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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>Jack Spicer</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>Jack Spicer</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, July 06, 2014</span></h2>

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&amp; the <a href="http://en.wikipedia.org/wiki/Berkeley,_California"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Berkeley</span></a>
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at
<meta content='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/07/14_6.html' itemprop='url'/>
<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/07/14_6.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-07-06T00:00:00-04:00'>Sunday, July 06, 2014</abbr></a>
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Labels:
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Daniel%2520Remein' rel='tag'>Daniel Remein</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Jack%2520Spicer' rel='tag'>Jack Spicer</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Robin%2520Blaser' rel='tag'>Robin Blaser</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Talks' rel='tag'>Talks</a>
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<h2 class='date-header'><span>Friday, July 04, 2014</span></h2>

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<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 115%;"><a href="http://www.poetryfoundation.org/bio/jack-spicer"><span style="color: windowtext;">Jack</span></a>
<a href="http://epc.buffalo.edu/authors/spicer/"><span style="color: windowtext;">Spicer</span></a>
&amp; the <a href="http://epc.buffalo.edu/authors/spicer/postscript.html"><span style="color: windowtext;">English Department</span></a></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 115%;"><br />
</span></b><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 115%;">A
talk by</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 115%;"><a href="http://habenichtpress.com/"><span style="color: windowtext;">David</span></a>
<a href="http://epc.buffalo.edu/mags/vert/Vert_issue_4/hadbawnik.html"><span style="color: windowtext;">Hadbawnik</span></a></span></b></div>
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<br /></div>
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<br /></div>
<div style="text-align: center;">
<br /></div>
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<br /></div>
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Posted by
<span class='fn' itemprop='author' itemscope='itemscope' itemtype='http://schema.org/Person'>
<span itemprop='name'>Ron</span>
</span>
</span>
<span class='post-timestamp'>
at
<meta content='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/07/14.html' itemprop='url'/>
<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/07/14.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-07-04T00:00:00-04:00'>Friday, July 04, 2014</abbr></a>
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Labels:
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/David%2520Hadbawnik' rel='tag'>David Hadbawnik</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Jack%2520Spicer' rel='tag'>Jack Spicer</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Talks' rel='tag'>Talks</a>
</span>
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          </div></div>
        

          <div class="date-outer">
        
<h2 class='date-header'><span>Thursday, July 03, 2014</span></h2>

          <div class="date-posts">
        
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.poetryfoundation.org/uploads/authors/jack-spicer/448x/jack-spicer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/7VLTgz6-VOZxc-2u6c1x96e9evZ8Wqf1S1jX9z-wkCiBhKtEaSpnR0d7ZFi21n2gsy4ve9fN1DBf49yRYgvJjYpS3wgSCaxhdNRl1Chu8xygTrI8YaGmpg0LyBGlX3bKyAhH2w%3Ds0-d" width="400"></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 115%;"><a href="http://epc.buffalo.edu/authors/spicer/"><span style="color: windowtext;">Jack</span></a>
<a href="http://www.poetryfoundation.org/bio/jack-spicer"><span style="color: windowtext;">Spicer</span></a><br />
<br />
<span style="color: red;"><a href="http://media.sas.upenn.edu/pennsound/authors/Spicer/Holy-Grail/Spicer-Jack_Holy-Grail_1965.mp3"><span style="color: red;">reading</span></a></span><br />
<br />
<i style="mso-bidi-font-style: normal;"><a href="http://www.poorclaudia.org/books/the-holy-grail/"><span style="color: windowtext;">The Holy Grail</span></a></i></span></b></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/07/14_3.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-07-03T00:00:00-04:00'>Thursday, July 03, 2014</abbr></a>
