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Showing posts with label <b>Jay Wright</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Thursday, June 28, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="288" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/Q38_jQGAYLNv534iXPqHgdyJneOsFjEbaFNH1i6SHFj24KccuNEoEwLlmQPfhl1k_f9gumqAehazjCfo_vw%3Ds0-d" width="200"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.poets.org/poet.php/prmPID/365"><span style='color:black'>Jay Wright</span></a> is not the sort of poet you would expect to see publishing with a post-avant house like Flood Editions. Although <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/33oe5p"><span style='color:black'>The Homecoming Singer</span></a> </i>was published by Corinth Press in 1971, <a href="http://www.encyclopedia.com/doc/1G1-14285299.html"><span style='color:black'>Wright&#8217;s</span></a> generally published with historically black presses or academic houses, such as Princeton, which issued a selected poems in 1987, or Louisiana State University, which published his collected poems, <i style='mso-bidi-font-style:normal'><a href="http://s50780.sites40.storefront-hosting.com/detail.aspx?ID=708"><span style='color:black'>Transfigurations</span></a>, </i>in 2000. Too young to appear in the classic <span class=SpellE>Arna</span> <span class=SpellE>Bontemps</span> anthologies of black writing, Wright doesn&#8217;t show up at all in Nielsen &amp; Ramey&#8217;s <i style='mso-bidi-font-style:normal'>Every Goodbye Ain&#8217;t Gone: An Anthology of Innovative Poetry by African Americans. </i>Of the mentions he receives in <span class=SpellE>Aldon</span> Nielsen&#8217;s earlier <i style='mso-bidi-font-style:normal'>Black Chant: Languages of African-American Postmodernism, </i>only one is not as part of a list, and that consists of three sentences in a passage about Corinth Press informing us that Wright was raised in the Southwest and was the subject of a special issue of <i style='mso-bidi-font-style:normal'><a href="http://callaloo.tamu.edu/callaloohome.html"><span class=SpellE><span style='color:black'>Callaloo</span></span></a> </i>in 1983. Yet Arnold <span class=SpellE>Adoff&#8217;s</span> anthology, <i style='mso-bidi-font-style:normal'>The Poetry of Black America: Anthology of the 20<sup>th</sup> Century, </i>affords Wright more pages than it does <span class=SpellE>Audre</span> Lord, Amiri Baraka, Sonia Sanchez or Michael Harper. Wright has been awarded a MacArthur Fellowship and, in 2005, received the <a href="http://www.yale.edu/opa/v33.n19/story3.html"><span style='color:black'>Bollingen Prize</span></a>, which has gone to Ashbery, Creeley &amp; Pound, but more typically is given to the likes of Louise Glück, Anthony Hecht, John Hollander, W.S. Merwin or Richard Wilbur, representing the spectrum of American poetry from<span style='mso-spacerun:yes'>  </span>A to B. But if <a href="http://college.hmco.com/english/heath/syllabuild/iguide/wrightj.html"><span style='color:black'>Jay Wright</span></a> the poet isn&#8217;t usual fare for <a href="http://www.floodeditions.com/"><span style='color:black'>Flood Editions</span></a>, publishers of Ron Johnson, Robert Duncan, Graham Foust &amp; William Fuller, <i style='mso-bidi-font-style:normal'><a href="http://www.floodeditions.com/new/index.html"><span style='color:black'>Music&#8217;s Mask and Measure</span></a> </i>certainly is. <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'>The volume consists of five sequences, entitled &#8220;Equation One&#8221; through &#8220;Five,&#8221; each consisting of a number of short, formally consistent poems. If you saw them on the page without reading them, your first impression might be that they were the work of Flood author John Taggart. Readers familiar with the expansive first-person poetics of Wright may be surprised to read, complete on a single page:<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;color:black'>This ordinary language finds<br>
rhythm in ambiguous flame,<br>
that stable density of one<br>
and one, the urgent displacement<br>
that nurtures light.<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'>Save for the fact that Robert  Creeley would never deploy four adjectives within five lines &#8211; just drop them and this <i style='mso-bidi-font-style:normal'>really </i>feels like his work &#8211; the poem here, and throughout this sequence, seems to call to mind the entire line of the short poem from Zukofsky forward. I hear Taggart, for example, in the name of the flower here:<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;color:black'>Fall unveils the acute<br>
aconitum, blue<br>
light against the garden&#8217;s<br>
edge. You might hear<br>
a greenish bird in flight.<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'>Here too there is a word choice &#8211; <i style='mso-bidi-font-style:normal'>greenish </i>&#8211; I can&#8217;t imagine Taggart making, even as I wonder what bird that possibly might be, anything from a mallard to a feral parrot. Does it change the poem to know that aconitum is poisonous?<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'>There&#8217;s not as much narrative distance from one page to the next as there would be with Zukofsky, Creeley or Taggart &#8211; you could reasonably print these equations as poems in a journal, running the eleven stanzas of the first, for instant, onto two or three pages. But that approach would surrender the sharp focus on each stanza as a work-in-itself:<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;color:black'>Silence structures a fragile<br>
world; the little day<br>
passes; darkness descends.<br>
The expansive touch of prayer<br>
makes love a random walk.<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'>If what Wright wanted to accomplish was to demonstrate that he could have been a completely different poet &amp; still have been a superb one, this book proves the point again &amp; again. Yet I doubt actually if Wright was much interested in that at all. The five &#8220;equations&#8221; do ultimately tell a kind of story &amp; the form very much reflects the content. <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'>So maybe it&#8217;s the publishers of Flood who deserve the credit here, since this book is going to bring Wright to an audience that maybe hasn&#8217;t paid him much heed in a long time &#8211; that Corinth Press volume, after all, was 36 years ago. Wright absolutely stands up to the requirements of a poetry very different from his best known works, and we&#8217;re fortunate that they&#8217;re aimed right at readers who are going to respond deeply to these seemingly simple texts. <o:p></o:p></span></p>
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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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