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Showing posts with label <b>Joanne Kyger</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, March 23, 2017</span></h2>

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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="https://2.bp.blogspot.com/-hXPTEuOG-_E/WNQzpuY7WUI/AAAAAAAAHMU/X-n5o3yBtGEyQFamHOexVVpjoqOPpHscwCLcB/s1600/Joanne%2BHimalays%2B1962.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/2.bp.blogspot.com/-hXPTEuOG-_E/WNQzpuY7WUI/AAAAAAAAHMU/X-n5o3yBtGEyQFamHOexVVpjoqOPpHscwCLcB/s640/Joanne%252BHimalays%252B1962.jpg" width="512" /></a></span></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><span style="font-size: xx-small;"><i>Joanne in the Himalayas 1962, photo by Allen Ginsberg</i></span></span></div>
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><br /></span>
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><span style="font-size: x-large;"><b>e-mail to Linda Russo from Ron Silliman</b></span></span><br />
<hr />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

From:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rsillima@ix.netcom.com<br />

Date sent:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Tue, 28 Apr 1998 05:00:30 -0500 (CDT)<br />

To:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;lvrusso@acsu.buffalo.edu<br />

Subject:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Re: Silliman on Kyger</span>

<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

On 04/27/98 20:10:48 you wrote:<br />

&gt;<br />

&gt;Dear Ron Silliman --<br />

&gt;<br />

&gt;you maybe recognize as a sometime poetix listperson --<br />

&gt;<br />

&gt;i've been only skimming posts lately (busy) but I was wondering if you<br />

&gt;could say more abt. Joanne Kyger being the most influencial progressive<br />

&gt;woman poet of the 60s - 70s.  She's been important to me &amp; it does seem,<br />

&gt;considering the scope of her work, that she *should* be important, but<br />

&gt;doesn't seem so considered.  So i wonder if you'd be willing to tell me a<br />

&gt;thing or two, or maybe point me to something you've published re kyger.<br />

&gt;<br />

&gt;thanks --<br />

&gt;<br />

&gt;Linda Russo</span><br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><br /></span>

<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

Dear Linda,&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

Been thinking about this myself over the past few days. Kyger's not in the [Paul] Hoover [anthology <i>Postmodern American Poetry</i>] or the [Douglas] Messerli [anthology <i>From The Other Side of the Century</i>] and absent even from <i>Moving Borders</i>
 [ed. Mary Margaret Sloan], an anthology I imagine as having been 
premised on precisely this sort of omission (though  I argued over this 
with Margy Sloan, who simply doesn't know the work and doesn't have the 
historical depth I wish she had -- she told me that she was only using 
writers from the late '70s onward, so I was surprised to see Niedecker, 
Guest and Fraser, all of whom are contemporaneous with Joanne or, in 
Lorine's case, even earlier).

</span><br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

Joanne Kyger was a student of Hugh Kenner's at UC Santa Barbara in the 
1950s who moved to SF where she became the only woman to participate as 
an equal in the otherwise remarkably misogynist Spicer circle. She 
married Gary Snyder and traveled with him to Japan (and, also with Gary,
 to India where they traveled about with Ginsberg). Back in SF she was 
also best friends with John Weiners and is the Miss Kits he refers to in
 his Scott Street journals. She worked for awhile as a TV producer for 
the local PBS station (this was 35 years ago, when such a job was not 
impossible for somebody just roughly creative and intelligent to go 
get), then moved to "the Mesa" which is a hill overlooking the ocean in 
Bolinas (there are two other neighborhoods to that small town, a section
 by the road coming in, neighboring -- literally -- a lagoon that's one 
of the great birdwatching spots in northern California, then the 
downtown itself, nestled betwixt the beach, the lagoon and the Mesa. 
During the early 1970s, Creeley and Bobbie Louise Hawkins, Lewis and 
Phoebe Macadams, Larry Kearney, Peter Warshall, Bill Berkson, Bob 
Grenier, Richard Duerden, Tom and Angelica Clark, were all living in 
Bolinas, a town with a population of just 300. Phil Whalen was there for
 awhile also before his duties in the Zen Center became full-time. 

