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Showing posts with label <b>Herman Melville</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>Herman Melville</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>Thursday, May 27, 2010</span></h2>

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<p class="MsoNormal" align="right" style="text-align:right"><a href="http://www.historycooperative.org/journals/cp/vol-05/no-02/benfey/images/melville.jpg"><span style="color:windowtext;text-decoration:none;text-underline:none"><img border="0" height="428" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/hWUysxZJ1Xx9EE4TnLCaRn3Q4iIMpiFQbjhPsm4PR5pDPk168_gIVn7NrhMTYXWm65K0K7634ZlmMhhOcYRta1KcQb_SvFIU-s5o3uK-OgOSx0N-dFI8cpRKL97uZihWTDSUEm2N_eCF%3Ds0-d" width="260"></span></a><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242"><o:p></o:p></span></p>

<p class="MsoNormal"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242">No less an authority than Herman Melville once declared <i style="mso-bidi-font-style:normal"><a href="http://www.gutenberg.org/browse/authors/m#a9"><span style="color:#0D0D0D; mso-themecolor:text1;mso-themetint:242">Redburn: His First Voyage</span></a> </i>to be &#8220;trash,&#8221; a work of commerce &amp; not art. It was the fourth of the eight novels that Melville wrote in an eight-year period of immense creative output stretching from 1846 through 1853. Written after the commercial failure of <i style="mso-bidi-font-style:normal">Mardi, </i>the book recounts the travels of Wellingborough Redburn as he ships out on a voyage to Liverpool &amp; back. In it we see less of the wide-eyed autobiographical memoir of his first two books &#8211; Melville certainly is not Redburn, a supercilious young prig buffeted by the lumpen of the ship&#8217;s crew &#8211; but don&#8217;t yet find the majesterial wanderings of imagination that feed into <i style="mso-bidi-font-style:normal">Moby-Dick. </i><o:p></o:p></span></p>

<p class="MsoNormal">It is, in fact, the seams that I find most compelling in this book, which I downloaded from Gutenberg &amp; popped as a PDF file onto the old Palm Pilot I still use for such purposes. Melville teaching himself to write is the much more fascinating tale here &amp; anyone who has read <i style="mso-bidi-font-style:normal">Moby-Dick </i>knows that the digressions are not just part of the story, but very much its essence as well. </p>

<p class="MsoNormal">Digression, of course, is as old as <i style="mso-bidi-font-style: normal">Tristram Shandy, </i>even <i style="mso-bidi-font-style:normal">Don Quixote. </i>It&#8217;s baked into the formula of the novel itself, regardless of whatever Saul Bellow &amp; the other advocates of the invisible text might think. More interesting, at least here, are the other seams, for example Redburn&#8217;s character, which Melville struggles to separate from himself. Redburn comes away as pompous in that defensive manner overly serious young men can take on. In turn, what it tells us is that our narrator is both young &amp; uncertain of himself. This latter part is tricky, since the tale is told retrospectively. To what degree are we to read Redburn&#8217;s callowness as an index of his youth, and to what degree is this a character flaw inherent in the man? And do we ever spy Melville himself peering through the veils? </p>

<p class="MsoNormal">One place would appear to be a trio of mentions of John Milton scattered throughout the book. The first two mentions are the sort of passing allusions one might expect from Buttons, as the other sailors call him, who takes his rural New York sophistication seriously, for example, saying of the drone of a particular Liverpool beggar that</p>

<p class="MsoNormal" style="margin-top:0in;margin-right:.5in;margin-bottom:10.0pt; margin-left:.5in;line-height:normal;mso-layout-grid-align:none;text-autospace: none"><span style="color:black;mso-themecolor:text1;mso-no-proof:no">it produced the same effect upon me, that my first reading of Milton&#39;s Invocation to the Sun did, years afterward.</span><span style="color:black;mso-themecolor: text1"><o:p></o:p></span></p>

<p class="MsoNormal">The second occurs in the most magical passage in the entire book, Redburn&#8217;s flight of fancy in response to the hand-organ music of his friend Carlo, which invokes &#8211; among many other things &#8211; a door that &#8220;like the gates of Milton&#8217;s heaven &#8230; turns on golden binges<i>(sic)</i>.&#8221;</p>
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<h2 class='date-header'><span>Tuesday, October 29, 2002</span></h2>

