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Showing posts with label <b>Derek Fenner</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>Derek Fenner</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>Monday, March 27, 2006</span></h2>

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<p class=MsoNormal><span style='color:black'><img height="372" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/dl1FuEpY9iqWQhmdme52QvznOsiny0qaDt8cpprM63CQZ3VAjMM4ybTVSpN0AvYda6kj8vhFVKABzNXVEZ_KdFnZ-GoZj8gkwqadsQqRbrs%3Ds0-d" width="248"><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'>My first thought when I saw &#8220;One Hundred People You Should Know&#8221; in Derek Fenner&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.bootstrapproductions.org/catalog/PPPMPS/4.html"><span style='color:black'>My Favorite Color is Red</span></a> </i>was &#8211; O no! &#8211; not <i style='mso-bidi-font-style:normal'>another </i><span class=SpellE>epigramiphone</span>! But then I started to read &amp; <span class=GramE>&#8211;<span style='mso-spacerun:yes'>  </span>just</span> like that! &#8211; my wish was granted. Rather than a 100 epigrams in the vein of Kent Johnson&#8217;s <span class=SpellE><i style='mso-bidi-font-style:normal'>Epigramititis</i></span><i style='mso-bidi-font-style:normal'>, </i>Fenner&#8217;s book of poems &#8211; whose cover I would swear is closer to blood orange than it is to red &#8211; has, right at its center, 100 <i style='mso-bidi-font-style:normal'>drawings </i>mostly of writers &amp; painters accompanied by quotations from their works &amp; words. <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'>In the middle of what appears to be a book of poems, this reversal of text &amp; illustration is jolting. It displaces the emphasis placed on the text elsewhere, not only in this book but in others, anything that permits an illustration. Suddenly &#8220;The Katie <span class=SpellE>Couric</span> Odes&#8221; earlier in the book, which are themselves illustrated, stand just a little differently. It&#8217;s not as if you can <span class=SpellE>desanctify</span> a prose poem entitled &#8220;How is Katie <span class=SpellE>Couric</span> in the Sack?&#8221; But the irony &amp; play there stands sharply in contrast to &#8220;One Hundred People,&#8221; which could not be further from the spirit of Kent Johnson. <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'>Take, for example, the portrait of Funk Art painter <a href="http://www.verdantpress.com/berman.html"><span style='color:black'>Wallace Berman</span></a>, a </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Los Angeles</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> artist associated both by time &amp; inclination with the <a href="http://www.beatmuseum.org/berman/wallaceberman.html"><span style='color:black'>Beats</span></a>. That&#8217;s Berman&#8217;s likeness on the cover of Fenner&#8217;s book, not his own &#8211; in his self-<span class=GramE>portraits,</span> Fenner himself looks suspiciously like filmmaker Kevin Smith in his Silent Bob routines. Putting someone else&#8217;s face up big on the cover of your book is itself an interesting move, a deflection. Here is the text that accompanies this drawing:<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Art is Love is God.<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'>Each statement is carefully &#8211; even obsessively, given this book&#8217;s general attitude toward academic form (ironic &amp; dismissive) &#8211; documented. Thus, just below this quotation:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Berman, Wallace. <span class=GramE><u>Untitled.</u></span> <span class=GramE>Box with Bullet, 15 x 13 x 18 cm. Date Unknown.</span> <span class=GramE>Collection of </span></span><st1:place><st1:PlaceType><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Temple</span></span></st1:PlaceType><span  class=GramE><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial; color:black'> of </span></span><st1:PlaceName><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Man</span></span></st1:PlaceName></st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>, </span></span><st1:City><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Venice</span></span></st1:place></st1:City><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>  <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'>Given the detailing of the absence both of name and date, it&#8217;s interesting to see the presumption that we&#8217;ll know this Venice is not a town sinking in Italy, but one even closer to the shore in Southern California.<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'>That Fenner would pick Berman &amp; put Berman on his cover &#8211; as, in a way, David Meltzer, that other Beat associated with Los Angeles, did by using a Berman <a href="http://www.verdantpress.com/images/berman/beatphotolg.jpg"><span class=SpellE><span style='color:black'>pic</span></span></a> for the cover of his recent selected poems &#8211; is intriguing to say the least. Fenner was all of three years old when Berman died, but somehow has become a fan of a particular angle toward art, one that includes not just Ginsberg &amp; Kerouac &amp; McClure, but Ted Berrigan &amp; Anselm Hollo &amp; Jack Hirschman, Picasso &amp; Hunter Thompson &amp; Bill Luoma. One might call it the Beat side of the post-avant &#8211; there&#8217;s Laurie Anderson &amp; Jess &amp; Robert Duncan (Jess has a great quote about the stains on the walls &amp; ceiling of the house he &amp; Robert shared) &amp; Hemingway, Joyce, Stan Brakhage &amp; Tom Raworth, Ann Waldman, Bob Dylan &amp; Wally Hedrick. Some of these make perfect sense, but then you go back &amp; say, wait, what&#8217;s Luoma or Hedrick doing there? <span class=GramE>Or Ian Hamilton Finlay?</span> <span class=GramE>Or all those painters, from Edward Hopper to Van Gogh to Francis Bacon.</span> All of these images began with photographs, often famous ones, of the person pictured, which Fenner processes &#8211; he details this at the head of the portraits, which take up literally two-thirds of this volume &#8211; to get just to the most significant lines &amp; shadows. <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'>Fenner&#8217;s own poetry has a sort of late Beat or post-Beat air to it:<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Diary of a Genius<br>