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<h2 class='date-header'><span>Saturday, July 13, 2013</span></h2>

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<tr><td style="text-align: center;"><a href="//3.bp.blogspot.com/-FW7e-3Qovts/UeGLoalxErI/AAAAAAAADGQ/61hrkjOQfBY/s1600/9278368062_7b9344cb77_o%5B1%5D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="123" src="//3.bp.blogspot.com/-FW7e-3Qovts/UeGLoalxErI/AAAAAAAADGQ/61hrkjOQfBY/s320/9278368062_7b9344cb77_o%255B1%255D.jpg" width="320"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Jack Spicer</span></i></td></tr>
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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://epc.buffalo.edu/authors/killian/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Kevin</span></a>
<a href="http://en.wikipedia.org/wiki/Kevin_Killian"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Killian</span></a><br />
</span></b><a href="http://download.kcrw.com/audio/395828/bw_2010-08-18-203828.6929.mp3"><b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 250%;">interviewed</span></b></a><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;"><br />
</span></b><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">about <a href="http://www.poetryfoundation.org/bio/jack-spicer"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Jack</span></a>
<a href="http://en.wikipedia.org/wiki/Jack_Spicer"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Spicer</span></a></span></b><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;"><br />
</span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;">by </span><a href="http://www.kcrw.com/people/silverblatt_michael?role=host"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;">Michael</span></a><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;"> </span><a href="http://en.wikipedia.org/wiki/Michael_Silverblatt"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;">Silverblatt</span></a><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;"><br />
on </span><a href="http://www.kcrw.com/etc/programs/bw"><i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;">Bookworm</span></i></a><i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-themecolor: text1; mso-themetint: 242;"><br />
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<h2 class='date-header'><span>Wednesday, August 01, 2012</span></h2>

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<h2 class='date-header'><span>Monday, December 01, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><a href="http://www.dartmouth.edu/~upne/0-8195-6887-2.html"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="254" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/6BOY1f4YoGCysH5akWaZG6dOyXCobUSfGMfv4VGDBM7_dAZMA7YThAU6s8AC0YFBlCtBGZl0-xzC3-LzlIou0Opm7yA_VSqFFTCiGlLMrk4bJ42v_q8qHA%3Ds0-d" width="192"></span></a><span style='font-size:10.0pt;font-family:Arial'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Is it unseemly to review a book one has already blurbed? Particularly when the claim made &#8211; &#8220;one of the most important volumes of poetry published in the past 50 years&#8221; &#8211; is so extravagant? I&#8217;m convinced this statement is completely accurate, and it&#8217;s worth noting in addition that <i style='mso-bidi-font-style:normal'><a href="http://www.dartmouth.edu/~upne/0-8195-6887-2.html"><span style='color:black'>My Vocabulary Did This to Me: The Collected Poetry of Jack Spicer,</span></a> </i>edited by Peter Gizzi &amp; Kevin Killian &amp; just out in time to ask your parents to give it to you for Christmas, is also one of the best, and most enjoyable books of poetry you will ever read as well. It&#8217;s well worth finding that desert island in order to give <span class=GramE>yourself</span> the time to properly spend with this book. You may never want to be rescued.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>What makes <i style='mso-bidi-font-style:normal'>Vocabulary </i>different from, even better than, the justly famous <i style='mso-bidi-font-style:normal'>Collected Books </i>edited by Robin Blaser and published by</span><span style='font-size:10.0pt;font-family:Arial'> Black Sparrow in 1975 that took Spicer&#8217;s reputation from being a secret shared by maybe two dozen post-avants to that of one of the major New American Poets, on a par with Ginsberg, Creeley, Ashbery, Snyder, Duncan et al, is three things. First, there is a lot of new material <span class=GramE>here,</span> and not simply that which was later gathered together into <i style='mso-bidi-font-style:normal'>One Night Stand. </i>Consider &#8220;Homosexuality,&#8221; the third poem in the book, written sometime in 1945 or &#8217;46:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Roses that wear roses<br>
