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Showing posts with label <b>George Oppen</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>George Oppen</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, September 09, 2014</span></h2>

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<a href="http://epc.buffalo.edu/authors/oppen/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Oppen</span></a></span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 20.0pt; line-height: 200%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
<br />
</span><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%;"><a href="http://media.sas.upenn.edu/Pennsound/authors/Oppen/SFSU/Oppen-George_Complete-Reading_SFSU_2-19-63.mp3"><span style="color: red;">reading</span></a></span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
<br />
@ the Poetry Center<br />
<br />
San Francisco State University<br />
<br />
1963</span></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/09/14_9.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-09-09T00:00:00-04:00'>Tuesday, September 09, 2014</abbr></a>
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<h2 class='date-header'><span>Sunday, December 01, 2013</span></h2>

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<a href="http://www.poetryfoundation.org/bio/george-oppen"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Oppen</span></a></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;"><a href="http://slought.org/media/media-mp3/1129-1967-00-00-1-Oppen.mp3"><span style="color: red;">reading</span></a></span></b></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">in <a href="http://slought.org/toc/Vancouver1963/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Buffalo</span></a>,
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2013/12/14.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2013-12-01T00:00:00-05:00'>Sunday, December 01, 2013</abbr></a>
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<h2 class='date-header'><span>Monday, January 30, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;font-family:"Arial","sans-serif"'>Sailor, soldier, father, friend<span class=GramE>,<br>obsessive reader of <i>Pogo</i>:</span><br> Perspectives on George Oppen<br> with Linda Oppen, Rachel Blau DuPlessis,<br> Patrick Pritchett, Bob &amp; Helene Quinn<o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, October 01, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: normal'><span style='font-size:8.0pt;line-height:115%'>George &amp; Mary Oppen</span></i><br> <a href="http://www.sjphoto.com/geo_mary.jpeg"><span style='mso-bidi-font-size:10.0pt;line-height:115%;color:windowtext;mso-no-proof: yes;text-decoration:none;text-underline:none'><img border="0" height="272" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/MCfSpHLwg-4qRouz9HNAmLVfPfjzWwWMfM03cuPxL6-kPbbvfo-9HRnfAzKo4aRYkw9C65eHluF8s-b4N-N_u-s12y-s3RGLbBLVW1t_BQ%3Ds0-d" width="414"></span></a><i style='mso-bidi-font-style:normal'><span style='mso-bidi-font-size:10.0pt; line-height:115%'><o:p></o:p></span></i></p>
<p class=MsoNormal align=center style='text-align:center'><span style='mso-bidi-font-size:10.0pt;line-height:115%;color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://www.poetryfoundation.org/download-file?file=/audio/George-Oppen_Essential-American-Poets.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>George Oppen: Essential American Poet</span></a></span><i style='mso-bidi-font-style: normal'><span style='mso-bidi-font-size:10.0pt;line-height:115%'> <o:p></o:p></span></i></p>
<p class=MsoNormal align=center style='text-align:center'><span style='mso-bidi-font-size:10.0pt;line-height:115%;color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://epc.buffalo.edu/authors/oppen/index.html"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Oppen&#8217;s EPC page</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, April 07, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="450" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/hFfObc0ar5n9QVe4MLRFEjvbaKRU6TEOWekOL4_btSHjN3mNeXRff7AVim_Ojai4wNLDOPnN5N5o4qThKRAZeSNeQVdMzkRbFFk54D-e-OgE%3Ds0-d" width="332"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I was somewhere in the vicinity of 20 to 22-years-old when, during an intermission at a marathon antiwar reading at Glide Memorial Church in San Francisco where I was hovering, as was my wont, at the periphery of a crowd that surrounded Robert Duncan, who had just read, when Mark <span class=SpellE>Linenthal</span>, whom I knew from his role as the director of the San Francisco Poetry Center, approached with a granite-faced man and said to Duncan, &#8220;Robert, I want you to meet George Oppen.