<br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Swans reflect the poetry<br>
of </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>. Elephants<br>
are Original Sin.<br>
<br>
<span class=GramE>Mae West, the<br>
great masturbator on the beach<br>
with a telephone.</span><br>
<br>
</span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Salvador</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>! </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Salvador</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>!<br>
Stop staring<br>
and flush.<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'>Yet where Beat aesthetics so often have been interpreted to mean (wrongly, I&#8217;d argue) a certain anti-intellectual, or at least anti-theory, stance toward the world, here&#8217;s Derrida &amp; Foucault &amp; Benjamin among Fenner&#8217;s 100. Alfred North Whitehead &amp; Klaus <span class=SpellE>Kinski</span>?!<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One sees this double-sidedness I think most clearly in a series of haiku Fenner wrote while teaching art to <a href="http://www.bigredandshiny.com/cgi-bin/frameset.pl?section=review&amp;issue=issue38&amp;article=TEMPORARY_WALLS_518389"><span style='color:black'>young felons</span></a>. The poems are in dialect, but with a precision that is clearly Fenner&#8217;s:<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Went gone got PC.<br>
A snitch is a snitch is a <br>
punk dead man walking.<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'>Here, unlike the quotations in the portraits, Fenner simply seems to presume that we&#8217;ll understand the acronym in the first line to mean neither <i style='mso-bidi-font-style:normal'>personal computer </i>nor <i style='mso-bidi-font-style:normal'>politically correct, </i>but <i style='mso-bidi-font-style:normal'>protective custody. </i>Each of the first two lines is organized around its own reiteration of sound &#8211; <i style='mso-bidi-font-style:normal'>gone got </i>&amp; <i style='mso-bidi-font-style:normal'>snitch&#8230;snitch </i>&#8211; while the last is organized around its own elegant syntactic construction when you realize that the speaker here is speaking of himself.<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'>It&#8217;s fascinating to read Fenner just to see someone whose own aesthetic owes a lot to a time before he was born, but who has been as deeply influenced by painters &amp; painting as any member of the first generation </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'>, tho generally by different ones. It makes you realize just how many choices were being made by John, Frank &amp; Jimmy. Even as Fenner includes Warhol &amp; <span class=SpellE>Brainard</span> &amp; <span class=SpellE>Basquiat</span>, his eye really belongs to the West Coast artists of the same period: Berman &amp; Jess &amp; George Herms &amp; Bruce Conner. Early on in the book, there is a wonderful description of the burial of Edward <span class=SpellE>Keinholz</span><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>on </span></span><st1:place><st1:PlaceName><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Howe</span></span></st1:PlaceName><span class=GramE><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> </span></span><st1:PlaceType><span class=GramE><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Mountain</span></span></st1:PlaceType></st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> in his 1940 Packard.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> Smash, his cremated <span class=GramE>dog,</span> was in the back seat. Ed had a dollar in his pocket, a bottle of good Italian wine from 1931, and a deck of cards &#8211; enough to get him started in the next world.<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'>Allen Ginsberg and I once had a conversation about the problem of imitators, a problem he had much worse than I. On the one hand, it&#8217;s moving, literally, to see people so committed to what one has done, but on the other hand, the impulse of the imitator is fundamentally different from that of the person being copied. The original is striking out into the world, the imitator wants rather the experience of writing <i style='mso-bidi-font-style:normal'>like that</i>, which actually requires living quite a bit differently, having ultimately very different values.<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'>Fenner has, I think, moved beyond that, but the world he seems most interested in isn&#8217;t the present. Rather, he&#8217;s recasting the past in different guises, an eminently likeable &amp; crafty  world, even at its most harsh, as in the sixth of Fenner&#8217;s &#8220;Cleveland Sonnets&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Cleveland</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>, I&#8217;ve give you all my problems and now you&#8217;ve<br>
turned right around and given them back. <span class=GramE>Sold me out<br>
to the Gold Star Pawn Shop, Inc.</span> I don&#8217;t want treats<br>
by Pat, so give me the consolation prize once more and I&#8217;ll<br>
never again step foot in your Imperial Super Buffet.<br>
There&#8217;s this passage I have memorized from the Bible.<br>
It goes, &#8220;Now Cleveland was corrupt<br>
in God&#8217;s sight, and </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Cleveland</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> was filled with violence. And God<br>
saw </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Cleveland</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>, and it was corrupt. For all its dwellers<br>
had corrupted their way upon the city.&#8221; It&#8217;s in Genesis.<br>
Find out what&#8217;s coming your way. God&#8217;s<br>
gonna get down on you. <span class=SpellE>d.a</span>. levy said,<br>
&#8221;Somewhere over the rainbow, there&#8217;s another dump like this.<br>
I know, I know it sounds untrue, but there is, there is.&#8221;<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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