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Showing posts with label <b>Equi</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>Equi</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, February 26, 2007</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><span style='color:black'><img height="300" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/aa1Nh3cx1HvxFq-T34wnRY2NL4cGuE3DyfIhV9f2i7bJqXoNqxU5dZTNDKJOcYMLpLzx-MvepBeUAwaFcI6x%3Ds0-d" width="249"><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'>I haven&#8217;t always read Elaine <span class=SpellE>Equi&#8217;s</span> poetry as enthusiastically as I seem to be doing right now. As is often the case for me with poems that harken back to the aesthetics of the </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'>, I find short poems that resolve around a single joke cringe-worthy, even when it&#8217;s by somebody whose work I take as a touchstone for my own poetry, such as Anselm Hollo. Another kind of poem that Equi writes that has me pacing around the house at night, trying to decide whether or not I like it or <i style='mso-bidi-font-style:normal'>really <span class=SpellE>really</span> </i>hate it is what I think of as the &#8220;device&#8221; poem, the work that involves the repeated use of the same structure, such as the following poem of <span class=SpellE>Equi&#8217;s</span>, whose title also happens to be its first line:<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;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'>A bend in the light.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
<span class=GramE>A dross</span> in the drift.<br>
<span class=GramE>A tilt in the storm.</span><br>
<span class=GramE>A gleam in the ditch.</span><br>
<br>
<span class=GramE>A grace in the gloom.</span><br>
<span class=GramE>A kink in the sand.</span><br>
<span class=GramE>A spring in the fire.</span><br>
<span class=GramE>A lilt in the hand.</span><br>
<br>
<span class=GramE>A snare in the common.</span><br>
<span class=GramE>A hare in the shed.</span><br>
<span class=GramE>A mesh in the fury.</span><br>
<span class=GramE>A glare in the blurring.</span><br>
<br>
<span class=GramE>A stretch in the arc.</span><br>
<span class=GramE>A pulse in the bark.</span><br>
<span class=GramE>A fork in the wave.</span><br>
<span class=GramE>A heft in the sway.</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'>It&#8217;s not that Equi isn&#8217;t doing anything beyond the &#8220;A in the B&#8221; exoskeleton of each line. The way rhyme changes position in the second, third &amp; fourth stanzas is hardly accidental, especially announced as it in the second with it&#8217;s A-B-C-B end rhymes, poetry&#8217;s aural equivalent of a fingernail dragged along a blackboard. Even more interesting to my eye is the way the third stanza is the only one in the whole poem to admit two-syllable words, always in the last position in three of its four lines. For me, that&#8217;s the sensual moment of this poem, the real reason for reading it more than once. <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'>An even more austere example of the device poem is &#8220;Etudes,&#8221; one of <span class=SpellE>Equi&#8217;s</span> newest pieces:<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'>Autumn is <span class=GramE>a solitude</span>.<br>
Winter is <span class=GramE>a fortitude</span>.<br>
Spring is an altitude.<br>
Summer is an attitude.<br>
<br>
Summer is a multitude.<br>
Autumn is an aptitude.<br>
Winter is a <span class=SpellE>quaalude</span>.<br>
Spring is a prelude.<br>
<br>
Spring is a lassitude.<br>
Summer is a longitude.<br>
Autumn is <span class=GramE>a gratitude</span>.<br>
Winter is an interlude.<br>
<br>
Winter is <span class=GramE>a beatitude</span>.<br>
Spring is a platitude.<br>
Summer is a verisimilitude.<br>
Autumn is a semi-nude.<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 rules here are not difficult to tease out. Within each stanza, the seasons proceed in chronological order and the last season of each stanza must be the first season of the next. This is a minimalism of surface that is unfamiliar, really, in American writing, tho it has some relationship to the work of such postwar German poets as Helmut Heissenbüttel, Ernst <span class=SpellE>Jandl</span> or <span class=SpellE>Eugen</span> Gomringer. My immediate instinct reading this poem is to want to rewrite it, to make the first line <i style='mso-bidi-font-style:normal'>Autumn is a nude </i>and to move to the very last line <i style='mso-bidi-font-style:normal'>Autumn is a solitude </i>&#8211; thus to &#8220;complete&#8221; the poem with its strongest and &#8220;most organic&#8221; assertion &#8211; and to find some substitute, any substitute, for the <span class=SpellE>jokey</span> use of <span class=SpellE><i style='mso-bidi-font-style:normal'>quaalude</i></span><i style='mso-bidi-font-style:normal'>. </i>And I might put all <span class=GramE>the <i style='mso-bidi-font-style:normal'>an</i></span><i style='mso-bidi-font-style:normal'> </i>assertions into the same stanza.  <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 not that I haven&#8217;t employed structures that are, in their own way, almost as obsessively parallel as <span class=SpellE>Equi&#8217;s</span> &#8211; <i style='mso-bidi-font-style:normal'>Sunset Debris </i>is simply one question after another, 44 pages worth in the forthcoming UC Press edition of <i style='mso-bidi-font-style:normal'><a href="http://www.ucpress.edu/books/pages/10742.html"><span style='color:black'>The Age of Huts (compleat)</span></a>; </i>&#8220;Sitting Up, Standing, Taking Steps&#8221; deploys nothing but sentence fragments (mostly noun phrases);<i style='mso-bidi-font-style:normal'> </i>&#8220;<a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2003/09/blogging-is-both-incestuous-it-was-in.html"><span style='color:black'>Berkeley</span></a>&#8221;<i style='mso-bidi-font-style:normal'> </i>is a poem composed of nothing but &#8220;I statements,&#8221; most of which were appropriated from other authors. But it&#8217;s not an accident that &#8220;</span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8221; <span class=GramE>is 164</span> lines long nor that <i style='mso-bidi-font-style:normal'>Sunset Debris </i>clocks in at its length either. I have a pretty strong sense that device poems work best when the writing within transcends the device and the structure recedes to become merely a way to perceive the content. And that this cannot happen until the structure becomes so familiar as to &#8220;white out,&#8221; <span class=GramE>which</span> I don&#8217;t think is do-able in the 16 lines each of these two poems take. <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'>I am reminded of the way in which Clark Coolidge&#8217;s early masterwork, <i style='mso-bidi-font-style:normal'>The Maintains, </i>starts off with just this sort of parallelism, each line derived from a dictionary definition, tho presented in a manner that accentuates the prosodic elements more than the poem&#8217;s linguistic structures, as such. Or the formal devices Lyn Hejinian uses to structure <i style='mso-bidi-font-style:normal'>Writing is an Aid to Memory </i>and <i style='mso-bidi-font-style:normal'>My Life. </i>Or, for that matter, Joe <span class=SpellE>Brainard&#8217;s</span> <i style='mso-bidi-font-style:normal'>I Remember </i>or Eliot Weinberger&#8217;s anti-poem, <i style='mso-bidi-font-style:normal'><a href="http://www.lrb.co.uk/v27/n03/wein01_.html"><span style='color:black'>What I Heard About Iraq</span></a>. <o:p></o:p></i></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But I&#8217;m also reminded, albeit in a very different manner, of all the poems &#8220;as book index,&#8221; &#8220;as table of contents,&#8221; &#8220;as menu,&#8221; all the list poems of any kind that have been written over the past 40 years and just how very few of them really do work, even in the slightest. They are, for the most part, a blot upon the landscape &amp; a tell-tale sign of a weak poet. <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 that is neither is <span class=SpellE>Equi&#8217;s</span> own &#8220;Table of Contents for an Imaginary Book&#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'>Spree<br>
Monster Gardens<br>
Up Close, Out Back, Down Under<br>
Flying Backward<br>
The Drunken Voluptuary Workers in the Solarium<br>
Dove Sighting<br>
All the Yellow in the World<br>
A Curse I Put on Myself<br>
Three Sides of the Same Coin<br>
Aria<br>
Night Cream<br>
<span class=GramE>Good<span style='mso-spacerun:yes'>  </span>Luck</span> With Your Chaos<br>
The Glass Stagecoach<br>
In the Country of Mauve<br>
Parrots and Dictators<br>
Slumming<br>
Walking the Evening Back Home<br>
A Twelve Course Dinner of Regret<br>
The Gap Gatherer<br>
Burning Down the Ocean<br>
Multiple Choice<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 is a book I would love to read. Even more important, it&#8217;s a poem in which every single line is fascinating, either in and of itself, or through juxtaposition. It doesn&#8217;t matter if we think of these as chapter titles, in fact it may work better if we forget that possibility altogether. I don&#8217;t think you need the premise that each of these identifies a poem, story or exposition to know that there is quite a bit <i style='mso-bidi-font-style:normal'>behind </i>every phrase. It accomplishes this simply through the language at hand. <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'>Where <span class=SpellE>Equi&#8217;s</span> use of this sort of parallelism is at its most effective, tho, is in the one instance in <i style='mso-bidi-font-style:normal'>Ripple Effect </i>that clearly would not work in the same way if we did not already know that the device poem is one side of <span class=SpellE>Equi&#8217;s</span> work, so that we begin to listen for it virtually with the first line. The poem is entitled &#8220;Legacy&#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'>Now X is dead, so Y can be <span class=GramE>X.</span><br>
