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Showing posts with label <b>Gertrude Stein</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>Gertrude Stein</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, March 17, 2015</span></h2>

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<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;"><a href="http://www.poetryfoundation.org/bio/gertrude-stein"><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;">Gertrude</span></a>
<a href="http://en.wikipedia.org/wiki/Gertrude_Stein"><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;">Stein</span></a>
&amp; <a href="http://en.wikipedia.org/wiki/Virgil_Thomson"><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;">Virgil</span></a>
<a href="http://www.virgilthomson.org/"><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;">Thomson</span></a><br />
<br />
<i><a href="http://www.kpfahistory.info/music/4_saints.html"><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;">Four</span></a>
<a href="http://www.kpfahistory.info/music/4_saints_libretto.pdf"><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;">Saints</span></a>
in <a href="http://www.metmuseum.org/metmedia/video/collections/modern/four-saints-in-three-acts"><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;">Three</span></a>
<a href="http://en.wikipedia.org/wiki/Four_Saints_in_Three_Acts"><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;">Acts</span></a><br />
</i></span></b><b><i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%;"><br />
</span></i></b><b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;;"><a href="http://media.sas.upenn.edu/pennsound/authors/Stein/Four-Saints-in-Three-Acts/Stein-Gertrude_Four-Saints-in-Three%20Acts_1947_01.mp3"><span style="color: red;">Act One</span></a><br />
<a href="http://media.sas.upenn.edu/pennsound/authors/Stein/Four-Saints-in-Three-Acts/Stein-Gertrude_Four-Saints-in-Three%20Acts_1947_02.mp3"><span style="color: red;">Act Two</span></a><br />
<a href="http://media.sas.upenn.edu/pennsound/authors/Stein/Four-Saints-in-Three-Acts/Stein-Gertrude_Four-Saints-in-Three%20Acts_1947_03.mp3"><span style="color: red;">Act Three</span></a><o:p></o:p></span></b></div>
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<h2 class='date-header'><span>Saturday, June 14, 2014</span></h2>

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<br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; 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;"><a href="https://www.bookthug.ca/proddetail.php?prod=3350"><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;">Tender</span></a>
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<br />
<a href="http://counterpathpress.org/tender-buttons-marathon-reading-of-gertrude-steins-tender-buttons-monday-april-28-2014"><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;">Gertrude
Stein</span></a></span></b><b style="mso-bidi-font-weight: normal;"><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;"><br style="mso-special-character: line-break;" />
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<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; 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;">reading
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<a href="http://writing.upenn.edu/pennsound/x/Bloch.php"><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;">Julia</span></a>
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&amp; I<br />
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1914 <a href="http://www.bartleby.com/140/"><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;">classic text</span></a><o:p></o:p></span></div>
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<p class=MsoNormal align=center style='text-align:center'><a href="http://www.ubu.com/sound/stein.html"><span style='color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none'><img border="0" height="628" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/upDqbRVYzJIXdqtbva5PO68StZj8bGkbdPX1uVVHTdFlE6j7_CZiswKAjYS5Q5Ia4IsU6a4NEQwteLxOhwocpGr4FYKwguAJqUVU6n8FGbpVEMg%3Ds0-d" width="504"></span></a></p>
<p class=MsoNormal align=center style='text-align:center'>The many sides of <a href="http://www.poetryfoundation.org/audio/AlmostUnderstanding-AGAT_august2010.mp3"><span style='color:windowtext'>Gertrude Stein</span></a></p>
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<h2 class='date-header'><span>Sunday, January 10, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><a href="http://farm5.static.flickr.com/4022/4259745912_2f08cd52dd_o.jpg"><span style='color:windowtext;text-decoration:none;text-underline:none'><img alt="4259745912_2f08cd52dd_o.jpg" border="0" height="420" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/calreWsBPzzgf4CBiY3mowy1sygM6B3iWLh545QlTGIAhoDb47j2pOHpy2tIhXC2v-6-Fzw0klTSpVSSaE84fsjbZfPqAj0bHtJzyBM3EppUid4%3Ds0-d" width="291"></a><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>One week ago today there was a <a href="http://urchinpoetry.blogspot.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>guerrilla reading</span></a> of Gertrude Stein&#8217;s work at the Philadelphia Museum of Art, organized by the inimitable <a href="http://www.caconrad.blogspot.com/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'>CA Conrad</span></a>, Philly poetry&#8217;s modern day <a href="http://farm3.static.flickr.com/2395/1511659842_ddf34f3580_o.jpg"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Ben Franklin</span></a>. I got to it late but did get to read the following passage from <i style='mso-bidi-font-style:normal'><a href="http://www.gutenberg.org/files/15600/15600-h/15600-h.