&#8221; I can recall also Oppen&#8217;s first words to </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Duncan</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>, &#8220;I want to speak to you about your open vowels.&#8221; It was an event that seared itself into my memory because it violated one of the tenets of my <span class=GramE>imagination, that</span> all famous writers already knew one another, must secretly hang out together, having fabulous gabfests, the &#8220;deep gossip&#8221; we associate with poetry. What I don&#8217;t recall &#8211; and this is the first of several regrets I have here &#8211; perhaps because I was so overwhelmed at the idea that I watching the meeting of Duncan &amp; Oppen, was what Robert replied. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>My second regret, unfortunately not an uncommon one for anyone who was a renter for decades, especially in an area like San Francisco or the East Bay, where one is forever having to balance space &amp; the needs of one&#8217;s book collection, is that I no longer appear to possess one of my favorite volumes of that period, four decades ago, a copy of Oppen&#8217;s first book, <i style='mso-bidi-font-style:normal'>Discrete Series, </i>published not by Oppen himself, but a chapbook reprint done by Ron <span class=SpellE>Caplan</span> out of Cleveland. At a time when everyone I knew seemed to own copies of <i style='mso-bidi-font-style:normal'>The Materials, This in Which, </i>and <i style='mso-bidi-font-style:normal'>Of Being Numerous, </i>I was just about the only person I knew who owned a copy of that. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I&#8217;d acquired my copy of <i style='mso-bidi-font-style:normal'>The Materials </i>early on, I don&#8217;t know where, almost certainly at Cody&#8217;s or Moe&#8217;s in Berkeley or (far less likely) City Lights across the Bay. <i style='mso-bidi-font-style:normal'>This in Which </i>I&#8217;d appropriated, the old five-finger-discount, the first time I&#8217;d ever seen a copy, from the university bookstore at UWM, the University of Wisconsin &#8211; Milwaukee, in the summer of 1967. Rochelle Nameroff, my wife at the time, and I couldn&#8217;t believe our good fortune. Here was this old Objectivist, actually alive &amp; writing again, producing great work. There are poems there, such as &#8220;Street,&#8221; as fine as anyone has written:<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'>Ah these are the poor<span class=GramE>,</span><br>
These are the poor &#8211;<br>
<br>
</span><st1:Street><st1:address><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Bergen Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>.<br>
<br>
Humiliation<span class=GramE>,</span><br>
Hardship . . . <br>
<br>
Nor are they very good to each other;<br>
It is not that. I want<br>
<br>
An end of poverty<br>
As much as anyone<br>
<br>
For the sake of intelligence<span class=GramE>,</span><br>
&#8216;The conquest of existence&#8217; &#8211;<br>
<br>
It has been said, and is true &#8211;<br>
<br>
And this is the real pain,<br>
Moreover. It is terrible to see the children<span class=GramE>,</span><br>
<br>
The righteous little girls;<br>
So good, they expect to be so good . . . <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Ellipses, as they say, in the original. There are small moments here that I don&#8217;t think I fully understood or appreciated as a young man, the doubleness created by &#8220;An end <i style='mso-bidi-font-style:normal'>of </i>poverty,&#8221; rather than the more standard preposition <i style='mso-bidi-font-style:normal'>to. </i>Or the reiteration in that last line, which at the time I might have read as sentiment rather than the certainty of horror. Or that most curious of words, <i style='mso-bidi-font-style:normal'>Moreover, </i>concluding the longest of this poem&#8217;s <span class=GramE>disjointed,</span> half-broken sentences. This is a poem that works precisely in all the ways its syntax appears not to. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>But the poems of <i style='mso-bidi-font-style:normal'>Discrete Series, </i>composed between 1929 &amp; 1934, spoke to me then, as they do to me now, with <span class=GramE>a directness</span> I find nowhere else in Oppen&#8217;s work. It&#8217;s not simply that they were the poems of someone in his early twenties, the same age I was when I came upon that volume at Serendipity Books in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>.(It&#8217;s hard for me to imagine that when Oppen met Duncan back there at Glide Church, he was not yet 60, younger than I am today, or that Duncan, who was older than my parents, was not yet 50.) Rather, <i style='mso-bidi-font-style:normal'>Discrete Series</i> offers the poems of a modernist, an aesthetic in which action (including even political action) is possible. Consider, for example, how the gaps &amp; omissions of the following untitled piece operate in contrast with &#8220;Street&#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'><span style='mso-spacerun:yes'>  &nbsp; &nbsp;   </span>Thus<br>
Hides the<br>
<br>
Parts &#8211; the prudery<br>
Of Frigidaire, of<br>
Soda-jerking &#8211; <br>
<br>
Thus <br>
<br>
Above the<br>
<br>
Plane of lunch, of wives<br>
Removes itself<br>
(As soda-jerking from<br>
the private act<br>
<br>
Of<br>
Cracking eggs);<br>
<br>
big-Business<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>This poem operates like a tiny Moebius strip in that the dangling final noun-phrase <i style='mso-bidi-font-style:normal'>big-Business </i>is precisely that which &#8220;Hides the // Parts &#8211; the prudery / Of Frigidaire.&#8221; There is, in any consumer business, including one as simple as a lunch counter, a radical gap between that which is customer-facing &amp; that which is not. This dissociation between public &amp; private is paralleled by that alienation that transforms any &#8220;private act&#8221; into labor for pay. Thus if the gaps of &#8220;Street&#8221; stand for just how good those righteous little girls won&#8217;t be soon enough, and how and why, the vertigo of sheer terror, the unmarked ellipses of this earlier poem stand for processes no less brutal, but hardly inevitable. Only one of these exists in a world in which political action is even conceivable. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I will always be an advocate for the earliest Oppen. Far from the unrealized works of a beginning writer, they show us the poems of an optimist, someone who has not yet adjusted to the permanent defeat that was Stalinism. The later work, at least through <i style='mso-bidi-font-style:normal'>Of Being Numerous, </i>is no less luminous, but its relationship to the world is chastened, perhaps even depressed. This of course leads to my last regret &#8211; those twenty-five years between poems. <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:20.0pt;font-family:Arial'>&#1078;<span style='mso-tab-count:1'>    </span>&#1078;<span style='mso-tab-count:1'>    </span>&#1078;<o:p></o:p></span></b></p> 

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center'><b><span style='font-size:14.0pt;font-family:Verdana;color:blue'>A Celebration of</span></b><b><span style='font-size:16.0pt;font-family:Verdana;color:blue'> <br>
</span></b><b><span style='font-size:16.0pt;font-family:Verdana;color:red'>George Oppen&#8217;s 100<sup>th</sup> Birthday<br>
</span></b><b><span style='font-size:14.0pt;font-family:Arial;color:blue'>100 minutes of talk &amp; poetry<u1:p></u1:p></span></b><o:p></o:p></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><span style='font-size:10.0pt;font-family:Arial'>Hosted by <b>Rachel Blau DuPlessis</b> &amp; <b>Thomas Devaney<br>
</b>&amp; featuring<b><br>
Stephen Cope</b>, <b>George <span class=SpellE>Economou</span></b>, <b>Al Filreis</b>, <br>
<b>Michael Heller</b>, <b>Ann Lauterbach</b>, <b>Tom Mandel</b>, <br>
<b>Bob Perelman</b>, &amp; <b>Ron Silliman<u1:p></u1:p></b></span><o:p></o:p></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><b><span style='font-size:14.0pt;font-family:Arial;color:blue'>Today, April 7<u1:p></u1:p></span></b><o:p></o:p></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><st1:time hour="18" minute="0"><st1:time Minute="0" Hour="18"><b><span style='font-size:10.0pt;font-family:Arial'>6:00 PM</span></b></st1:time></st1:time><b><span style='font-size:10.0pt;font-family:Arial'>, Arts Café, Kelly Writers House<br>