<span class=GramE>Enjoy</span> mirrors.<br>
Roses that wear roses must enjoy<br>
<span class=GramE>The</span> flowers they are worn by.<br>
Roses that wear roses are dying<br>
<span class=GramE>With</span> a mirror behind them.<br>
None of us are younger but the roses<br>
<span class=GramE>Are</span> dying.<br>
Men and women have weddings and funerals<br>
<span class=GramE>Are</span> conceived and destroyed in a formal<br>
Procession.<br>
Roses die upon a bed of roses<br>
<span class=GramE>With</span> mirrors weeping at them.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The argument, which I&#8217;ve been known to make myself and which is implicit in the structure of <i style='mso-bidi-font-style:normal'>The Collected Books, </i>that Spicer wasn&#8217;t writing mature work until he reached the volume <i style='mso-bidi-font-style:normal'>After Lorca, </i>the book that leads of <i style='mso-bidi-font-style:normal'>The Collected Books, </i>a decade later, is rent asunder by counter-examples such as the poem above. Yes, maybe it&#8217;s a little more melodramatic &amp; surreal than Spicer at his best, but the searing love poetry of <i style='mso-bidi-font-style:normal'>Language </i>and <i style='mso-bidi-font-style:normal'>Book of Magazine Verse </i>is absolutely visible in &#8220;Homosexuality.&#8221; There <span class=GramE>is</span> roughly 100 pages of such material in <i style='mso-bidi-font-style:normal'>Vocabulary </i><b style='mso-bidi-font-weight:normal'>before</b> you reach <i style='mso-bidi-font-style:normal'>After Lorca, </i>and while much of that appeared in <i style='mso-bidi-font-style:normal'>One Night Stand, </i>gems like the poem above are new<i style='mso-bidi-font-style:normal'>. </i>It may be worth noting that when Spicer wrote this poem, the number of male American poets out of the closet consisted of Robert Duncan. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Second, this volume presents the work in chronological order while retaining the structure of Spicer&#8217;s mature work, when the book was the unit of composition he pursued &#8211; books are indicated in the table of contents in all caps, starting with <i style='mso-bidi-font-style:normal'>AFTER LORCA, </i>so that newly discovered texts, such as &#8220;Socrates&#8221; &amp; &#8220;A Poem for Dada Day at the Place, April 1, 1958,&#8221; are positioned between <i style='mso-bidi-font-style:normal'>A BOOK OF MUSIC </i>&amp; <i style='mso-bidi-font-style:normal'>BILLY THE KID. GOLEM </i>and <i style='mso-bidi-font-style:normal'>MAP POEMS </i>appear between <i style='mso-bidi-font-style:normal'>THE HOLY GRAIL </i>&amp; <i style='mso-bidi-font-style:normal'>LANGUAGE. MAP POEMS </i>may not really constitute a book &#8211; the title comes from Gizzi &amp; Killian &#8211; so much as notes toward the construction of another volume never to be realized by the dying Spicer, but they make sense as a group and are especially interesting positioned where they are, immediately after <i style='mso-bidi-font-style:normal'>GOLEM, </i>which I think is unquestionably the most significant of the new works (an edition was published by Granary Books in 1999), found among the papers of the late teacher &amp; labor activist Jim Herndon by his widow Fran &#8211; they&#8217;d been members of the Spicer Circle as youngsters. This ordering of Spicer&#8217;s work shows the degree to which <i style='mso-bidi-font-style:normal'>Collected Books </i>really constitutes a &#8220;greatest hits&#8221; collection &#8211; and while it&#8217;s true that the greatest hits genuinely are home runs (Spicer would appreciate this metaphor), it makes even greater sense to see them in the context of all these line-drive doubles in the gap. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Third, Gizzi and Killian have been meticulous in their documentation and presentation of these materials. There are notations concerning the poems at the rear of the volume &#8211; you can find Spicer at the founding convention of the Mattachine Society, </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial'>&#8217;s first gay rights organization, there, as well as what amount to tight little essays on many of the major books. There are <i style='mso-bidi-font-style:normal'>other poems </i>that Gizzi &amp; Killian have concluded were never finished by Spicer and these are not here, but will appear (yes!) in a later volume.