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>A Long Gay Book</span></a>, </i>a work Stein began writing over 100 years ago<i style='mso-bidi-font-style: normal'>:<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Beef yet, beef and beef and beef. Beef yet, beef yet.</p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Water crowd and sugar paint, water and the paint.</p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Wet weather, wet pen, a black old tiger skin, a shut in shout and a negro coin and the best behind and the sun to shine.</p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>A whole cow and a little piece of cheese, a whole cow openly. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>A cousin to a cow, a real cow has wheels, it has turns it has eruptions, it has the place to sit. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>A wedding glance is satisfactory. Was the little thing a goat. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>A, open, Open. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Leaves of hair which pretty prune makes a plate of care which sees seas leave perfect set. A politeness. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Call me ellis, call me it in a little speech and never say it is all polled, do not say so. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Does it does it weigh. Ten and then. Leave off grass. A little butter closer. Hopes hat. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Listen to say that tooth which narrow and lean makes it so best that dainty is delicate and least mouth is in between, what, sue sense. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Little beef, little beef sticking, hair please, hair please. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>No but no but butter. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Coo cow, coo coo coo. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Coo cow leaves of grips nicely. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>It is no change. It is ordinary. Not yesterday. Needless, needless to call extra. Coo Coo Coo Cow. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Leave love, leave love let. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>No no, not it a line not it tailing, tailing in, not it in. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Hear it, hear it, hear it. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Notes. Notes change hay, change hey day. Notes change a least apt apple, apt hill, all hill, a screen table, sofa, sophia. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Ba but, I promise, I promise that that what what is chased is chased big and cannily and little little is big too big best. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>No price list, no price list, a price-list, a price and list and so collected, so collected pipe, all one cooler, a little apple needs a hose a little nose is colored, a little apple and a chest, a pig is in the sneezing, no blotter, raised ahead. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>I promise that there is that. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>The hour when the seal up shows slobber. Does this mean goat. It does yes. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Be a cool purpose and a less collection and more smell more smell. </p>

<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'>Leave smell well. </p>

<p class=MsoNormal>There was some concern as to whether the museum or, more importantly, its guards might object to a dozen people suddenly appearing in a gallery to read from the works of Ms. Stein, and I understand that negotiating did occur at the moment of the reading&#8217;s inception that resulted in the exchange of portions of a chocolate bar to sweeten the deal, the remainder of which was later divided among poets in compensation for our efforts. At the end of the reading &#8211; which turned out to be me, laggard that I was &#8211; we gathered at the rotunda that joins the modern &amp; European wings of the museum &amp; simultaneously tossed pennies into the fountain. </p>
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<h2 class='date-header'><span>Friday, January 24, 2003</span></h2>

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<span style="font-family: Arial;">My blogs on the work of
Robert Grenier generated several responses. Allen Bramhall wrote with a
first-hand account of Grenier&#8217;s cards at </span><st1:place><st1:placename><span style="font-family: Arial;">Franconia</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">College</span></st1:placetype></st1:place><span style="font-family: Arial;"> (ellipsis in the original):<o:p></o:p></span></div>
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<tt><span style="font-family: Verdana; font-size: 10.0pt;">Dear Ron,<o:p></o:p></span></tt></div>
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<span class="GramE"><tt><span style="font-family: Verdana; font-size: 10.0pt;">mention</span></tt></span><tt><span style="font-family: Verdana; font-size: 10.0pt;"> of Robert Grenier makes me jump
up. Robert arrived at </span></tt><st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt;">Franconia</span></tt></st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt;"> the second of my two years there.