3805 </span></b><st1:place><st1:placename><st1:place><st1:PlaceName><b><span   style='font-size:10.0pt;font-family:Arial'>Locust</span></b></st1:placename></st1:PlaceName><b><span  style='font-size:10.0pt;font-family:Arial'> </span></b><st1:PlaceName><b><span   style='font-size:10.0pt;font-family:Arial'><st1:placename>Walk</span></b></st1:placename></st1:PlaceName><b><span  style='font-size:10.0pt;font-family:Arial'><br>
 </span></b><st1:PlaceType><b><span style='font-size:10.0pt;font-family:Arial'><st1:placetype>University</span></b></st1:placetype></st1:place></st1:PlaceType></st1:place><b><span style='font-size:10.0pt;font-family:Arial'> of </span></b><st1:state><st1:place><st1:State><st1:place><b><span style='font-size:10.0pt;font-family:Arial'>Pennsylvania</span></b></st1:place></st1:state></st1:place></st1:State><b><span  tyle='font-size:10.0pt;font-family:Arial'><br>
</span></b><st1:City><st1:place><b><span style='font-size:10.0pt;font-family:Arial'><st1:city><st1:place>Philadelphia</span></b></st1:place></st1:city></st1:place></st1:City><o:p></o:p></p>
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<h2 class='date-header'><span>Thursday, April 03, 2008</span></h2>

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<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:16.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:blue'>A Celebration of <br>
</span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:red'>George Oppen&#8217;s 100<sup>th</sup> Birthday<br>
</span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:14.0pt;font-family:Arial;color:blue'>100 minutes of talk &amp; poetry<o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><span style='font-size:10.0pt;font-family:Arial'>Hosted by <b>Rachel Blau DuPlessis</b> &amp; <b>Thomas Devaney<br>
</b><span style='mso-bidi-font-weight:bold'>&amp; featuring<b><br>
Stephen Cope</b></span>, <b>George Economou</b>, <b>Al Filreis</b>, <br>
<b>Michael Heller</b>, <b>Ann Lauterbach</b>, <b>Tom Mandel</b>, <br>
<b>Bob Perelman</b>, &amp; <b>Ron Silliman<o:p></o:p></b></span></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><b><span style='font-size:14.0pt;font-family:Arial;color:blue'>Monday, April 7<o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center'><st1:time Hour="18" Minute="0"><b><span style='font-size:10.0pt;font-family:Arial'>6:00 PM</span></b></st1:time><b><span style='font-size:10.0pt;font-family:Arial'>, Arts Café, Kelly Writers House<br>
3805 </span></b><st1:place><st1:PlaceName><b><span style='font-size:10.0pt;font-family:Arial'>Locust</span></b></st1:PlaceName><b><span  style='font-size:10.0pt;font-family:Arial'> </span></b><st1:PlaceName><b><span   style='font-size:10.0pt;font-family:Arial'>Walk</span></b></st1:PlaceName><b><span  style='font-size:10.0pt;font-family:Arial'><br>
 </span></b><st1:PlaceType><b><span style='font-size:10.0pt;font-family:Arial'>University</span></b></st1:PlaceType></st1:place><b><span style='font-size:10.0pt;font-family:Arial'> of </span></b><st1:State><st1:place><b><span   style='font-size:10.0pt;font-family:Arial'>Pennsylvania</span></b></st1:place></st1:State><b><span style='font-size:10.0pt;font-family:Arial'><br>
</span></b><st1:City><st1:place><b><span style='font-size:10.0pt;font-family:Arial'>Philadelphia</span></b></st1:place></st1:City><b><span style='font-size:10.0pt;font-family:Arial'><o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><img height="450" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/uEHPFjERcW5QfUeIhDK5VbBqjYUpszvj6iYTWJ-N1BzJrZYUgHxiTvnPcAuDIcpMQnQYJTp-GF5ODpBUFKqbvQM4-w6KW8Xs8Q%3Ds0-d" width="305"></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>George Oppen</span></b><span style='font-size:10.0pt;font-family:Arial'> and his wife, Mary, sailed and hitchhiked from the West Coast to </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'> in the 1920s. There, Oppen became a central member of the Objectivist Group of poets that flourished in the 1930s. George and Mary Oppen moved increasingly to the left during the Depression, becoming social activists and joining the Communist party in 1935. During this period Oppen's poems appeared in small journals such as <i>Active Anthology, Poetry, </i>and <i>Hound and Horn</i>, but he soon gave up writing for more than two decades. Oppen revived his poetic career when he returned to the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial'>United  States</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial'> in 1958. In 1962, New Directions published Oppen's second book of poetry, <i>The Materials</i>, which was followed by <i>This in Which</i> (1965). In 1969, <i>Of Being Numerous</i> (1968) was awarded the Pulitzer Prize for poetry. Oppen's <i>Collected Poems</i> (1975) includes all of his poetry from <i>Discrete Series</i> (1934) through his last work, <i>Myth of the Blaze</i> (1975). In the late 1960s, Oppen moved to </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>San   Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>, where he lived until his death in 1984. <o:p></o:p></span></p>

