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<h2 class='date-header'><span>Monday, February 04, 2008</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><img height="420" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/2_CsOOPiLBUoA2MbSU7CyddniQD8k_fQKps8Ix0xJLHmTYwftZh-6vSrlLG8dM3-1Za0rzY6mh-Ec6xK8M1KU07ALLo8ANGlRENtpbZ3bbdl07Y%3Ds0-d" width="294"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I&#8217;ve been reading <a href="http://www.geoffreyyoung.com/"><span style='color:black'>Geoffrey Young&#8217;s</span></a> <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/27hajk"><span style='color:black'>The Riot Act</span></a> </i>very slowly. It&#8217;s one of those delicious books that you never want to end. In one sense, <a href="http://tinyurl.com/2bgkz8"><span style='color:black'>Geoffrey Young</span></a> is the poet Billy Collins &amp; Ted Kooser both would like to be, writing self-contained works that are narrative marvels and accessible to just about any reader of English. Dig:<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:Verdana;mso-bidi-font-family:Arial;color:black'>Because of You</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
A few years ago<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>I charged into each day<br>
for the game of it,<br>
not sweating the past,<br>
<br>
not constructing<br>
a future, but today,<br>
because of you,<br>
I want to drive<br>
<br>
to Coney Island<br>
in a light snow,<br>
cross the beach<br>
to the water&#8217;s edge<br>
<br>
and watch the flakes melt<br>
on contact with wet sand.<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'>Riot Act </span></i><span style='font-size:10.0pt;font-family:Arial'>is just studded with gems like this sonnet. It&#8217;s narrative in the same sense that the Eric <span class=SpellE>Fischl</span> painting on the cover of Geoff&#8217;s book could be called narrative, in that the simple juxtaposition of details convey vast worlds beyond themselves. Not only that of Brooklyn, love, of the way values evolve over the course of a life, all framed here against the limitless potential of nature &#8211; the ocean, the sky, even the land &#8211; but Young manages also to write the kind of poem we might have associated 50 years ago with the likes of David Ignatow, the poem flowing in a single movement to the utter closure of &#8220;wet sand,&#8221; a noun phrase every bit as soft as the image it presents.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Here&#8217;s another sonnet, &#8220;Down the Garden Pathology,&#8221; which confronts the implications of globalization &amp; climate change:<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'>After great pain a formal<br>
invitation comes to return<br>
to the sidewalks of daily life.<br>
Dishes in the sink await our love<br>
<br>
of <span class=SpellE><i style='mso-bidi-font-style:normal'>verismo</i></span><i style='mso-bidi-font-style:normal'> </i>as fruit flies<br>
await their apotheosis in garbage.<br>
Share-croppers played checkers<br>
with bottle caps; will our unborn<br>
<br>
grand-children know orthodontia?<br>
Our islands sink below the reach of satellite?<br>
Each child of privilege shall hold<br>
her guts in hunger, the way<br>
<br>
a parking lot looks after rain<span class=GramE>,</span><br>
The way they say you lose everything to gain.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The beginning of this poem is a little mysterious. It almost sounds <span class=SpellE>Ashberyesque</span>, not unlike the way much of the rest invokes, to my ear anyway, the work of Jimmy Schuyler &#8211; the way the scales tip awkwardly on a phrase like <i style='mso-bidi-font-style:normal'>apotheosis in garbage, </i>yet also perfectly poised. Note how the rhyme in the final couplet brings you right back to that same sound in the poem&#8217;s initial noun phrase, <i style='mso-bidi-font-style:normal'>great pain. </i><span class=GramE>Or how that capital <i style='mso-bidi-font-style:normal'>T </i>at the head of the last line pulls you away from narrative closer to something like song.</span> <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>A lot of Young&#8217;s poems are like this, contrasting some horrific &#8211; yet often unspecified (as tho we&#8217;ve agreed not to mention it) &#8211; event with the plainest details of daily living. Denial and its consequences &#8211; I almost wrote <i style='mso-bidi-font-style:normal'>rewards </i>&#8211; is an obsessive theme here:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><st1:place><b style='mso-bidi-font-weight:normal'><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Mission</span></b></st1:place><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> Chair</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><br>
<br>
After lies and torture the feds finally order<br>
Lobster and bubbly for the detainees<span class=GramE>,</span><br>
Retooling their bricked-in personalities<br>
With freedom&#8217;s glaze and lexical radii<br>
<br>
As payback for the orange-clad years<br>
Of boredom, sweat and fear. You want<br>
Emergency infusions of allegro juice? You got it.<br>
<span class=GramE>Justice at last, country-less integers?</span><br>
<br>
Persist, oh captured hard luck cases.<br>
I bow before the cult of your resistance<span class=GramE>,</span><br>
Its mission chair. Loose lips install chips.<br>
Bill me for sorcery at the tree factory, Hill.<br>
<br>
Historians who dig for truth in <span class=SpellE>Harmsville</span><br>
