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Showing posts with label <b>JFK</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>JFK</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Tuesday, September 17, 2002</span></h2>

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<span style="font-family: Arial;">Against the orgy of
unrelievably bad public poetry commemorating the first anniversary of the
September 11<sup>th</sup> attacks, I had the occasion to read Allen Curnow&#8217;s &#8220;A
Framed Photograph&#8221; from his 1972 serial poem <i style="mso-bidi-font-style: normal;">Trees, Effigies, Moving Objects</i>, in which the assassinations of the
brothers Kennedy is posed against the consequences of their own actions
elsewhere in the world, as in this stanza:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Act
one, scene one<o:p></o:p></span></div>
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<span style="font-family: Arial;">of
the bloody melodrama. Everyone listened<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">while
everyone read their poems. BANG! BANG!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
we cried all the way to My Lai.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Which in turn brought me
back to the poems concerning JFK&#8217;s assassination that were written by Jack
Spicer and Louis Zukofsky and beyond that, the anti-Vietnam War poems by Robert
Duncan and Allen Ginsberg. While none of these were explicitly written for
&#8220;command performance&#8221; occasions, all show the range of what might be possible
within this genre that I might characterize as shared public emotion &#8211; from the
most personal (Zukofsky&#8217;s &#8220;A&#8221;-23) to the most declamatory (Ginsberg&#8217;s &#8220;Wichita
Vortex Sutra, Part II&#8221; or Duncan&#8217;s &#8220;The Fire, <i style="mso-bidi-font-style: normal;">Passages </i>13&#8221;). <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Arial;">Spicer&#8217;s JFK poem appears in
<i style="mso-bidi-font-style: normal;">Language</i>:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">Smoke signals<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">Like in the Eskimo villages on the coast where the
earthquake hit<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">Bang, snap, crack. They will never know what hit them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">On the coast of Alaska. They expect everybody to be
insane.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">This is a poem about the death of John F. Kennedy.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Spicer&#8217;s poem replicates the
process of grieving in the way that grief turns everything, no matter how
remote &#8211; here a description of the 1964 Alaskan earthquake &#8211; into a commentary
on its obsessive object. It&#8217;s no coincidence that two phrases &#8211; &#8220;Smoke signals&#8221;
and &#8220;Bang, snap, crack&#8221; &#8211; apply equally to the devastation in Anchorage &amp;
the shots ringing out over Elm Street in Dallas. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Arial;">Spicer&#8217;s ambivalence over
public language is on record. His very last poem, concluding <i style="mso-bidi-font-style: normal;">Book of Magazine Verse</i>, takes an unnamed
Ginsberg to task for allowing himself to be chosen <i style="mso-bidi-font-style: normal;">Kraj Majales</i> in a Prague May Day celebration. One poem earlier,
Spicer makes the claim that<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">They&#8217;ve (the leaders of our country) have become
involved in a network of lies.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Arial;">We (the poets) have also become in network of lies by
opposing them.*<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It&#8217;s a position that Spicer
knows is untenable. Indeed, irresolvable conflict is the primary Spicerian
theme. Spicer himself wrote obliquely about the Vietnam War earlier in that same
book. And the final poem to Ginsberg concedes that &#8220;we both know how shitty the
world is,&#8221; refusing to place Spicer above the very same behavior he is about to
criticize. Yet, while it is possible to argue that, at least in <i style="mso-bidi-font-style: normal;">Magazine Verse</i>, Spicer chooses
individual human relations over social ones (which thus would be the point of
his announced solidarity with the Prague police rather than the
counter-cultural demonstrators with whom Ginsberg was parading), the JFK poem
clearly places Spicer on the other side of that line. This is ambivalence in
the most literal sense. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">All of this harkens back to
Wordsworthian homilies concerning emotion recollected in tranquility when
tranquility is precisely what is lacking if the poem is to be taken as a
possible transcript of consciousness (as Wordsworth himself does in the
Crossing the Alps section of <i style="mso-bidi-font-style: normal;">The Prelude</i>),
a category that is as inclusive of emotion as it is of thought. Add to this the
impulse to &#8220;even out&#8221; rough edges until the product shines with that glazed
state of crockery called the well-wrought urn** and you have a prescription for
literary disaster of titanic &#8211; and <i style="mso-bidi-font-style: normal;">Titanic</i>
&#8211; proportions. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*I have
always wondered whether to assign the &#8220;missing&#8221; words in that second line to
Spicer&#8217;s alcoholism, which would kill him only weeks after this was written, or
if in fact the absence of &#8220;involved&#8221; in particular signaled a deeper level of
meaning.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** See my
comments for September 5.<o:p></o:p></span></div>
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<span itemprop='name'>Ron</span>
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at
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002/09/against-orgy-of-unrelievably-bad.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2002-09-17T05:56:00-04:00'>Tuesday, September 17, 2002</abbr></a>
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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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