<p style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial'>Poet and critic <b>Stephen Cope</b> is editor of <i>George Oppen: Selected Prose Daybooks, and Papers</i> (</span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>U.</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>California Press</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial'>, 2008), and a founding editor of Essay Press. He has taught at universities in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial'>California</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial'>, </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Iowa</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial'>, and </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Ohio</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial'>, and is on the faculty of </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>Bard</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>College</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'>'s Language and Thinking program. <o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Thomas Devaney</span></b><span style='font-size:10.0pt;font-family:Arial'> is the author <i>A Series of Small Boxes</i> (Fish Drum, 2007). He teaches in the Critical Writing Program at the </span><st1:place><st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'>University</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>Pennsylvania</span></st1:PlaceName></st1:place><span  style='font-size:10.0pt;font-family:Arial'>, and is editing a feature section &quot;Oppen at 100&quot; for <i>Jacket 38</i> (October 2008).<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Rachel Blau DuPlessis</span></b><span style='font-size:10.0pt;font-family:Arial'> has both written on George Oppen's work and edited his <i>Selected Letters</i> (Duke U.P., 1990). DuPlessis has published numerous books of poetry and literary criticism; her most recent critical book is <i>Blue Studios: Poetry and its Cultural Work</i>. She teaches in the English Department of </span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>Temple</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>University</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'>.<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>George Economou</span></b><span style='font-size:10.0pt;font-family:Arial'>'s latest book is <i>Acts of Love, Ancient Greek Poetry from Aphrodite's Garden</i> (Modern Library/Random House). Books of Cavafy translations and the poems &amp; fragments of Ananios Kleitor are forthcoming.<o:p></o:p></span></p> 

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Al Filreis</span></b><span style='font-size:10.0pt;font-family:Arial'> is Kelly Professor, Director of the Center for Programs in Contemporary Writing, Faculty Director of the Kelly Writers House and author of four books, most recently <i>Counter-revolution of the Word: The Conservative Attack on Modern Poetry, 1945-60</i>.<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Michael Heller</span></b><span style='font-size:10.0pt;font-family:Arial'> is a poet, essayist and critic. Forthcoming in 2008 are <i>Eschaton</i>, a new book of poems, <i>Speaking the Estranged</i>, a collection of his essays on George Oppen, and <i>Marble Snows: Two Novellas</i>.<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Ann Lauterbach's</span></b><span style='font-size:10.0pt;font-family:Arial'> most recent books are <i>Hum and The Night Sky: Writings on the Poetics of Experience</i>. She is Schwab Professor of Languages and Literature at </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Bard</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>College</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'>, where she also co-directs Writing in the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Milton</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Avery</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Graduate</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'> of the Arts.