</span><br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

Joanne's influence on Grenier is palpable, it really is the connection 
between his fascination with Creeley (he edited RC's first Selected 
Poems), and his own later work which is so much about how thought 
emerges.&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

Joanne has never ever been one to push her own work, but there was a time circa 1970 when every poet I knew owned a copy of <i>The Tapestry and the Web</i>,
 her first book (I have no idea where my own copy disappeared to -- I'm 
certain I never sold it, although it may have gone off in my divorce 
from my first wife back in '72). In 1975, Berkson published her second 
book, <i>All This Every Day</i>, and Kenward Elmslie I believe was behind the 3rd one, <i>The Wonderful Focus of You</i>, John Martin publishing <i>Just Space</i> (poems 1979-89) from his Black Sparrow press. There's also a chapbook that contains a poem based a local indian tale, <i>Up My Coast</i> and most recently a big book of her <i>Japan and India Journals</i>
 from Tombouctou. SPD would still have whatever is in print. There've 
been other chapbooks, I know. The National Poetry Foundation is talking 
about doing a big selected poems sometime in the future, although there 
needs to be (I hope) a book of the poetry since 1989.&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

The very first poetry reading I ever produced, in 1974, was a benefit 
for a Bay Area prison reform group. My readers were Creeley, Kyger and 
Dorn and in the context of SF in that year it was very much a line-up of
 people recognized as equals. 400 people attended.&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

I've written at some length about the disappearance of poets and how it 
reconfigures history into something unrecognizable to those present at 
the event. This isn't always bad -- Ferlinghetti was shocked to see that
 anyone was still interested in Spicer as recently as a year or two ago.
 But all too often it leads to this sort of erasure of a major writer.&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

I don't know if you know Joanne's work. It has its closest affinities, I
 think, with Whalen, Grenier and, though I don't know how well she knows
 him, Anselm Hollo (Joanne has a terrific sense of humor in her writing,
 which may in fact actually work against her being taken as seriously as
 she deserves). I know that Bobbie Louise Hawkins has wanted her to come
 and teach full-time at Naropa for years, but Joanne (who has no visible
 means of employment, though she must live on very little money) seems 
willing only to do the occasional workshop there.&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

She's one of our hidden treasures -- the poet who really links the 
Beats, the Spicer Circle, the Bolinas poets, the NY School and the 
language poets, and the only poet who can be said to do all of the 
above.&nbsp;</span><br />
<br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

All best,

</span><br />
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

Ron Silliman

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Poetry Conference</span></a><br />
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1965</span><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%;"><br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%;"><a href="https://media.sas.upenn.edu/pennsound/authors/Kyger/05-03-14/Kyger-Stanley_Complete-Recording_Innovations-from-Here_Cascadia-Poetry-Festival_05-03-14.mp3"><span style="color: red;">Cascadian Poetics</span></a></span></i></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; 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;">:<br />
Innovations from <a href="http://cascadiapoetryfestival.org/"><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;">Here</span></a></span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; 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;"><br />
<br />
</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%; 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 panel with<br />
<a href="http://epc.buffalo.edu/authors/kyger/"><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;">Joanne</span></a>
<a href="http://en.wikipedia.org/wiki/Joanne_Kyger"><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;">Kyger</span></a><br />
<a href="http://jacketmagazine.com/27/bell-heuv.html"><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;">Jeanne</span></a>
<a href="http://www.uwb.edu/ias/faculty-and-staff/jeanneheuving"><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;">Heuving</span></a><br />
<a href="https://www.facebook.com/stephen.collis.9"><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;">Stephen</span></a>
<a href="http://epc.buffalo.edu/authors/collis/"><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;">Collis</span></a><br />
<a href="http://www.spdbooks.org/Search/Default.aspx?AuthorName=george+stanley"><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;">George</span></a>
<a href="http://en.wikipedia.org/wiki/George_Stanley_%28poet%29"><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;">Stanley</span></a></span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%; 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;"></span></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/08/14_18.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-08-18T00:00:00-04:00'>Monday, August 18, 2014</abbr></a>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/George%2520Stanley' rel='tag'>George Stanley</a>,
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Stephen%2520Collis' rel='tag'>Stephen Collis</a>
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<h2 class='date-header'><span>Sunday, October 20, 2013</span></h2>