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>So what we have here is a 426-page collection of <i style='mso-bidi-font-style:normal'>all </i>of Jack Spicer&#8217;s poetry contrasted with 267 pages in <i style='mso-bidi-font-style:normal'>The Collected Books. </i>The difference is even greater when you consider that <i style='mso-bidi-font-style:normal'>Vocabulary </i>uses a slightly smaller font to get more on a page than did <i style='mso-bidi-font-style:normal'>Books, </i>which used 10.5-point type &amp; incorporated a 58-page essay by Robin Blaser in order to provide the book with the heft one normally associates with collected editions. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>So, yes, this <i style='mso-bidi-font-style:normal'>is</i> one of the most important volumes published in the past 50 years. It is hands down the best book published in 2008. And it is one of the most powerful collections of poetry you will ever read. Need I say more?<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, July 24, 2008</span></h2>

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<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt;text-align:justify;text-indent:.8in'><span style='font-size:10.0pt;font-family:Verdana'>The city of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana'> is filled with <span class=SpellE>frogheaded</span> flies and British policemen. The other day I saw the corpse of Emily Dickinson floating up the </span><st1:place><span style='font-size:10.0pt;font-family:Verdana'>Charles River</span></st1:place><span style='font-size:10.0pt;font-family:Verdana'>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt;text-align:justify;text-indent:.8in'><span style='font-size:10.0pt;font-family:Verdana'>Sweet God, it is lonely to be dead. Sweet Good, is there any God to worship? Sweet God, you stand in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana'> like a public statue. Sweet God, is there any God to swear love by? Or love </span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8211;</span><span style='font-size:10.0pt;font-family:Verdana'> it is lonely, is lonely, is lonely to be lonely in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana'>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-align:justify;text-indent:.8in'><span style='font-size:10.0pt;font-family:Verdana'>Now Emily Dickinson is floating down the </span><st1:place><span style='font-size:10.0pt;font-family:Verdana'>Charles River</span></st1:place><span style='font-size:10.0pt;font-family:Verdana'> like an Indian Princess. Now naked savages are climbing out of all the graveyards. Now the Holy Ghost drips <span class=SpellE>birdshit</span> on the nose of God. Now the whole thing stops. Sweet God, poetry hates </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana'>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This 1956 poem by Jack Spicer, which first appeared in <i style='mso-bidi-font-style:normal'><a href="http://www.durationpress.com/thepoker/"><span style='color:black'>The Poker</span></a>, </i>no. 5, in the winter of 2005, is taking on something of a promiscuous history. It appears in the current issue of <i style='mso-bidi-font-style:normal'><a href="http://www.massreview.org/"><span style='color:black'>The Massachusetts Review</span></a>, </i>devoted to GLBT writing, and is reprinted, with credit to the <i style='mso-bidi-font-style:normal'>Mass Review, </i>in the current edition of <i style='mso-bidi-font-style:normal'><a href="http://harpers.org/subjects/JackSpicer"><span style='color:black'>Harpers</span></a></i> (subscription definitely required). Both, being </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Quietude</span> </st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> haunts, fail to credit <i style='mso-bidi-font-style:normal'>The Poker.<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One can only imagine what Jack Spicer would have made of an appearance in <span class=GramE><i style='mso-bidi-font-style:normal'>Harpers, </i></span><i style='mso-bidi-font-style:normal'> </i>at least once he&#8217;d stopped puking his guts out. The cosmic joke at the heart of <i style='mso-bidi-font-style:normal'>Book of Magazine Verse, </i>the volume that was in press when Spicer died at the age of 40 in 1965, is that none of the magazines for which this diffident, supremely geo-centric author &#8220;wrote&#8221; his poems would ever have deigned to print them. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Not only did Spicer proleptically assume automatic rejection by <i style='mso-bidi-font-style:normal'>The St. Louis Sporting News </i>(now just <i style='mso-bidi-font-style:normal'>The Sporting News</i>) and <i style='mso-bidi-font-style:normal'>Down Beat, </i>two publications that didn&#8217;t (and still don&#8217;t) normally print poetry, but also by <i style='mso-bidi-font-style:normal'>Ramparts, </i>the SF-based Catholic theological journal that, in the 1960s, transformed itself into a radical antiwar publication (<i style='mso-bidi-font-style:normal'>Mother Jones </i>is a pretty direct descendent of <i style='mso-bidi-font-style:normal'>Ramparts</i>), <i style='mso-bidi-font-style:normal'>Poetry </i>&#8211; which by 1965 was regularly publishing Louis Zukofsky, Charles Olson, Robert Creeley &amp;, most pointedly from Spicer&#8217;s perspective, Robert Duncan &#8211; and <i style='mso-bidi-font-style:normal'>The Nation </i>(whose poetry editor at the time, Denise Levertov, Spicer despised as she did him&#185;), but even an emergent post-avant mimeo rag such as Vancouver&#8217;s <span class=SpellE><i style='mso-bidi-font-style:normal'>Tish</i></span><i style='mso-bidi-font-style:normal'> </i>and the apparently non-existent <i style='mso-bidi-font-style:normal'>Vancouver Festival. </i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Spicer was very protective of his outsider status. He would allow his mimeo magazine <i style='mso-bidi-font-style:normal'>J </i>to be distributed as far east as </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, but no further. To discover that you had sent a contributor&#8217;s copy to </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> or </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was to be banned from its pages forever after. While he did live &amp; work in both </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Minneapolis</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> for short periods, the poem above is pretty typical for the respect which Spicer showed them. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In the past several months, tho, works by Spicer have turned up in both <i style='mso-bidi-font-style:normal'>Poetry </i>and <i style='mso-bidi-font-style:normal'>The Nation, </i>part of the run-up to the publication <span class=GramE>next<span style='mso-spacerun:yes'>&#160; </span>month</span> of <i style='mso-bidi-font-style:normal'><a href="http://www.dartmouth.edu/~upne/0-8195-6887-2.html"><span style='color:black'>My Vocabulary Did This To Me: The Collected Poetry of Jack Spicer</span></a>, </i>edited by Kevin Killian and Peter Gizzi. Having seen the manuscript at different stages of editing, I can say without hesitation that this is one of the great books of the 20<sup>th</sup> <i style='mso-bidi-font-style:normal'>and </i>of the 21<sup>st</sup> centuries. Gizzi &amp; Killian have done
a tremendous job. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Still, it is very strange to see Jack Spicer&#8217;s poetry turn up in places where it never would have done so in his own lifetime.&#178; <o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>&#167;<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Today&#8217;s <i style='mso-bidi-font-style:normal'>Philadelphia Inquirer </i>has a feature on the city&#8217;s Car Share program entitled &#8211; in 80-point type on the front of the Magazine section of the paper &#8211; &#8220;<a href="http://www.philly.com/inquirer/magazine/20080724_Drive__they_said.html"><span style='color:black'>Drive, They Said</span></a>.&#8221; Is this the largest print in which an allusion to <a href="http://www.diacenter.org/prg/poetry/87_88/creeley2.html"><span style='color:black'>Robert Creeley</span></a> has ever appeared? And who at the <i style='mso-bidi-font-style:normal'>Inky </i>besides editor John <span class=SpellE>Timpane</span> &amp; book reviewer Carlin Romano will even recognize it as such?<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial'>&#185; Spicer appears to have seen her as a homophobic bluenose, an enemy of poetry. She seems to have seen him as a racist alcoholic. The fact that, in the mid-1960s, she was still something of an acolyte of Robert Duncan&#8217;s certainly did not help. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial'>&#178; I believe Spicer did send his poems both to <i style='mso-bidi-font-style:normal'>Poetry </i>and <i style='mso-bidi-font-style:normal'>The Nation, </i>both of which, true to his expectations, rejected them. <o:p></o:p></span></p>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Friday, February 07, 2003</span></h2>

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<span style="font-family: Arial;">There is never a word nor
syllable nor the slightest scratch upon the paper in any of Rachel Blau
DuPlessis&#8217; <i style="mso-bidi-font-style: normal;"><a href="http://www.dartmouth.edu/~upne/0-8195-6485-0.html">Drafts</a></i> that
has not been thoroughly vetted through the mind &amp;imagination of the poet.