And Z is dead, so A can be Z.<br>
There&#8217;s no shame in becoming someone else.<br>
You may be even better at it than they were.<br>
At times Z got in the way of our idea of him.<br>
Before X was X, he was probably somebody else too.<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 the allusion to the parallel device is what gives the opening of the poem its wry humor. This is a poem that can be read so many different ways (for example, read X as &#8220;Robert Creeley,&#8221; Z as &#8220;Louis Zukofsky;&#8221; then read it again with X as &#8220;Frank O&#8217;Hara,&#8221; Z as &#8220;Ted Berrigan&#8221;). Equi is using what we already know about her own writing to set up expectations here that operate precisely in the ways that she diverts or twists them. It&#8217;s a brilliant little poem, true &amp; funny &amp; maybe even a little sad all at once.<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 ultimately I trust Equi in these poems, tho I might not trust another poet attempting the very same thing, because I think she shows just how these device poems (tho maybe I&#8217;d call that last one a false device poem) call up depths one could get to in poetry in no other way. But they force me to struggle with my own discomforts every single time.<o:p></o:p></span></p>
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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:black'><img height="271" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/-0phokAjEeXw_ufHlJmJis-iXRW4g3l3uYV2m1g0s0MFn_5OZvNUKAmb8vyIu98MzoLEUnixU_nDl23iX8vvO_ECMkVUhYpeLSWApDpjKzsk%3Ds0-d" width="201"><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'>You would think that living in </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'> for roughly the past 20 years would stamp <a href="http://www.mipoesias.com/April2004/equiinterview.htm"><span style='color:black'>Elaine Equi</span></a> as a certifiable </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'> poet, but something about <a href="http://www.cortlandreview.com/issuefour/equi4.htm"><span style='color:black'>Equi</span></a> keeps me identifying her with her Midwestern roots, not unlike the way Bill Berkson strikes me as forever involved with the </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'>. So what if he&#8217;s resided in the Bay Area for 35 years? In <a href="http://media.sas.upenn.edu/pennsound/groups/miPOradio/Equi-Elaine_Intrvw-w-Amy-King_miPOradio.mp3"><span class=SpellE><span style='color:black'>Equi&#8217;s</span></span></a> case, it must be partly the fact that as long as she&#8217;s lived east of the Hudson River, she&#8217;s been published by the dynamo of the Twin Cities, <a href="http://www.coffeehousepress.org/"><span style='color:black'>Coffee House Press</span></a>, which is about to release its fifth collection of her poetry, <i style='mso-bidi-font-style:normal'>Ripple Effect: New and Selected Poems. </i>I first associated <a href="http://www.greeninteger.com/pipbios_detail.cfm?PIPAuthorID=523"><span style='color:black'>Equi</span></a>, back when Little Caesar published <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/3bwvqy"><span class=SpellE><span style='color:black'>Shrewcrazy</span></span></a> </i>in 1981, with that sudden burst of creativity that rose up out of </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Chicago</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> right when Ted Berrigan taught there in the 1970s. She was too young, I take it, to have been included in the 1976 Yellow Press anthology, <i style='mso-bidi-font-style:normal'>15 Chicago Poets, </i>but she, her husband Jerome Sala &amp; Connie Deanovich all seemed to show up relatively soon thereafter, channeling something of that same spirit going forward. <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'>Perhaps it&#8217;s the way in which <a href="http://www.writing.newschool.edu/equi.aspx?s=1:4"><span style='color:black'>Equi</span></a> is capable of making complex philosophical observations &amp; arguments in a manner that appears so offhand you don&#8217;t realize their depths until well after the hard stop of the final period. Viz &#8220;Men in Camisoles&#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'>All writing is a form<br>
of <span class=SpellE>transvestism</span>.<br>
<br>
<span class=GramE>Men in camisoles.</span><br>
Women drinking port<br>
and smoking thin cigars.<br>
<br>
Think of Flaubert, Proust<span class=GramE>,</span><br>
Mallarmé in drag.<br>
<br>
Or a woman (any woman<span class=GramE>)</span><br>
