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Showing posts with label <b>Devin Johnston</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>Devin Johnston</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>Tuesday, October 13, 2009</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><a href="http://www.turtlepointpress.com/catalogue/johnston-sources.html"><span style='font-size:10.0pt;font-family:"Arial","sans-serif";mso-fareast-language:EN-US;mso-no-proof:yes;text-decoration:none;text-underline:none'><img border="0" height="319" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/GBQ5kp73RAXFLEpXTwQSH4IYiYWJLwYEsTTiplZtJHECC-9h9Kt6Q4U-oQ5y9uVm6uGPaGbWP5Emg6t2lof94IAHkPrODIp4Zf0%3Ds0-d" width="200"></span></a><span style='font-size:10.0pt;font-family:"Arial","sans-serif";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","sans-serif";color:black'>I&#8217;ve always suspected that Devin Johnston must be one of those poets whom readers either love or hate. He has a very distinct personality &amp; is quite clear about his goals in writing. Either you buy it or you don&#8217;t. Somehow, though, I always find myself in the middle, never fully certain just how much I love his work or feel frustrated by it. This I think might be because you can read Johnston in a couple of different ways. In one reading, he follows a heritage of great precision in avant &amp; post-avant writing, one that looks to Louis Zukofsky, William Carlos Williams, Robert Creeley, John Taggart, Frank Samperi, Jonathan Greene, Lorine Niedecker, Gustav Sobin, George Oppen &amp; Ronald Johnson. In the other, he&#8217;s something of a maverick Quietist &amp; the names that come to mind might include Wendell Berry, Kay Ryan, Jean Valentine, Thom Gunn or Charles Tomlinson. Both lists, you will note, are made up of excellent writers, but the number of ways in which one tradition joins to the other (Tomlinson&#8217;s work on Williams, Greene&#8217;s interest in Berry) are sufficiently few that you can point them out one at a time. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>What both groups have in common is a commitment to the idea that craft is at the heart of the poem. If your pleasure is the astonishingly well-wrought urn, these are the poets to whom you are apt to turn. I can open <i style='mso-bidi-font-style:normal'><a href="http://www.turtlepointpress.com/catalogue/johnston-sources.html"><span style='color:black'>Sources</span></a>, </i><st1:City w:st="on"><st1:place w:st="on">Johnston</st1:place></st1:City>&#8217;s most recent book, almost anywhere and find an example:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>The Greeks<br>
<br>
</span></b><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Ladder and source,<br>
we find no ease<br>
<br>
never quite<br>
at home at home.<br>
<br>
<i style='mso-bidi-font-style:normal'>No, never, not</i><br>
darken the page<br>
<br>
in a childish script.<br>
Winter has come.<br>
<br>
Ladders lean<br>
against the sky,<br>
<br>
sources whistle<br>
past our lips.<br>
<br>
Pacing rugs<br>
or battered roads<br>
<br>
we wait for what<br>
we know we know. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>There is not a hair (nor a pixel) out of place in this poem. If anything, there are a number of grace notes (the alliteration in the 5<sup>th</sup>, 9<sup>th</sup> &amp; 15<sup>th</sup> lines for example, or the echo of reiteration from the third line with the last) that elevate our reading experience. The poem is both sufficiently specific for us to know what Johnston is saying &amp; sufficiently evocative for any number of envisionments to come into play around terms like <i style='mso-bidi-font-style:normal'>ladders</i> &amp; <i style='mso-bidi-font-style:normal'>sources</i>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>Yet the poem &#8211; it&#8217;s the very last one in this slim, well-constructed book, the source for the volume&#8217;s title &#8211; captures precisely what I find disquieting about Johnston&#8217;s writing: a compulsion for stillness. This is a poem, indeed this is a book, in which no one shouts, ever. What is the action here? Waiting. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>What seems to me so amazing is that Johnston appears to be complaining about this, calling it to our attention. If I look back to those lists of antecedents to his writing (&#8220;what we know we know&#8221;), Williams &amp; Zukofsky are the two with a much greater overall range &#8211; this comes perilously close to LZ&#8217;s &#8220;lower limit&#8221; of speech &#8211; tho Creeley can in places get to song, to playful wisdom, even in the constrained spaces of his miniatures. Play, the ludic, is not a term I would use to characterize Johnston &amp; indeed his suffix for <i style='mso-bidi-font-style:normal'>child</i> is <i style='mso-bidi-font-style:normal'>-ish </i>not <I style='mso-bidi-font-style:normal'>-like</i>, with all the attendant value judgments that implies. If there is a music to these poems, and there is, what it calls to mind might be the harpsichord, the cello, the harp. Yet the folk-rock (or maybe anti-folk) harp of a Joanna Newsom would seem grating &amp; jarring here, let alone the reverb feedback of a Jimi Hendrix guitar. Or a turntable. This is a poetics for a world in which hiphop &#8211; that 30-year-old phenomenon &#8211; isn&#8217;t even imaginable. No strolling over to the Gem Spa just to buy a Coke &amp; be fabulous. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:black'>So I find myself torn. On the one hand, here is a deftness with image &amp; the line second to no one. Devin Johnston can be breathtaking when he wants. On the other, I have this ontological problem: <i style='mso-bidi-font-style:normal'>where is the world I know? </i>And what does it mean that Johnston understands this problem, seems completely to get it? That is the part of this book I find totally spooky. <o:p></o:p></span></p>
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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://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
<li><a href='http://www.facebook.com/ron.silliman'>Facebook</a></li>
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<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
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<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>
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<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<h2 class='title'>Other Books in Print</h2>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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