-family:Verdana'><span
style='mso-spacerun:yes'>&#160;</span>David Shapiro <o:p></o:p></span></p>
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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