trying on a man&#8217;s power:<br>
&#8221;Now I clothe myself<br>
in your blood, your wars.&#8221;<br>
<br>
Like getting dressed<br>
in a warm room<br>
on a cold day<br>
<br>
the sly smile<br>
of the self<br>
as it goes to sleep.<br>
<br>
Everything contained within.<br>
You read Rilke<br>
and you become Rilke.<br>
<br>
Nothing can stop this<br>
endless, transformative<br>
flow of selves<br>
into other, opposite, <br>
even objects and animals.<br>
<br>
In a dream I took my<br>
blue pentagram shirt<br>
to the cleaners<br>
<br>
and they said<br>
it would take<br>
three whole months<br>
to get the werewolf out!<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'>Writing seriously without seeming serious is almost the archetypal </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'> move, one at which such poets as Berrigan, Berkson &amp; <a href="http://www.conjunctions.com/archives/c29-ee.htm"><span style='color:black'>Frank O&#8217;Hara</span></a> are all masters. Or her willingness to let the poem be in control even when it seems ready to rocket off in all directions, like the way she permits the second stanza of &#8220;Sometimes I Get Distracted,&#8221; a poem dedicated to Phil Whalen, to manifest that distraction, then pulls it back together with an absolute elegance:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;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'>Throwing a ball<br>
<br>
like a bridge<br>
over an old wound<br>
<br>
like a cape<br>
thrown chivalrously<br>
over incoherent muck.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
Catching it<br>
is easy.<br>
<br>
&#8221;Now toss it back,&#8221;<br>
<br>
says the Zen monk<br>
standing in his garden<br>
centuries away.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>like a bridge / over an old wound </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is a marvelous metaphor precisely because of the way the &#8220;wrong&#8221; phrase recasts the figure/ground relationship of the metaphoric structure. Nor is it <span class=GramE>an</span> accident that the only four-syllable words in this poem both occur in the next stanza, as tho the author were having to struggle to get the poem back in control, something accomplished so decisively with the arrival of the word <i style='mso-bidi-font-style:normal'>muck. </i>Which term also sets up the terminal <i style='mso-bidi-font-style:normal'>k </i>sounds for the lines ending with <i style='mso-bidi-font-style:normal'>back </i>and <i style='mso-bidi-font-style:normal'>monk</i>, this last very nearly a pure rhyme. <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'>With roughly 250 pages of poetry, <i style='mso-bidi-font-style:normal'>Ripple Effect </i>is a rich, fat book, with an unusual organizational structure: first the new work, then selections from each of her four previous <i style='mso-bidi-font-style:normal'>Coffee House </i>books in chronological order, then finally a shorter selection of poems from her &#8220;pre-Coffee House&#8221; days, mostly I take it the early &amp; mid 1980s. It&#8217;s an order that discounts the hidden narrative of any selected <span class=GramE>poems, that</span> of the poet&#8217;s progress. In fact, <span class=SpellE>Equi&#8217;s</span> early work and her most recent writings can sound so similar that it can be hard to tell the difference. Consider &#8220;To Do,&#8221; dedicated to Joe Brainard:<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'>Never finish everything<br>
on your to do list.<br>
<br>
It will look as if you have nothing<br>
better to do.<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'>And &#8220;Then I Became the Weathergirl&#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'>The air is full of secrets.<br>
Just by breathing<span class=GramE>,</span><br>
you become my accomplice.<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'>I&#8217;m not going to tell you which predates the other by perhaps 20 years &#8211; you&#8217;re going to have to buy <i style='mso-bidi-font-style:normal'>Ripple Effect </i>when it&#8217;s published to find out &#8211; but it&#8217;s worth noting here that the vision in these two works of what a poem is and can be, the importance of concision, the valuing of wit, have been consistent with Elaine Equi since day one. It&#8217;s great to have this big collection in hand all at once. <o:p></o:p></span></p>
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<h2>Email</h2>
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<li>silliman AT gmail DOT com</li>
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<h2>Silliman Sites</h2>
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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>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</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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