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Showing posts with label <b>Imagists</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>Imagists</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>Sunday, March 09, 2003</span></h2>

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<span style="font-family: Arial;">Intellectual fashions tend
to wash over poetry. Robert Duncan, in <i style="mso-bidi-font-style: normal;">The
H.D. Book, </i>marvels at the secular imagination of the Imagists even as he
prepares to undermine it: <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Roman;">The immediate
persuasion of Imagist poets was against the fantastic and fictional as it was
for the clear-seeing, even the clairvoyant, and the actual, for percept against
concept. The Image as &#8220;</span><i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Italic;">that which presents an
intellectual and emotional complex in time</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Roman;">&#8221; or &#8220;</span><i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Italic;">the
local conditions</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Roman;">&#8217;&#8217; could open out along lines of the
poet&#8217;s actual feeling. The poem could be erotic and contain evocations of
actual sexual experience as I have suggested in the poem </span><i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Italic;">Orchards</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Roman;">.
And then, the image was also something actually seen in the process of the
poem, not something pretended or made up. It was the particular image evoked in
the magic operation of the poet itself&#8212;whatever its source, and it usually had
many sources. In reviewing Fletcher&#8217;s poetry in 1916, H.D. may be speaking too
of her own art: &#8220;</span><i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Italic;">He uses the direct image, it is
true, but he seems to use it as a means to evoke other and vaguer images&#8212;a
pebble, as it were, dropped in a quiet pool, in order to start across the
silent water, wave on wave of light, of <span class="SpellE">colour</span>, of
sound</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: MetaPlusNormal-Roman;">.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">H.D., of course, turns out
to be anything but a proto-Objectivist. Between Freud &amp; her imagined
classic landscapes, she creates a world that is perfect for a young man
committed to the idea that &#8220;the authors are in eternity.&#8221; &amp; it is to Ms.
Doolittle that </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;"> focuses the gaze of his &#8220;Day Book,&#8221; proto-blog that it
is, plotless prose as critical meditation. Of all the high modernists, H.D. is
the one whose orbit </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;"> shows no desire whatsoever to attempt to escape. Not
Pound &amp; certainly not-Eliot, that perfect middle-brow tucked under all
those layers of pretension. Nor Stein, though </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;"> had more to do with her resurrection than any other
poet of his generation. Nor Zukofsky, though &#8211; again &#8211; </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;"> had more to do with <i style="mso-bidi-font-style: normal;">his </i>resurrection than any other poet of his generation.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Given that Duncan himself is
not so widely perused these days &#8211; there are few Duncan clones manqué out
there, not a one under the age of 60 &#8211; it is interesting how much of our own
literary landscape today proves to be the one that Duncan willed: Spicer,
Stein, Zukofsky: all are much more widely influential now than in the 1960s.
H.D., Helen Adam &#8211; </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s enthusiasms have proven to be contagious. And if
not all of his enthusiasms have succeeded equally &#8211; the impact of Lenore <span class="SpellE">Kandel</span> is not easy to discern &#8211; his overall track record
stands up well. Combine Duncan&#8217;s vision of poetry with that of Ted Berrigan
&amp; accommodate for shifts in demography &amp; technology and you get a world
of poetry that seems remarkably like the one we all inhabit today. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I&#8217;ve commented before on <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_12_01_ronsilliman_archive.html%2385373034">the
decline of mysticism</a>, those &#8220;other and vaguer images,&#8221; as an active element
in poetry. Not that it has entirely disappeared; merely that it is not the omnipresent
phenomenon that one saw in the 1960s. Its presence in anthology&#8217;s like George <span class="SpellE">Quasha&#8217;s</span> <i style="mso-bidi-font-style: normal;">Active
Anthology </i>or in magazines such as <i style="mso-bidi-font-style: normal;">Coyote&#8217;s
Journal </i>or <i style="mso-bidi-font-style: normal;">Caterpillar </i>was
unmistakable. What intrigues me at the moment, still basking in the wake of the
<i style="mso-bidi-font-style: normal;"><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2003_03_01_ronsilliman_archive.html%2390044996">Social
Mark<span style="font-style: normal;"> </span>Poetry Symposium</a> </i>as well as
Brian Kim Stefans&#8217; <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2003_02_01_ronsilliman_archive.html%2389832651">Creep
anti-manifesto</a>, is the question of what might now be filling that social
role in poetry, what might constitute the wisdom discourse of otherness for
younger poets now. <o:p></o:p></span></div>
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<span style="font-family: Arial;">That&#8217;s a tricky question.
