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Silliman's Blog
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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>H.D.</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>H.D.</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Monday, June 01, 2015</span></h2>

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of<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></b></div>
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<h2 class='date-header'><span>Wednesday, September 10, 2003</span></h2>

          <div class="date-posts">
        
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Just about
everyone I know thinks of Jack Kerouac as a novelist who wrote poetry. <span class="GramE">But what about <a href="http://www.centerforbookculture.org/interviews/interview_sorrentino.html">Gilbert
Sorrentino</a>?</span> Before <i style="mso-bidi-font-style: normal;">Mulligan
Stew </i>and the other long prose fictions that made Sorrentino justly famous
as a novelist, he was a successful poet (and a <a href="http://www.altx.com/int2/gilber.sorrentino.html">superb critic</a> of
poetry). Along with the then-LeRoi Jones, the always-on-the-road Paul
Blackburn, and youngsters George <span class="SpellE">Economou</span>, Rochelle
Owens, </span><st1:personname><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Robert
 Kelly</span></st1:personname><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">
&amp; Clayton Eshleman, Sorrentino was part of Projectivism&#8217;s presence in &amp;
around </span><st1:city><st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Manhattan</span></st1:place></st1:city><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> throughout the 1960s &amp; &#8216;70s. Sorrentino&#8217;s <i style="mso-bidi-font-style: normal;">Selected Poems </i>covers the period
1958-1980. But I&#8217;m not aware if there has been much, if any, poetry since. It&#8217;s
as though the man had one successful career &amp; then chose to follow it with
another, very different such career. Not unlike Bill Bradley, an athlete, then
a politician.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Another poet
with an even more ambiguous relation to these genres has been <a href="http://www.centerforbookculture.org/interviews/interview_olson.html">Toby
Olson</a>, again a second generation Projectivist. Because he&#8217;s published in
both forms throughout his life, I&#8217;ve always suspected that his work has been
underestimated in each form. The very same silliness that bedevils the
bookstore clerk who cannot decide whether <a href="http://www.iit.edu/~jainank/reading/db/seth/seth.html"><span class="SpellE">Vikram</span> Seth&#8217;s</a> <i style="mso-bidi-font-style: normal;">Golden
Gate </i>is fiction or poetry*, let alone Lyn Hejinian&#8217;s <i style="mso-bidi-font-style: normal;">My Life, </i>plays out in the minds of readers more generally when it
comes to considering the lifework of different authors. Case in point: Hilda
Doolittle. <o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Almost
everyone thinks of Doolittle as a poet who also wrote some fiction, as well as
translations &amp; memoirs. Yet H.D. published, for all extents and purposes,
just a dozen or so books of poetry during her lifetime, going long periods
between volumes after the appearance of her first <i style="mso-bidi-font-style: normal;">Collected Poems </i>in 1925. And that number shrinks if you treat <i style="mso-bidi-font-style: normal;">Trilogy </i>as one book, instead of three.