So when I find indeterminacy &amp; surplus in her texts, I know that they
haven&#8217;t gotten there by accident, that even when it appears &#8220;meaningless,&#8221; it
means something.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I was reading &#8220;<i style="mso-bidi-font-style: normal;">Draft</i> 2: She&#8221;<i style="mso-bidi-font-style: normal;"> </i>this morning, which is replete with such effects. A case in point:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Dabbles the <span class="SpellE">blankie</span>
down<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">din</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">do</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> throw <span class="SpellE">foo</span> <span class="SpellE">foo</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="SpellE"><span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">noo</span></span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span class="SpellE"><span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">dles</span></span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the <span class="SpellE">arror</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> eros
the error of arrows<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">each</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> little
spoil and spill<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">all</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> during
pieces fly apart</span><span style="font-family: Arial;">.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="SpellE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Splatting</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> crumb bits
there and there.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Feed &#8216;n&#8217; wipe. Woo <span class="SpellE">woo</span> petunia<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">pie</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Hard<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">to</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> get
the fail of it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">large</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> small
specks each naming<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">yellow</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
surface<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">green</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> bites<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Red elbow kicks an </span><st1:city><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">oran</span></st1:place></st1:city><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">ge
tangerine.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If my HTML skills were up to
it &#8211; they aren&#8217;t &#8211; I might offer some even more extreme examples: there are <span class="SpellE">are</span> <span class="SpellE">twelves</span> places in this
eight-page poem in which DuPlessis offers alternative word choices typed almost
literally atop one another, as in &#8220;the mother/the monster&#8221; or &#8220;hurl/hole/hurt.&#8221;
<span class="GramE">But, as DuPlessis herself notes in the passage quoted above,
&#8220;large small specks each naming.&#8221;</span> Just because these uses of
alternatives &amp; of baby talk don&#8217;t resolve to traditional denotations does
not make them <span class="SpellE">unmeaningful</span>. Woo <span class="SpellE">woo</span>
petunia!<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The question here is what.
At one level, &#8220;She&#8221; is about gendering the family &amp; the intricacies of
mother-daughter roles. At another, it&#8217;s about the acculturation of the child
into the world of adult roles &amp; values &amp; systems, language foremost
among them. It&#8217;s precisely in the use of language that cannot be resolved into
normative concepts of meaning that I most hear the world as it was viewed by <a href="http://www.marxists.org/reference/archive/althusser/">Louis <span class="SpellE">Althusser</span></a>, the late French political philosopher, at
least in his saner moments. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="SpellE"><span style="font-family: Arial;">Althusser&#8217;s</span></span><span style="font-family: Arial;"> observation was the world replicated itself through
two systems &#8211; <span class="SpellE">repressessive</span> state apparatuses (<span class="SpellE">RSAs</span>) and ideological state apparatuses (<span class="SpellE">ISAs</span>). We are, all of us, only too familiar with <span class="SpellE">RSAs</span>, which include everything from stop signs to the
Justice <span class="SpellE">Deparment</span> (even <span class="SpellE">when</span>
it&#8217;s not in the hands of a maniacal neo-fascist like John Ashcroft) to the
version our government is about to visit on the people of Iraq. <span class="SpellE">ISAs</span> are more numerous, more complex, more subtle &amp;
ultimately more powerful. The church, family, popular media, even poetry,
generally fall in the <span class="SpellE">Althusserian</span> scheme onto the