Must first breathe the stench of Living Death.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>As ironic as that final sentence sounds, coming as it does after a line that slyly invokes both Clintons, at some level it&#8217;s absolutely literal. This is the War on Terror viewed as through a David <span class=SpellE>Hockney</span> painting. The mismatch is positively chilling.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>It may seem odd that Young, a longtime gallery owner and contemporary art consultant, who lived in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Paris</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> &amp; then the Southwest before a few crucial years in the Bay Area &amp; now finally the Berkshires of Western </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Mass.</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial'>, should be one of the pivotal figures in the history of language poetry, but he <span style='color:black'>is. His press The Figures, which the back cover of this book speaks of in the past tense as &#8220;1975-2005,&#8221; published many of the western langpo writers, <span class=GramE>myself</span> included, even while Geoff himself held the writing somewhat at arm&#8217;s length. Those books with their high art design &#8211; <a href="http://tinyurl.com/2e4d9y"><span style='color:black'>John <span class=SpellE>Baldessari</span> </span></a>did the cover for the first edition of <i style='mso-bidi-font-style:normal'>Tjanting, </i><a href="http://tinyurl.com/2yy6kd"><span style='color:black'>John Moore</span></a> did the one for <i style='mso-bidi-font-style:normal'>What, </i><a href="http://tinyurl.com/2d2os6"><span class=GramE><span style='color:black'>Francie Shaw</span></span></a> did many covers for The Figures &#8211; helped give western langpo a brand identity quite beyond the writing and had a lot to do with skeptics picking up the volumes to read them. Yet Young also published and genuinely like the writing of Stan Rice, for example, a move that made the more militant among us scratch our heads. At times in those days, Young&#8217;s own poems often seemed dour &#8211; he is, as he reminds us here at points, the son of an alcoholic with all of the horrors that that entails. <o:p></o:p></span></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But the move east appears to have been good for him as </span><span style='font-size:10.0pt;font-family:Arial'>his writing has developed further into something that is at once reminiscent, say, of first- and second-<span class=SpellE>gen</span> NY School poets while at the same time surprisingly committed &#8211; imagine a political Ron Padgett or Bill Berkson tackling the themes of Kafka. <i style='mso-bidi-font-style:normal'>The Riot Act </i>comes in three parts, 34 sonnets &#8211; the jacket somewhat diffidently calls them <i style='mso-bidi-font-style:normal'>faux </i>sonnets, but there&#8217;s nothing faux about them &#8211; a series of prose works, only one of which extends past the second page, and a final suite of &#8220;occasional poems.&#8221; I&#8217;m not done with this yet and really don&#8217;t want to talk about the two final sections. It&#8217;s the sonnet sequence that has completely floored me &#8211; there are more varied and totally intriguing instances of what this form might be for the 21<sup>st</sup> century than any other book I can recall. Geoff Young is a sonneteer on a par with Bernadette Mayer or <span class=SpellE>Laynie</span> Browne. Here is, in his thoroughly narrative mode, <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:Verdana;mso-bidi-font-family:Arial'>Of Wetness<br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><br>
With crayon<span class=GramE>,</span><br>
from memory,<br>
a child is trying<br>
to draw the roiling<br>
<br>
heave and swell<br>
of whitecaps<br>
in a passage<br>
of choppy waves<br>
<br>
while a parent<br>
at twilight<br>
at the kitchen sink<br>
chops onions<br>
<br>
dabbing at<br>
unwanted tears. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>What strikes me is the degree to which these lines could have come straight from a poem by William Carlos Williams in his <i style='mso-bidi-font-style:normal'>Spring &amp; All </i>phase &#8211; one of the section&#8217;s three epigrams is Williams&#8217; &#8220;To me all sonnets say the same thing of no value.&#8221; Or consider how Young toys with <span class=SpellE>Valery&#8217;s</span> argument against fiction while simultaneously invoking Frank O&#8217;Hara in the sequence&#8217;s title poem, &#8220;Why I Don&#8217;t Write Novels&#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'>A man approaches a closet<span class=GramE>,</span><br>
opens the door, reaches in,<br>
selects a shirt, slips it off<br>
the hanger, replaces hanger<br>
<br>
on rod, turns from closet<br>
with shirt in hand,<br>
and without shutting closet<br>
door, walks into bathroom,<br>
<br>
stands in front of mirror,<br>
puts shirt on, watches<br>
his hands buttoning it, loosens<br>
his belt, tucks shirt into pants,<br>
<br>
tightens belt, smiles at<br>
the glass, leaves the room.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>There is a calculated austerity here &#8211; we don&#8217;t know the type or color of the shirt beyond its having buttons, many of the articles are clipped off &#8211; &#8220;walks into bathroom, / stands in front of mirror, / puts shirt on&#8221; &#8211; against which the sheer love of narrative construction scrapes. Yes, fiction has to get characters dressed &amp; out the door, but it is true also &#8211; as Young shows us here &#8211; that poetry can do all these very same things with far greater concision &amp; power. <i style='mso-bidi-font-style:normal'>The Riot Act </i>is a <span class=SpellE>fab</span> book and &#8220;Why I Don&#8217;t Write Novels&#8221; is must-read material for anyone interested in the possibilities of sonnet form. <o:p></o:p></span></p>
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