During this long productive career &#8211; just under half a century &#8211; Doolittle also
wrote 19 novels and collections of stories, according to Susan Stanford
Friedman&#8217;s 1987 chronology of H.D.&#8217;s writing, published in the special issue of
<i style="mso-bidi-font-style: normal;">Sagetrieb </i>devoted to Doolittle&#8217;s
work. They include the following:<o:p></o:p></span></div>
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<br /></div>
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&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
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&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Palimpsest</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel (interlocking stories)<o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Nike</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span class="SpellE"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Hedylus</span></i></span><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">HER</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel (published as <span class="SpellE"><i style="mso-bidi-font-style: normal;">HERmione</i></span>)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Narthex</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novella<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">The Usual Star</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, stories<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Kora and Ka</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novellas<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Nights</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novella<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">The Hedgehog</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">The Seven</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, stories<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Bid Me to Live</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span class="SpellE"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Majic</span></i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> Ring</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">The Sword Went Out to Sea (Synthesis
of a Dream</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">), novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">White Rose and the Red, </span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">The Mystery, </span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">novel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 0.75in; margin-right: 0in; margin-top: 0in; text-indent: -0.25in;">
&lt;![if !supportLists]&gt;<span style="color: blue; font-family: &quot;symbol&quot;; font-size: 10.0pt;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Magic Mirror, </span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">novel<o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Not all of
these novels ever made it into print. Friedman&#8217;s note for <i style="mso-bidi-font-style: normal;">Nike</i> simply reads &#8220;Destroyed.&#8221; Biographer Guest politely notes that
&#8220;<span class="SpellE">Hipparchia</span>: War Rome (Circa 75 B.C.)&#8221; has &#8220;none of
the polish or professionalism&#8221; of H.D.&#8217;s later <span class="GramE">work,</span>
and I would pass a similar judgment on <i style="mso-bidi-font-style: normal;">Paint
It Today</i>. Friedman lists <i style="mso-bidi-font-style: normal;">Pilate&#8217;s
Wife </i>as &#8220;submitted and rejected,&#8221; &amp; <i style="mso-bidi-font-style: normal;">White
Rose and the Red </i>as &#8220;probably rejected.&#8221; Yet 19 booklength works over a
35-year span (H.D. appears to have begun writing fiction in 1921, after her
life began to stabilize somewhat with the presence of Bryher; the final item, <i style="mso-bidi-font-style: normal;">Magic Mirror,</i> was written in the
mid-1950s) demonstrates a considerable emphasis, a commitment of time &amp;
effort. Indeed, between the first <i style="mso-bidi-font-style: normal;">Collected
Poems</i> in 1925 and her next book of poetry, <i style="mso-bidi-font-style: normal;">Red Roses for Bronze</i>, in 1931, Doolittle produced seven novels
&amp; collections of stories, plus the verse drama <span class="SpellE"><i style="mso-bidi-font-style: normal;">Hippolytus</i></span><i style="mso-bidi-font-style: normal;"> Temporizes</i> plus her work on the film <i style="mso-bidi-font-style: normal;">Borderline</i>. <o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">One could
make the case that Doolittle was, in fact, a novelist &#8211; tho not a successful
one &#8211; who wrote poetry at least as much as she was a poet who wrote fiction.
While that may seem like a difference within a distinction (&amp; vice versa),
it has, I suspect, real consequences in terms of how H.D. saw herself &amp;
thus how she envisioned her career as author. <i style="mso-bidi-font-style: normal;">Did she feel satisfied? Was she pleased at what she had accomplished? </i>These
are, I think, legitimate questions. During a poet&#8217;s life, they have everything
to do with how the writer decides <i style="mso-bidi-font-style: normal;">what&#8217;s
next</i>, and even <i style="mso-bidi-font-style: normal;">how to proceed. </i>At
one level, the writer in me would love for an Emily Dickinson, say, to
understand the breadth &amp; depth of her achievement, the power of her impact
on the world. At another, younger writers are constantly confronted with
options, nearly every one of which is an incentive to stop writing poetry. What
if, for example, Jack Spicer had finished his detective novel &amp; it had
proven to be a best-seller, followed with a major motion picture? What if, in
precisely the other direction, <i style="mso-bidi-font-style: normal;"><a href="http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/09/07/RV33532.DTL">Trout
Fishing in America</a> </i>had not been so fabulously successful? Would Richard
Brautigan still be alive today? Would there be a west coast tradition of the humorous
lyric as widespread as that which flowed from the </span><st1:place><st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">New York</span></st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">School</span></st1:placetype></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">? So many <i style="mso-bidi-font-style: normal;">what-ifs </i>flow out of such a distinction: <i style="mso-bidi-font-style: normal;">was a H.D. a novelist who wrote poetry?<o:p></o:p></i></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">In