side of <span class="SpellE">ISAs</span>. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I should say something about
ideology here, which in the <span class="SpellE">Althusserian</span> model is
only incidentally about being a Republican, a Democrat, a Libertarian or a
Green, or even about being &#8220;for&#8221; or &#8220;against&#8221; capitalism. Rather, as <span class="SpellE">Althusser</span> saw it, ideology is that which calls your name
&amp; by which &amp; through which you recognize yourself. As such, it is
precisely a subconscious process, exactly the level on which the material
signifiers of language operate. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">For all of the
unquestionable pleasures of the Lacanian &amp; for the ways in which, say, a </span><st1:personname><span style="font-family: Arial;">Carla Harryman</span></st1:personname><span style="font-family: Arial;"> might make use of a <span class="SpellE">Kristeva</span>,
my sense has been that with the notable (&amp; almost sole) exception of </span><st1:personname><span style="font-family: Arial;">Nick Piombino</span></st1:personname><span style="font-family: Arial;">, the unconscious in writing has been given short
shrift at best by my own generation of poets. Most of the effects of a text
such as Clark Coolidge&#8217;s <i style="mso-bidi-font-style: normal;">The Maintains </i>or
<i style="mso-bidi-font-style: normal;">Polaroid</i> occur at the subconscious
level or else can be described in the matter-of-fact language of feature
analysis, a close reading of surface devices that never actually gets to what
occurs <i style="mso-bidi-font-style: normal;">elsewhere</i> when one reads. At one
level, I think one could much the same about Lee Ann Brown or Quincy Troupe or even
Billy Collins. But, at another, the absence of such critique seems especially galling
in the case of poets whose work actively eschews normative expository,
figurative or narrative frames. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">When I think of the poets of
the New American generation, three in particular seem to have made active
reference to, or use of, psychoanalysis in any form: Charles Olson, Robert
Duncan &amp; Robert Bly. </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">,
in good part because of H.D.&#8217;s influence, made active &amp;, I think,
relatively effective use of Freud, although now that I put those words to
screen, I realize that I cannot fully articulate what I mean by that. Olson
poured Jungian analysis into his vast grab-bag of intellectual discourses that
he might call upon, but, while the <span class="SpellE">spectre</span> of Jung
has sometimes been raised to suggest a reason &amp; underlying cohesion for the
great &amp; wonderful mess that is <i style="mso-bidi-font-style: normal;">Maximus</i>,
Olson&#8217;s own approach has always struck me as remarkably unsystematic, forever
opportunistic, &amp; as indebted as much to Mao as to the Vienna gang. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bly? Well, it rhymes with
sigh. Invoking Jung in a very different light &amp; yoking it first to bad
translations of the especially narrow swath he cut through the surrealists
&amp; later to the Iron John one-man comic philosopher shtick, Bly went a long
way toward making <span class="SpellE">psychoanlysis</span>, Jungian or Freudian,
off-limits to a younger generation of poets unable to suppress their
snickering. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bly was one of a generation
of poets who was raised initially within the framework of the old </span><st1:place><span style="font-family: Arial;">New England</span></st1:place><span style="font-family: Arial;"> formalist tradition, but who in the 1950s rebelled
against its even then moribund dynamics. Including W.S. <span class="SpellE">Merwin</span>,
James Wright &amp; Adrienne Rich in addition to Bly, these poets did not turn
automatically to the growing alternative of the New Americans*, but rather
struck off in a new direction, which for the male poets among them meant a
version of surrealism and, at least for Bly &amp; <span class="SpellE">Merwin</span>,
a turn toward European influences. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">For a brief moment in the
early 1960s, Bly in particular made an attempt to forge a synthesis with some
of the next generation of New Americans, most notably </span><st1:personname><span style="font-family: Arial;">Robert Kelly</span></st1:personname><span style="font-family: Arial;">, whose interest in all matters occult took him
through Jung, and Jerome Rothenberg, whose interest in ethnopoetics took him
far closer to native roots than the <span class="SpellE">pancho</span> that was <span class="SpellE">Bly&#8217;s</span> omnipresent clothing accessory during that decade. The
&#8220;deep image&#8221; movement didn&#8217;t last long. I&#8217;ve written <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_12_01_ronsilliman_archive.html">before</a>
of how Kelly&#8217;s interest in the alternative wisdom traditions helped to cut him
off from some of the younger &amp; more secular poets who would come up around langpo.