<span class="GramE">he</span> has influenced me greatly, even tho I have not
stayed in touch with him since leaving school. <span class="GramE">his</span>
curiosity and openness remain lessons to me as a reader and writer. I remember
him hauling out his batch of cards and saying he didn't know what to do with
them. <span class="GramE">sometime</span> after that he filled a hallway, that
was normally given over to displays of photographs and prints, to a... well I
want to say a performance of his cards. <span class="GramE">he</span> pinned them
in neat rows and columns on the corkboard. I remember seeing him at it, and
there was something of a graffiti artist's earnestness about where he was doing
this. <span class="GramE">the</span> hallway was rather dark but with the white
cards notably brighter. I did not expect the visceral effect of seeing so many
of his pieces on display. <span class="GramE">there</span> was and is a neat
feeling to holding a pile of his poems on your lap or spreading them across a
table or the floor, but the hallway display was of a different order. I
remember waiting for those poems to appear in some published form, because he
had said he wanted to bring them out somehow. <span class="GramE">his</span>
poster </span></tt><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><tt><span style="font-family: Verdana; font-size: 10.0pt;">Oakland</span></tt></i></st1:place></st1:city><tt><span style="font-family: Verdana; font-size: 10.0pt;">* is one attempt to make a display
of his works. <span class="GramE">the</span> </span></tt><st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt;">Franconia</span></tt></st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt;"> hallway was much more spacious,
of course, and whether or not he was satisfied with how the poster worked, it
was different from filling a hallway. I remember sticking a poem on the wall, a
quiet homage I think, not to horn in but because it felt right. <span class="GramE">the</span> display seemed to ask for response, as in an addition of
voice or something such. <span class="GramE">no</span> one else saw fit to chime
in, but as I said, the hallway display bore at least a little of the sense of
graffiti. <span class="GramE">anyway</span>, I was quite ignorant about poetry at
the time, and the year with Robert threw all sorts of mysteries at me, Olson,
Stein, Coolidge, Ashbery, Saroyan. <span class="GramE">he</span> got Coolidge,
Ashbery, and even Larry Eigner to read at </span></tt><st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt;">Franconia</span></tt></st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt;">, no small feat considering the
school's proximity to nowhere. <span class="GramE">it</span> pleases me that you
speak of him.<o:p></o:p></span></tt></div>
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<span class="GramE"><tt><span style="font-family: Verdana; font-size: 10.0pt;">yours</span></tt></span><tt><span style="font-family: Verdana; font-size: 10.0pt;"> sincerely,<o:p></o:p></span></tt></div>
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<tt><span style="font-family: Verdana; font-size: 10.0pt;">Allen Bramhall<o:p></o:p></span></tt></div>
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<st1:personname><span style="font-family: Arial;">Barrett
 Watten</span></st1:personname><span style="font-family: Arial;"> notes that <span class="GramE"><i style="mso-bidi-font-style: normal;">This</i></span><i style="mso-bidi-font-style: normal;"> </i>published the selection entitled &#8220;30
from <i style="mso-bidi-font-style: normal;">Sentences</i>&#8221; with (not in) <i style="mso-bidi-font-style: normal;">This 5,</i> not no. 4, which places the
publication date in the Winter of 1974, rather than the Spring of the previous year,
as I&#8217;d indicated. I also suggested that the selection was 30 cards, but in fact
the cards are printed on both sides &#8211; unlike the <a href="http://findaid.oac.cdlib.org/findaid/ark:/13030/ft5k4005j1/C02/190733839">200
copy Whale Cloth Press box edition</a> &#8211; which, with a card set aside for the
title, made it just 16 cards. Watten also reminded me of <i style="mso-bidi-font-style: normal;">Sentences from Birds</i>, another selection of the cards that was