practice, I haven&#8217;t seen anything yet to suggest that this is how Doolittle saw
herself, albeit I am still acquainting myself with the territory &amp; I have a
long way still to go. Nonetheless what I want to be conscious of, at least for
today, is how the H.D. we know / I know is a construct. That is, we define her
as the poet &amp; in so doing condition many of our responses to new
information, setting our expectations accordingly. The fiction that is in
print, such as it is, for example, appears to have been published to fill out
the oeuvre of the poet, not because anyone thought that it might transform a
history of the novel (although, in fact, it <i style="mso-bidi-font-style: normal;">is</i>
historically important to the degree that H.D. was writing overtly lesbian
fiction at time when this was hardly done at all, &amp; only at some risk). <span class="GramE">Which is to say that all of the reasons for publishing H.D.&#8217;s
fiction have little or nothing to do with its actual quality as fiction.</span>
<o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 8.0pt;">* Hint: bad
fiction, worse poetry.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Tuesday, September 09, 2003</span></h2>

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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">There is an
interesting image in Barbara Guest&#8217;s excellent biography of Hilda Doolittle, <i style="mso-bidi-font-style: normal;">Herself Defined</i>, of imagism as a
movement after Ezra Pound had moved on to join Wyndham Lewis in declaring
Vorticism. The image Guest leaves the reader with is one of a lone major <span class="SpellE"><i style="mso-bidi-font-style: normal;">Imagiste</i></span><i style="mso-bidi-font-style: normal;">, </i>H.D., a second-but-inferior
entrepreneurial huckster in Amy Lowell, and a handful of second-tier poets of
the likes of John Gould Fletcher and Richard <span class="SpellE">Aldington</span>,
having to carry on with no clear sense of direction. Guest outlines the ways in
which the Imagism of these latter poets was invariably compromised &#8211; either too
Georgian or just too muddled. The implication is that once Pound turned his
attention elsewhere, Imagism lost its &#8220;head.&#8221; Ultimately, and Guest is fairly
explicit about this, there would be only one &#8220;true&#8221; Imagist: H.D. <o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Which
opens, for me, the deeper question of what an &#8211;ism can possibly be. The idea of
poetry organized in some fashion around a common purpose necessarily implies
the possibility of shared motives. That&#8217;s a concept that comes more directly
from French painting (&amp; secondarily French symbolist poetry) than it does
the tradition of Anglo-American letters. Still there are sporadic foretastes,
including the mid-19<sup>th</sup> century squabbling between the Young
Americans and the anglophiles of the </span><st1:place><st1:placetype><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">School</span></st1:placetype><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> of </span><st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Quietude</span></st1:placename></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">. Underlying this concept is some
sense of how a &#8220;common purpose&#8221; might be characterized. Does it require, for
example, a defining statement of principles &#8211; a manifesto for want of a better
term &#8211; and the adoption of a name? Guest is clear that Pound, for example, was
less of a <span class="SpellE">namer</span> of movements than he was an
appropriator of names, such as T.E. Hume&#8217;s imagism or Lewis&#8217; Vorticism. Even
Objectivism, although Guest doesn&#8217;t mention it, might be described in these
same terms &#8211; a name &amp; an accompanying statement of principles, primarily
put forward (at least in 1932) for the purposes of marketing. The need thus was
external to the poetry, indeed was imposed on the poets by Zukofsky only at the
insistence of Harriet Monroe. <o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">An &#8211;ism of
this order strikes me as being essentially hollow, aimed less at the poets than
at some externalized audience. Contrast this with, for example, the most
pronounced ism of the 1950s, Projectivism. While Olson, Creeley, Dorn, Duncan
&amp; Sorrentino all wrote substantive works of critical writing &#8211; and some of
Olson&#8217;s in particular embody the rhetoric of a manifesto &#8211; they&#8217;re really aimed
at one another. What we are reading in their works is much more of an internal
discussion &#8211; they&#8217;re goading one another to write better &amp; to take greater
chances in their work. One sees this also, I think, in the relatively few
critical works to emerge from the </span><st1:place><st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">New York</span></st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">School</span></st1:placetype></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> (O&#8217;Hara&#8217;s &#8220;Personism&#8221;) or the
so-called Beat Scene (primarily Kerouac&#8217;s statements on prosody &amp;
spontaneous writing). Indeed, the Projectivists never once in their writings
ever called themselves by that name &amp; the Beats were accorded that moniker
by a </span><st1:city><st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">San Francisco</span></st1:place></st1:city><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> gossip columnist, Herb Caen. &#8220;Personism,&#8221; the only
true &#8211;ism of that decade, employed that term strictly as a joke. Even the term </span><st1:place><st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">New York</span></st1:placename><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">School</span></st1:placetype></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, which was employed only by its
second generation, was used half as a joke. While the marketing aspect of a
group brand was not altogether absent with the NY School, any more than it was
with the <span class="GramE">Beats,</span> the focus was much more decisively
around the question of internal discourse. The &#8211;isms of the 1950s were thus
more communities in their orientation than the ones of the teens or the 1930s.
