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Showing posts with label <b>Ivan Zhdanov</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Wednesday, September 25, 2002</span></h2>

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<a href="https://www.blogger.com/null" name="OLE_LINK1"><span style="font-family: Arial;">One of
literature&#8217;s great latent potentials is the capacity to take a reader to far and
distant places. In my own life, I have had the occasion to share the stage in
what is now St. Petersburg, Russia, with Ivan Zhdanov, a poet born and raised
in Siberia, who simply shut his eyes and recited a long poem and though
virtually all I could get out of it with my pathetic Russian was the pure
prosody of the occasion, delivered in Zhdanov&#8217;s impeccable baritone, I was left
in awe, a wonderment I still feel 13 years later. <o:p></o:p></span></a></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">I feel a similar sense of poetry&#8217;s great reach when reading the work of
people whose own life experiences seem radically different from my own. Frank
Stanford&#8217;s childhood in the <span class="GramE">deep</span> South would be one
instance. Lorine Niedecker in the woods and small towns of rural </span></span><st1:state><st1:place><span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">Wisconsin</span></span></st1:place></st1:state><span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;"> is another.
Besmilr Brigham is a third.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">When I first began publishing poetry in the mid-1960s in little journals
such as Meg Randall&#8217;s <i style="mso-bidi-font-style: normal;">El <span class="SpellE">Corno</span> <span class="SpellE">Emplumado</span></i>, Brigham was
one of the other poets whose work one could expect to see. The poems were
spare, with a ragged, Creeley-<span class="SpellE">esque</span> line and
evidenced a familiarity with such things as farm animals that indicated a life
more rural than my own. Brigham was one of those poets whom I expected I would
someday meet. But I never did. There was one book from Knopf in 1971, <i style="mso-bidi-font-style: normal;">Heaved from the Earth,</i> but at some point
toward the end of that decade, I stopped seeing the poems in journals and then
nothing but silence. Brigham had apparently joined poetry&#8217;s legion of
disappeared, those poets whose work, though eminently worth reading, goes out
of print never apparently to return. There are many poets (including several in
the Spicer circle, such as Harold Dull, Ronnie <span class="SpellE">Primack</span>
and James Alexander) whose work deserves to be read but which simply can no
longer be found. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">All of which is to explain why I felt such joy to find, finally, a
volume, <i style="mso-bidi-font-style: normal;">Run Through Rock: Selected Short
Poems of Besmilr Brigham,</i> edited by C.D. Wright and published by Lost Roads
in 2000. Wright is also the editor who rescued Frank Stanford&#8217;s great long
poem, <i style="mso-bidi-font-style: normal;">The Battlefield Where the Moon Says
I Love You,</i> republished by Lost Roads the same year as the Brigham
volume.<span style="mso-spacerun: yes;">&nbsp; </span>Maybe Brigham&#8217;s work would not
have stayed lost forever had not Carolyn thought to take this project on &#8211;
Brigham&#8217;s son-in-law is the Southwest poet Keith Wilson &#8211; but in the
publication of poetry, there are no guarantees. <o:p></o:p></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">The poems are much as I remember them, both wonderful &amp; modest. Like
several other poets of that period &#8211; Cid Corman, Ted Enslin, James Weil, Simon <span class="SpellE">Perchik</span> &#8211; Brigham&#8217;s shorter pieces understand the virtue of
never trying to accomplish too much. Where they differ from the more austere
programs of some of these other poets is in their openness to detail and their
commitment to the eye. It is the eye that connects her to another poet of this
period: Larry Eigner. Where Eigner&#8217;s poems initially appear light and airy on
the page, only to reveal the intense epistemological concerns that drove him,
Brigham&#8217;s poems are more notational and relaxed even when they&#8217;re also in the
same moment dark &amp; disturbing. A good example might be &#8220;Man Found in
Chiapas Woods&#8221;:<o:p></o:p></span></span></div>
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<br /></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">hung up in the tree<br />
a thing that did not grow there<br />
his body stayed for seven<br />
rank moons<br />
until the priests found him<br />
<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>what he brought<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>climbing to the limb fork<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>choked&#8212;<br />
until no rope could strangle it<br />
<br />
pushing the tight words<br />
deeper than the heart&#8217;s rush<br />
(the few<br />
<br />
who saw him after<br />
a bauble blowing in the wind<br />
ran from the soul strung up:<br />
a cadaver of flesh without a cross<br />
and crossed their souls in silence<br />
<br />
he swung alone<br />
except for the big caw parrots<br />
that passed bush-deep from rain<br />
and hot birds<br />
shaking their feathers thick under leaves<br />
skin-blackened<br />
<br />
flesh sucked out with sun<br />
a dried leather covers his bones<br />
stuck watery<br />
like old clung bark<br />
breaking and gummed to the dying sap<br />
<br />
though there was a time<br />
when wind<br />
sucked under his clothes<br />
before the cord sandals fell<br />
<br />
and the faded old pants danced<br />
a wild bird<br />
caught in their crotch<o:p></o:p></span></span></div>
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<br /></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">The poem as a whole is terrific and Brigham gives it ample time to
develop. Yet it is precisely the gradual pacing of development that lets in
what I hear as overly hokey lines: &#8220;pushing the tight words / deeper than the
heart&#8217;s rush&#8221; (the lines also <i style="mso-bidi-font-style: normal;">sound great</i>
which may have kept them there &#8211; the added syllable in the second line is
actually the third one &#8211; &#8220;than&#8221; &#8211; pushing &#8220;the&#8221; further out the line and giving
a slant to the parallel noun phrases). Ultimately, I trust the decision to keep
these lines, even as I suppress a shudder. The willingness to go anywhere is
part of Brigham&#8217;s commitment to the reader.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">In addition to her short poems, Besmilr Brigham also worked in sequences
&amp; serial poems, none of which are collected here. Hopefully another volume
will appear in the future.<o:p></o:p></span></span></div>
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<span style="mso-bookmark: OLE_LINK1;"></span>

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<span style="font-family: Arial; font-size: 10.0pt;">*Wilson
himself has a collection forthcoming from Chax Press that hopefully will get
his work out to a wider audience than it has had to date.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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at
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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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