The figuration given to the unconscious in the work of some of the poets around
first <i style="mso-bidi-font-style: normal;">Caterpillar</i> &amp; later <i style="mso-bidi-font-style: normal;">Sulfur,</i> especially that offered by
Clayton Eshleman, only furthered to steer the next generation of poets, already
deeply suspicious of figuration itself, in the opposite direction. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One of the great ironies in
this is that the unconscious is to analysis what birds are to ornithology, and
it&#8217;s the unconscious processing of poetry that&#8217;s of interest here more than the
extrapolation of intellectual systems. It has long seemed to me that the New
American who most directly raised the issue of the unconscious in his poetry
was not Olson or Duncan, who tended more to talk about it, but Jack Spicer.
Spicer&#8217;s use of contradiction &amp; <span class="SpellE">overdetermination</span>
is unparalleled in his generation &amp; tugs continually at the ways in which
we utilize &amp; experience just such phenomena, not merely mentally but in
day-to-day life. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It&#8217;s interesting in this
regard that there really was no such thing as a second generation </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;"> renaissance. Spicer&#8217;s early death in 1965, preceded
by the decline of his health due to drinking, set his own circle adrift, with
significant portions ending up in </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> &amp; even, in the presence of Larry Fagin, in </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;">. The poets who most deeply reflected </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s influence &#8211; David Bromige, </span><st1:personname><span style="font-family: Arial;">Michael Palmer</span></st1:personname><span style="font-family: Arial;">, </span><st1:personname><span style="font-family: Arial;">Aaron Shurin</span></st1:personname><span style="font-family: Arial;">, <span class="GramE">David</span> Melnick &#8211; seem to have worked with him serially. </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s imperiousness &amp; his public battles with Spicer
in their later years made it even less likely that anything cohesive might arise
out of such a problematic context. <span style="mso-spacerun: yes;">&nbsp;</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">So when Rachel Blau
DuPlessis roars out &#8220;Woo <span class="SpellE">woo</span> petunia,&#8221; I sense her
taking up something that has lain untouched for some time in writing &#8211; not that
it isn&#8217;t present, say, in the work of Frank O&#8217;Hara or any of another 100 poets
you could name, but rather that it exists there unaddressed, not unlike the
alcoholic uncle at the end of the couch nobody quite mentions. And I wonder if
poets such as Coolidge (or even, for that matter, myself) have felt safer
precisely because a discussion of the unconscious has been off the table for so
many decades, as if we could venture into this territory knowing that no
critical frames existed that could be usefully employed, precisely because they
had been blocked by the use of the discourses (Freud, Jung, but as read by Bly
or Duncan) that had been there previously. Like Grenier&#8217;s use of the literally
subliminal in his scrawl works, DuPlessis gives us <span class="GramE">a writing</span>
in places &#8211; it&#8217;s not the only thing she&#8217;s up to here, just the one that I&#8217;m
intrigued with today &#8211; that can only be forever <i style="mso-bidi-font-style: normal;">beyond</i> the rational. At one level, it&#8217;s a demand, a demand that we
come to understand exactly what it means.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Woo <span class="SpellE">woo</span>
petunia<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="GramE"><span style="font-family: Arial;">pie</span></span><span style="font-family: Arial;">.<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">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* Although
Rich&#8217;s pivotal poem &#8220;Diving into the Wreck,&#8221; made its first appearance in
Clayton Eshleman&#8217;s <i style="mso-bidi-font-style: normal;">Caterpillar.<o:p></o:p></i></span></div>
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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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