published by Curtis Faville&#8217;s L Press in 1975. I know I had that at one time
&amp; I&#8217;ve never sold a Grenier item in my life, but like the poster, it seems
to have wandered off on its own. According to Faville, only 100 copies were
published to &#8220;little or no feedback.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">Bob Grumman posted a dissent
to the Poetics List that said, in part:<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Ron also opines that Grenier's &#8220;<i style="mso-bidi-font-style: normal;">Sentences</i> still qualifies as the
furthest anyone has pushed poetry &amp; form in the investigation of the
world.&#8221;&nbsp; I AM enough of a literary historian to know that this is
certainly not true.&nbsp; It may be possible reasonably to claim that Grenier
pushed poetry and form as far as anyone, but further?&nbsp; It's extremely hard
to make comparisons (because of the apples/pears problem, among other things)
but it seems to me Ron is overlooking Stein, Pound, Cummings and Aram Saroyan,
for a start--and all of visual poetry and later <span class="SpellE">pluraesthetic</span>
works.&nbsp; I would add that in some respects, <i style="mso-bidi-font-style: normal;">Sentences</i> is pretty straightforward minimalism that's been around
quite a while.&nbsp;</span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">Grumman is on target in that
I did not make myself very intelligible with that statement, since that
assertion could be taken to mean almost anything. His alternative suggestions
illustrate the point nicely. All four writers Grumman cites were interested in
various extensions of poetic form &#8211; Stein &amp; Pound making profound
contributions in that area, <span class="GramE">cummings</span> &amp; Saroyan
more modest ones. What Grenier did was to focus on what linguists still call <i style="mso-bidi-font-style: normal;">parole,</i> the language as she is spoke by
them what <span class="GramE">speak</span> it. Neither Stein, Pound, <span class="GramE">cummings</span> nor Saroyan focus on that particular dimension,
although Stein comes closest &amp; has a sense of grammar &amp; discourse as
developed as anyone has ever had. However, like Joyce, she has a 19<sup>th</sup>
century-centric sense of language as infinitely plastic &amp; malleable that
language itself does not bear out (hence the failure of <i style="mso-bidi-font-style: normal;">Finnegans Wake</i>). Unlike Joyce, Stein seems to have had a stronger
sense of self-confidence in her own analytical skills with regards to the
language &#8211; she never is in thrall to the 19<sup>th</sup> century concept of
language as historic philology, which bedevils both Joyce &amp; Pound (&amp;, I
dare say, Kenner). Where Stein &amp; Grenier diverge most strongly is that
Stein&#8217;s interest lies principally in the compositional possibilities of
language, whereas Grenier is most focused on, as the famous &#8220;On Speech&#8221; flatly
states, &#8220;<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">the</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> word
way back in the head that is the thought or feeling forming out of the &#8216;vast&#8217;
silence / noise of consciousness experience world <b style="mso-bidi-font-weight: normal;">all the time<i style="mso-bidi-font-style: normal;">,</i></b> as
waking/dreaming, words occurring and <b style="mso-bidi-font-weight: normal;">these
are the words of the poem . . . . </b>(<span class="GramE">boldface</span> in the
original)<o:p></o:p></span></div>
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<span style="font-family: Arial;">This is, it seems to me, as
true of the scrawl works of today as it was of <i style="mso-bidi-font-style: normal;">Sentences.</i> One might say that Stein &amp; Grenier were on parallel
tracks, headed however in opposite directions. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There are of course
antecedents for Grenier&#8217;s minimalism &#8211; really a mode of gigantism, in that he
is literally putting elements of language under a microscope: Stein&#8217;s <i style="mso-bidi-font-style: normal;">Tender Buttons, </i>Creeley&#8217;s <i style="mso-bidi-font-style: normal;">Pieces</i>, many short poems by Zukofsky
&amp; even Aram Saroyan&#8217;s brief foray into innovative poetics in the 1960s.