<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Tom Mandel</span></b><span style='font-size:10.0pt;font-family:Arial'> grew up in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Chicago</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> and was educated in its jazz and blues clubs and at the </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial'>University</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>Chicago</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial'>. He is the author of more than a dozen books including <i>To the Cognoscenti</i> (2007) and is one of the authors of <i>The Grand Piano</i>, an ongoing experiment in collective autobiography.<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Bob Perelman</span></b><span style='font-size:10.0pt;font-family:Arial'> has published numerous books of poetry, most recently <i>Iflife</i>. He teaches at the </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial'>University</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Pennsylvania</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial'>.<o:p></o:p></span></p>

<p style='margin-left:.5in'><b><span style='font-size:10.0pt;font-family:Arial'>Ron Silliman</span></b><span style='font-size:10.0pt;font-family:Arial'>'s most recent book is <i>The Age of Huts</i> (compleat) and several volumes of the collectively written <i>Grand Piano</i> project. In 2008, the </span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>University</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>Alabama Press</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial'> will publish <i>The  Alphabet</i>.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, September 20, 2002</span></h2>

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<span style="font-family: Arial;">Having praised Joseph
Massey&#8217;s <i style="mso-bidi-font-style: normal;">Minima St., </i>one aspect of
the book continues to haunt. If its truest predecessor might be George Oppen&#8217;s <i style="mso-bidi-font-style: normal;">Discrete Series</i>, what does that mean? <i style="mso-bidi-font-style: normal;">Discrete Series </i>was published 68 years
ago; Oppen himself has been gone for nearly 20. Do my sardonic comments
comparing &#8220;mainstream&#8221; poets with Bing Crosby* not apply if, in fact, the
writing from the 1930s happens to be work within my own literary tradition?<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I was mulling this over when
I came across the first sonnet in Anselm Hollo&#8217;s most recent collection, <i style="mso-bidi-font-style: normal;">So the Ants Made it to the Catfood</i> (Samizdat,
2001), which begins:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">now</span></span><span style="font-family: Arial;">
that some of the young ones<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">have</span></span><span style="font-family: Arial;">
taken to writing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">like</span></span><span style="font-family: Arial;">
Eugene <span class="SpellE">Jolas</span> and Elsa von Freytag again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">(<span class="GramE">if</span> not quite as vigorously)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">(<span class="GramE">pass</span> the thesaurus, said the <span class="SpellE">dinosaurus</span>)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">we</span></span><span style="font-family: Arial;"> may
once again enjoy the &#8220;oh I see<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">(s<span class="GramE">)he</span> just found out about that&#8221; experience<o:p></o:p></span></div>
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<span style="font-family: Arial;">My own first book, <i style="mso-bidi-font-style: normal;">Crow </i>(Ithaca House, 1971), was composed
largely under the spell of William Carlos Williams&#8217; <i style="mso-bidi-font-style: normal;">Spring &amp; All</i>, which Harvey Brown&#8217;s Frontier Press had
re-released in 1970. Williams&#8217; book, which had first appeared in 1923, was more
radical than almost anything appearing in print in the 1960s. But it was
radical not in the <span class="SpellE">Jolas</span>/von Freytag sense of a
circus of typographies &#8211; Williams&#8217; essay in action was revolutionary in its
common sense about the nature of writing &amp; its relation to the world.