And, no surprise, it was this aspect of these &#8220;movements&#8221; that I think appealed
most to the poets who came to be known in the 1970s as language poets.<o:p></o:p></span></div>
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<span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">It&#8217;s not
that Pound wasn&#8217;t interested in communicating with other poets, but his rather
frenetic social organizing never moved toward a community because that was
never its purpose. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, October 14, 2002</span></h2>

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<span style="font-family: Arial;">Vocabulary fascinates me.
Individual writers often have very distinct styles that are identifiable entirely
through the words they choose. Often working in longer lined forms that provide
a maximum of freedom &amp; context for the specificity of his selections,
Forrest Gander unleashes his expansive vocabulary with a deep love for the
sheer clutter of the polysyllabic:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>The solid given upward, hemorrhaging
into air, the vista<br />
tinged <span class="SpellE">Merthiolate</span> and twisted <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Or, elsewhere in <i style="mso-bidi-font-style: normal;">Science &amp; <span class="SpellE">Steepleflower</span>,</i>
(New Directions, 1998) &#8220;The land <span class="SpellE">arborescing</span>,&#8221; a verb
</span><st1:city><st1:place><span style="font-family: Arial;">Gander</span></st1:place></st1:city><span style="font-family: Arial;"> has employed on multiple occasions, more I suspect
than any of the rest of us could say. </span><st1:city><st1:place><span style="font-family: Arial;">Gander</span></st1:place></st1:city><span style="font-family: Arial;"> has a naturalist&#8217;s bias toward a vocabulary not only
of exacting detail, but with an ear turned towards that heritage of lush
Latinisms lurking &amp; available for a given depiction. If I read Ken Irby for
his inexhaustible ear, the absolute pleasure it affords, I do </span><st1:city><st1:place><span style="font-family: Arial;">Gander</span></st1:place></st1:city><span style="font-family: Arial;"> likewise for his word choices. They seem fabulous,
in every sense of that term.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="GramE"><span style="font-family: Arial;">A second
poet with an exact sense of which words to use and why is H.D.</span></span><span style="font-family: Arial;"> In her work, each word stands walled, <span class="GramE">a</span> brick:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Think,
O my soul,<br />
of the red sand of </span><st1:place><span style="font-family: Arial;">Crete</span></st1:place><span style="font-family: Arial;">;<br />
think of the earth; the heat<br />
burnt fissures like the great<br />
backs of the temple serpents;<br />
think of the world you knew;<br />
as the tide crept, the land<br />
burned with a lizard-blue<br />
where the dark sea met the sand.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In this first strophe of the
poem &#8220;Phaedra,&#8221; all but four words of its fifty are built with but one sound.
The four with two are placed with great care. Not one term has three or more
sounds &#8211; it would push out of the line like a shock to discover one. No clutter
here. But that is H.D. to the max. Count the sounds per line: </span><st1:date day="6" month="4" year="2006"><span style="font-family: Arial;">4-6-6</span></st1:date><span style="font-family: Arial;">-6-7-6-6-6-7. H.D. loved that great clean sense to
her work, perhaps even too much. <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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<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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