&amp; if one examines a book such as Saroyan&#8217;s <i style="mso-bidi-font-style: normal;">Pages </i>(Random House, 1969), you can find a few pieces that are
reminiscent of <i style="mso-bidi-font-style: normal;">Sentences:</i><o:p></o:p></span></div>
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<div align="center" class="MsoNormal" style="text-align: center;">
<span class="GramE"><span style="font-family: &quot;Courier New&quot;;">incomprehensible</span></span><span style="font-family: &quot;Courier New&quot;;"> birds<o:p></o:p></span></div>
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<span style="font-family: Arial;">Or<o:p></o:p></span></div>
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<br /></div>
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<span class="GramE"><span style="font-family: &quot;Courier New&quot;;">cat</span></span><span style="font-family: &quot;Courier New&quot;;"><o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: &quot;Courier New&quot;;">book</span></span><span style="font-family: &quot;Courier New&quot;;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 2.5in;">
<span class="GramE"><span style="font-family: &quot;Courier New&quot;;">city</span></span><span style="font-family: &quot;Courier New&quot;;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">Or even<o:p></o:p></span></div>
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<div align="center" class="MsoNormal" style="text-align: center;">
<span class="SpellE"><span class="GramE"><span style="font-family: &quot;Courier New&quot;; font-size: 20.0pt;">lobstee</span></span></span><span style="font-family: &quot;Courier New&quot;; font-size: 20.0pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">But these works merely put the
proverbial toe in the water compared with Grenier&#8217;s exploration of the whole
ocean.** A good part of what make <i style="mso-bidi-font-style: normal;">Sentences
</i>such a profound experience is its scale &#8211; 500 poems with no set order. I
find that reading the work over &amp; over &#8211; the forthcoming website
underscores this aspect of the experience, especially since the cards are
shuffled each time one begins again &#8211; is when I start to get, literally, &#8220;into
the work.&#8221; <span class="GramE">A single poem, or even the selections published by
Watten, Faville or to found in <span class="SpellE"><i style="mso-bidi-font-style: normal;">In</i></span><i style="mso-bidi-font-style: normal;"> the American Tree</i>,
don&#8217;t</span> begin to approach this project. It is a classic instance of a text
that resists excerpting or editing. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Grumman&#8217;s other alternatives
&#8211; &#8220;all of visual poetry and later <span class="SpellE">pluraesthetic</span>
works&#8221; &#8211; reinforces the point. Such poetries, which can be both delightful
&amp; dazzling (no argument there, I hope), tend to move towards the graphic or
whatever other media pluralizes them &amp; thus even </span><st1:city><st1:place><span style="font-family: Arial;">furth</span></st1:place></st1:city><span style="font-family: Arial;">er from any focus on <i style="mso-bidi-font-style: normal;">parole</i>. They may at times be grammatological, in the sense of
invoking the written system of a language, but they&#8217;re seldom truly <span class="GramE">linguistic</span>. Part of what makes Grenier&#8217;s recent <a href="http://www.thing.net/~grist/l&amp;d/grenier/lgrena00.htm">scrawl writing</a>
so fascinating is that he has taken on both the linguistic &amp; grammatological
dimensions simultaneously. The scrawl works are virtually the only intermedia
writing I can think of that isn&#8217;t <i style="mso-bidi-font-style: normal;">déjà
toujours</i> &#8220;poetry &amp;&#8221; &#8211; as in &#8220;poetry &amp; dance,&#8221; &#8220;poetry &amp;
painting,&#8221; &#8220;poetry &amp; music,&#8221; &#8220;poetry &amp; anime,&#8221; &#8220;poetry &amp;
programming,&#8221; &#8220;poetry &amp; laundry.&#8221; Those ampersands invariably seem fatal. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* The
poster is, in fact, <i style="mso-bidi-font-style: normal;">CAMBRIDGE M&#8217;ASS</i>. </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Oakland</span></i></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> was a chapbook. Both were published by Tuumba Press, the
poster in 1979, the chapbook in 1980.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** There is
a good doctoral dissertation to be had in figuring out why Saroyan, for all
purposes, abandoned poetry while Grenier, in the face of little early
recognition, persisted &amp; took his project so much further. Why &amp; how do
artists make such choices? <o:p></o:p></span></div>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<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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<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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