Forty-seven years after its first publication, <i style="mso-bidi-font-style: normal;">Spring &amp; All</i> was still revolutionary<span class="GramE">.*</span>*<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">If the history of poetry is
ultimately a history of change, any model of such a history would account not
only for the movement of poetry, the elaboration of new devices and forms, the
perpetual redefinition of literature itself, but also for the capacity of all
forms to carry onward from whatever point they become socially established as
viable. For forms linger </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">efinitely.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Consider this. Poetry Daily&#8217;s
directory of current articles and reviews in web-accessible media (<a href="http://poetrydaily.org/news.htm">http://www.poems.org/news.htm</a>) lists
the following, as the sum of what was being discussed this week:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Seven pieces on
British poets, including two each on Auden and Motion and one review of a
Wilfred Owens biography &#8211; the bulk of these come from <i style="mso-bidi-font-style: normal;">The Guardian</i>, perhaps the only English-language publication in the
world that would consider running more than two pieces on poetry in one week <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Two pieces on
Dana <span class="SpellE">Gioia&#8217;s</span> <i style="mso-bidi-font-style: normal;">Can
Poetry Matter? </i><span class="GramE">including</span> one by Adam Kirsch in the
militantly conservative <i style="mso-bidi-font-style: normal;">New York Sun </i>that
characterizes the book as &#8220;"one of the most important American books of
poetry criticism of the last 50 years."<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Two pieces on
poet laureate Billy Collins from the <i style="mso-bidi-font-style: normal;">Indianapolis
Star</i> and <i style="mso-bidi-font-style: normal;">Seattle Weekly </i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">An obituary of
William Phillips, founder of the <i style="mso-bidi-font-style: normal;">Partisan
Review</i>, the journal that proved central to the career of Robert Lowell and
his group of Brahmans<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">A review of Mona
Van <span class="SpellE">Duyn&#8217;s</span> <i style="mso-bidi-font-style: normal;">Selected
Poems</i> from the <i style="mso-bidi-font-style: normal;">New York Times</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Seven items on
poetry in relation to the commemoration to the September 11<sup>th</sup>
attacks<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">One seasonal
item &#8211; Edward Hirsch&#8217;s column from the <i style="mso-bidi-font-style: normal;">Washington
Post</i> &#8211; on Yom Kippur<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">An article on the
nominations process for the poet laureate position in </span><st1:state><st1:place><span style="font-family: Arial;">Louisiana</span></st1:place></st1:state><span style="font-family: Arial;"> from the <i style="mso-bidi-font-style: normal;">New
Orleans Times-Picayune</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">A piece on the
poet Susan Firer from the <i style="mso-bidi-font-style: normal;">Milwaukee
Journal Sentinel </i>that actually mentions Allen Ginsberg, Frank O&#8217;Hara, Ted
Berrigan, Kenneth Koch and Alice Notley, &#8220;whose thorny work is a strong
influences <i style="mso-bidi-font-style: normal;">[sic] </i>on her right now.&#8221; <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Is it any wonder that a
general reader might come away with the impression that American writing is, at
best, a tributary of the most reactionary British literary tendencies? In this
context, a work that demonstrates an affiliation with George Oppen&#8217;s early
writing most definitely gets a pass &#8211; <i style="mso-bidi-font-style: normal;">Discrete
Series</i> is in many ways more current and relevant than at least 14 of the 15
&#8220;non-911&#8221; items that appeared in the past week. <i style="mso-bidi-font-style: normal;">Spring &amp; All</i> is beyond imagining.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But I worry that I/we fail
to do ourselves justice if we merely settle for the perpetuation of our own
favorite genres of the past. In my own case, it is true that I needed to go <i style="mso-bidi-font-style: normal;">through</i> the writing of Williams in order
to begin my own work. It is also true <span class="GramE">that today there are</span>
at least a half dozen different versions of post-Objectivism about. Those that
merely replicate the surface features of the poems seem to me radically at odds
with what Oppen, Zukofsky, Rakosi, Reznikoff, Niedecker and Bunting were up to
some 70 years ago.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*See my
note for September 2 in the archive. What this question regarding </span><st1:street><st1:address><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Minima St.</span></i></st1:address></st1:street><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;"> </span></i><span style="font-family: Arial; font-size: 10.0pt;">highlights, however indirectly, is