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<span style="font-family: Arial;">At his reading Sunday with
Chris McCreary and <span class="SpellE">Rosmarie</span> Waldrop at the Painted Bride,
Lewis Warsh referred to the stories in his Singing Horse Press book <i style="mso-bidi-font-style: normal;">Touch of the Whip</i> as poems, then stopped
&amp; corrected himself. Perhaps he shouldn&#8217;t have.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Poets&#8217; prose is a glorious
&amp; little understood jumble. The genre(s) can be traced back through
Burroughs, Stein &amp; Joyce at the very least to Baudelaire &amp; Aloysius
Bertrand*, to the origin of the prose poem. I would invoke Melville&#8217;s <i style="mso-bidi-font-style: normal;">Moby Dick</i> not only as a further
instance, but as a superb example of the ways in which poets&#8217; fiction almost
invariably move beyond the tidy constraints of what is normatively fictive
(which I might then trace back, at least in the U.S., to Twain). Let me map out
what I see as six distinct tributaries of this phenomenon.<o:p></o:p></span></div>
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<span style="font-family: Arial;">First is the prose poem
itself. It by itself has multiple manifestations. One is the closed, one page
or less prose piece that can be traced back to Max Jacob, but which in the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;"> comes heavily through the pernicious influence of
Robert <span class="SpellE">Bly&#8217;s</span> journal(s), <i style="mso-bidi-font-style: normal;">The Fifties </i>and <i style="mso-bidi-font-style: normal;">The Sixties,</i>
abetted by George Hitchcock&#8217;s <i style="mso-bidi-font-style: normal;">Kayak</i>
and the numerous books of Russell <span class="SpellE">Edson</span>. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The second, far more
interesting mode is the lengthier poet&#8217;s prose that remains clearly poetry,
which begins in American English with Stein &amp; then Williams&#8217; <i style="mso-bidi-font-style: normal;">Kora in Hell</i>, but which really takes off
after John Ashbery&#8217;s<i style="mso-bidi-font-style: normal;"> Three Poems, </i>Clark
Coolidge&#8217;s &#8220;Weathers&#8221; &amp; Robert Creeley&#8217;s <i style="mso-bidi-font-style: normal;">Mabel</i>. This tendency has important French cousins in the work of
St.-John <span class="SpellE">Perse</span> and Francis Ponge. This is where I
would put Lyn Hejinian&#8217;s <i style="mso-bidi-font-style: normal;">My Life,</i> or
Beverly Dahlen&#8217;s <i style="mso-bidi-font-style: normal;">A Reading</i> or even
Jack Spicer&#8217;s <i style="mso-bidi-font-style: normal;">Heads of the Town Up to the
<span class="SpellE">Aether</span>. </i>Questions of the serial poem and the epic
will eventually expand this category even further.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">After the prose poem comes a
mode of poetic fiction that would include Warsh&#8217;s marvelous <i style="mso-bidi-font-style: normal;">Touch of the Whip, </i>much of the writing
by </span><st1:personname><span style="font-family: Arial;">Carla Harryman</span></st1:personname><span style="font-family: Arial;">, Creeley&#8217;s stories, the short fiction of Gil <span class="SpellE">Ott</span>, the narratives of Bobbie Louise Hawkins. <span class="GramE">And Samuel Beckett most of all.</span> These are all writers
clearly interested in the traditions and devices of fiction itself, but written
with a poet&#8217;s sense of literary value. There are few (if any) moments where,
say, character or <span class="GramE">plot, which may in fact be both present
&amp; pertinent, are</span> more important than the pleasures &amp;
problematics of the words immediately on the page in front of the reader. I
think that these may be the most difficult works of all for people to gauge,
because they truly transcend either of their source genres. Where I think you
can test my own work as poetry, and, say, Paul <span class="SpellE">Auster&#8217;s</span>
as fiction, these writers clearly are <span class="GramE">on their own</span>.
This thus may be the bravest prose of all. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A close cousin to this
intergenre prose is more truly what I would call poet&#8217;s fiction, works by poets
that genuinely aim for the goals of fiction, but often employing many of the
devices (&amp; pleasures) of their home form: Gilbert Sorrentino &amp; Toby
Olson would be good examples. So would almost all the writing of the so-called
new narrative: Dodie Bellamy, </span><st1:personname><span style="font-family: Arial;">Kevin Killian</span></st1:personname><span style="font-family: Arial;">,
Robert <span class="SpellE">Gluck</span>, Bruce Boone, <span class="GramE">Michael</span>
<span class="SpellE">Amnasan</span>. I would place Harry Mathews here, although
I&#8217;d put the bulk of <span class="SpellE">Oulipo</span> fiction into the next
category.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">These would be those fiction
writers who clearly identify as such, but who write as though their readers
were going to be, if not poets per se, at least the readers of poetry. This is
where Burroughs &amp; Kerouac fit in (&amp; Melville at his best also). Kathy
Acker, Walter <span class="SpellE">Abish</span>, Lydia Davis, Sarah Schulman,
Samuel R. <span class="SpellE">Delany</span>, Julio <span class="SpellE">Cortázar</span>,
<span class="SpellE">Italo</span> <span class="SpellE">Calvino</span>, <span class="GramE">Joyce</span> of course; one could make a case for W.G. Sebald, as
for Carole <span class="SpellE">Maso</span>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Finally there are poets who
work hard to make a transition all the way to the values of fiction &#8211; the
problematics of plot-centric narrative, for example &#8211; but whose prose still
retains some surface features of their past as poets. Auster fits <span class="GramE">here,</span> as I think does the later work Michael Ondaatje (tho
his first works fit closer to the poet&#8217;s fiction category). <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are of course many
other kinds of creative prose &amp; fiction. These are merely the types that
touch on poetry as a genre &amp; tradition. None of this has to do with quality
per se, but I do think that it has to do with certain questions of literary
judgment. It&#8217;s a mistake, for example, to compare the prose of Lewis Warsh with
the novels, say, of Paul Auster, or with the prose poetry of Clark Coolidge.
Rather I suspect that over time, as we have more readers &amp; writers and more
works in each of these tributaries of excellence, we will eventually have a
cleaving between the various categories far more decisively than we have today.
In 2002, it is still possible to call <span class="GramE">both Russell</span> <span class="SpellE">Edson</span> &amp; Lyn Hejinian prose poets, </span><st1:personname><span style="font-family: Arial;">Carla Harryman</span></st1:personname><span style="font-family: Arial;"> &amp; Michael Ondaatje fiction writers. Fifty years
from now, such clusterings will simply seem like nonsense.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* When is
somebody going to publish Merrill <span class="SpellE">Gilfillan&#8217;s</span> superb
collection of translations from Bertrand&#8217;s <span class="SpellE"><span class="GramE"><i style="mso-bidi-font-style: normal;">Gaspard</i></span></span><span class="GramE"><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;">&nbsp; </span>de</i></span><i style="mso-bidi-font-style: normal;"> la <span class="SpellE">Nuit</span></i>? <o:p></o:p></span></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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