One can certainly talk about discourses that appear important to writers in the
21<sup>st</sup> century &#8211; technology &amp; the anti-globalization movement are
two obvious ones, with some interesting interrelationships. But neither
discourse <i style="mso-bidi-font-style: normal;">as discourse</i> &#8211; with the
possible exception of something like the remarkably fuzzy-headed <i style="mso-bidi-font-style: normal;"><a href="http://www.hup.harvard.edu/pdf/HAREMI.pdf">Empire</a> </i>by Hardt &amp;
Negri &#8211; seems overly prone to the most problematic aspect of mysticism as
practiced in the poetry of the 1960s: as a domain in which the poet held
special knowledge that was then being revealed to (&amp; likewise concealed
from) the reader. Such a discourse has less to do with its content, which
could, frankly, be anything, and more to do with the unequal distribution of
power between writer &amp; reader that it enacts. Today such a one-sided
discourse would seem wildly anachronistic. That to me feels like one of the
best aspects of contemporary poetry. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">An interesting variant &#8211; a doctoral
dissertation for someone combining literature &amp; a social science, whether
history or sociology or even psychology &#8211; might be to take a closer look at
those poets over the years whose approach to some given discourse to some
degree overwhelmed their poetics:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<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 style="font-family: Arial;"><a href="http://www.elisiegelcollection.net/">Eli Siegel</a> taking what would later
generations would have called the guru path, becoming a &#8220;healer&#8221; who focused on
<a href="http://www.newchurchissues.org/homo/h89kt.htm">&#8220;curing&#8221; homosexuality</a>
under the rubric of Aesthetic Realism<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<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 style="font-family: Arial;"><a href="http://www.trimbissell.com/">Trim Bissell</a> going from the pages of <i style="mso-bidi-font-style: normal;">Poetry</i></span> <span style="font-family: Arial;">to the Weather Underground &amp; the FBI&#8217;s Ten Most Wanted list in the 1960s<o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<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 style="font-family: Arial;">Robert Sward
&amp; Richard Tillinghast each taking some years out from their careers to follow
spiritual journeys<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<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 style="font-family: Arial;">Perhaps the most
extreme instance ever of this last path, the writing of <a href="http://www.ronthepoet.org/">L. Ron Hubbard</a>, whose spare poems from
the 1930s reflect a reading that certainly must have included Williams, cummings
&amp; Langston Hughes but which never got the attention of his sci-fi novels
before the founding of Scientology<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">There were, of course,
others who never volunteered for such journeys, but were invited into them,
usually by the state, such as Margaret Randall&#8217;s having to flee to Cuba after
rescuing her children back from the Mexican police who were after her for her
support of the 1968 anti-Olympic games demonstrations there, or <a href="http://www.johnsinclair.us/">John Sinclair&#8217;s</a> adventure with the
authorities, ostensibly over cannabis sativa but really more for his support of
various elements of the Detroit rebellion in the 1960s, a phenomenon that
joined everything from street riots &amp; the White Panther Party (not a typo)
to the music of the MC-5. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The question of music itself
might well be raised &#8211; one might add another bullet to this list for Leonard
Cohen, Patti Smith &amp; Jim Carroll. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I would distinguish all of
these folks from writers such as Thomas Merton or Norman Fischer or Phil Whalen
or Gail <span class="SpellE">Sher</span> or Brother Antoninus/William Everson who
take a distinct &#8211; in their cases, spiritual &#8211; life path &amp; combine it with
poetry. This is where the question of the path overwhelming the poetry comes
in. I would similarly distinguish someone like Amiri Baraka from those on my
list, even though it is apparent in his poetry how dramatically powerful the
impact of his political evolution has been. Ditto Diane DiPrima, although you
can see in her <i style="mso-bidi-font-style: normal;">Revolutionary Letters</i> precisely
the dynamics of special discourse as proprietary wisdom. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">And I would also distinguish
this phenomenon from those writers &#8211; especially thick around the music industry
&#8211; who suddenly come forth with poetry, from Jewel to Henry Rollins to the late Jim
Morrison. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">If/when the serious shooting
begins &#8211; we&#8217;re already sporadically bombing some Iraqi defensive positions &#8211; in
</span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;">&#8217;s next imperial war, and all does not go just
swimmingly &amp; very quickly for Rummy, W &amp; the <span class="GramE">gang, significant
threads in the social fabric are</span> going to unravel. I would love to think
that younger poets today are smarter than they were in the 1960s, because the
risks involved are so extreme. <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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