that normative mainstream poetry really is the literary equivalent of something
that comes <i style="mso-bidi-font-style: normal;">before</i> Bing Crosby! Thus
Robert <span class="SpellE">Pinsky</span> might be thought of as the contemporary
of, say, Scott Joplin, rather than of Anthony Braxton or John Zorn.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** &amp; 32
years after the Frontier Press edition, it still is.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Sunday, September 08, 2002</span></h2>

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<span style="font-family: Arial;">One of the most interesting
inclusions in the ridiculously named <i style="mso-bidi-font-style: normal;">The
Best American Poetry 2002</i> (Scribner), guest edited by Robert Creeley, is a
series of twenty-six fragments written by the late George Oppen, &#8220;scrawled on envelopes
and other small pieces of paper &#8211; posted to the walls of George Oppen&#8217;s study
and gathered after his death.&#8221; One in fact was written in pencil directly on
the wall itself. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One that I find most
haunting is the second:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span style="font-family: Arial;">I
find I am forgetting<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">all</span></span><span style="font-family: Arial;"> the
spoken<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp; </span>of<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">and</span></span><span style="font-family: Arial;"> the
numbers<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>(i.e.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">how</span></span><span style="font-family: Arial;"> to
form them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span style="font-family: Arial;">----------------------<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">also</span></span><span style="font-family: Arial;">
the numbers<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">George Oppen died of
Alzheimer&#8217;s disease, the debilitating degenerative condition against which he
struggled for many years. This fragment appears to directly address that
condition and, in doing so, recalls the furor that met the exhibition of Willem
de Kooning&#8217;s last paintings, also created by an artist well into the
irreversible dementia of the disease. Were the sweeping and majestic spaces of his
last canvases &#8211; more akin to a Diebenkorn (albeit one with no straight lines)
than to the intense and misogynistic paintings of de Kooning&#8217;s signature work &#8211;
the sign of an artist who had arrive at a new (and theoretically more peaceful)
stage in his evolution or an index of the degeneration of one of the great
minds in painting? Because poetry depends precisely on language and is so
intimately entangled with consciousness itself, Oppen&#8217;s last fragments
inevitably raise the same issues. I&#8217;ve heard at least one person wonder aloud
as to the </span><st1:state><st1:place><span style="font-family: Arial;">wis</span></st1:place></st1:state><span style="font-family: Arial;">dom of printing these last unfinished pieces.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I&#8217;m persuaded by the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t themselves. Although not all are anywhere near
Oppen&#8217;s best poetry, some &#8211; like the above &#8211; are quite fine. While George Oppen
is rightly included among the Objectivists in literary history, the bulk of his
writing occurred after 1960, a point beyond which it was impossible not to be
aware of the New Americans.* The projectivists in particular were clear about
using poetry to represent the movement of thought, although others as diverse
as Phil Whalen, Allen Ginsberg and Frank O&#8217;Hara could be said to have also
written what Whalen once characterized as a &#8220;continuous nerve movie.&#8221; <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Oppen seems quite clear, if
not about words &amp; numbers as such, about the importance of tracking his own
consciousness against this greatest of challenges, its own ineluctable
decomposition. These fragments, many of which repeat themselves, stalking the
same terrain over &amp; over, articulate a mind working through some of the
most elemental facts of poetry and life with an absolute sense of just how
little time remains.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<br />
<br />
<div class="MsoNormal">
<span style="font-family: Arial;">*</span> <span style="font-family: Arial; font-size: 10.0pt;">Oppen was an attentive reader. I had
the fortune of being present when Mark Linenthal first introduced Oppen to
Robert Duncan. Oppen&#8217;s first words were, &#8220;I want to talk with you about your
use of open vowels.&#8221;<o:p></o:p></span></div>
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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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