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<b style="mso-bidi-font-weight: normal;"><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://www.prrb.ca/articles/issue09-kyger.html"><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;">Joanne</span></a>
<a href="http://epc.buffalo.edu/authors/kyger/"><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;">Kyger</span></a><br />
</span></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;">@<br />
the <a href="http://poetryproject.org/"><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;">Poetry Project</span></a><br />
October 2013</span></div>
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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%; 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://www.mcclure-manzarek.com/kyger.html"><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;">Joanne</span></a>
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Access Poetry</span></a>, 1978<o:p></o:p></span></div>
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<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'><a href="http://epc.buffalo.edu/authors/kyger/"><span style='color:black; mso-themecolor:text1'>Joanne</span></a> <a href="http://en.wikipedia.org/wiki/Joanne_Kyger"><span style='color:black; mso-themecolor:text1'>Kyger</span></a> reading at UC Berkeley, <a href="http://webcast.berkeley.edu/event_details.php?webcastid=19239"><span style='color:black;mso-themecolor:text1'>2007</span></a><o:p></o:p></span></p>
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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:black'><img height="276" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/NgayGnkWcZilROfRjPnLBIwp8Uy7GVc2VotkpfKrGY-wMKI85jsjU68V2wUSz1UQsB0nptP1NTIegwg0FlV9EDXi8SOpvVhELHZGHsA-%3Ds0-d" width="368"><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 1957, a 23-year-old Joanne Kyger arrived in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, having just graduated from UC Santa Barbara where she had studied poetry with Hugh Kenner, ready to partake of the poetry scene that had just begun to announce itself in the city that, even then, was called by its top newspaper columnist Baghdad-by-the-Bay. The legendary reading at The Six Gallery, where Allen Ginsberg had debuted <i style='mso-bidi-font-style:normal'>Howl </i>&amp; the New American Poetry &#8211; or at least the Beat &amp; New Western varieties of same &#8211; had their formal coming out party, had taken place the year before. It was not particularly a woman-friendly environment &#8211; only four of the 44 poets in the Allen anthology three years later were women&#185; &amp; Kyger was not among them. Undeterred &#8211; a word that would make a great title if ever she writes an autobiography &#8211; Kyger took off with Allen Ginsberg &amp; Gary Snyder for India &amp; Japan, came back to San Francisco where she &amp; Fran Herndon were the only women to gain anything like equal access into the Spicer Circle, befriended John Wieners when he wrote his first great works, and then, in 1969, moved out to Bolinas on the Marin Coast north of San Francisco. Her associates in Bolinas at different times have included Phil Whalen, Robert Creeley &amp; Bobbie Louise Hawkins, Tom Clark, Bill Berkson, Lewis <span class=SpellE>MacAdams</span> Jr., Robert Grenier, Stephen <span class=SpellE>Ratcliffe</span> and a whole host of younger Bay Area poets. The result of which is that, without ever being much of a careerist, Joanne Kyger has influenced more literary communities than perhaps any other single author. From the NY School to langpo, from </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Black</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Mountain</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> to the Beats to more recent generations who&#8217;ve run into her during her teaching stints at Naropa, Ms. <span class=SpellE>Kyger&#8217;s</span> fingerprints are all over American poetry, and the consequences have been beneficial for virtually all concerned. Now the National Poetry Foundation has published <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/Details.asp?BookID=0943373719"><span style='color:black'>About Now: Collected Poems</span></a>, </i>which is one of the great books of this or any other year. <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'>A cornucopia at just under 800 pages, <i style='mso-bidi-font-style:normal'>About Now </i>appears to me to pretty much collect everything outside of the <a href="http://www.spdbooks.org/Details.asp?BookID=1556433379"><span style='color:black'>Japan &amp; India journals</span></a>. More than any previous volume, <i style='mso-bidi-font-style:normal'>About Now </i>makes evident <i style='mso-bidi-font-style:normal'>the why</i> of Joanne <span class=SpellE>Kyger&#8217;s</span> extraordinary impact. What is it about her writing that has proved so fruitful for so many different kinds of poetry? The answer is so very simple that Kyger announces it, literally, in the book&#8217;s title. To a degree perhaps matched only by the late Larry Eigner, Joanne Kyger is a master of the poem that what records whatever happens to be taking place <i style='mso-bidi-font-style:normal'>right now</i>. It&#8217;s a literary strategy that fits perfectly the Buddhist path that Kyger has taken ever since that first trip to </span><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Asia</span></st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'> forty-six years ago. It also happens to be the closest thing imaginable to the <i style='mso-bidi-font-style:normal'>I-did-this-I-did-that </i>lyricism of the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, not that Frank O&#8217;Hara even once thought of himself as some kind of Buddhist. And <span class=SpellE>Kyger&#8217;s</span> approach similarly fits <span class=SpellE>langpo&#8217;s</span> sense that rigor (a) be real and (b) be based on life &amp; the world rather than received habit. There is an entire theoretical discourse about immanence &amp; absence one could spin around Kyger (Eigner as well) that would, if looked at closely, open up an entire generation of postmodern theory to the fresh air of actual practice. And Kyger makes <span class=GramE>all this</span> look just so completely simple:<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'>Bird family<br> 
boat going out to sea<br>
all this<br>
every day<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'>Those last two lines turn out to be the title of one of <span class=SpellE>Kyger&#8217;s</span> earlier books, published by Bill <span class=SpellE>Berkson&#8217;s</span> Big Sky press back in 1975. Like the current volume, many of <span class=SpellE>Kyger&#8217;s</span> books propose a focus on just looking at what&#8217;s really there &#8211; <i style='mso-bidi-font-style:normal'>Joanne; Trip Out and Fall Back; The Wonderful Focus of You; Going On </i>(<span class=SpellE>Kyger&#8217;s</span> first big selected, published by Dutton some 24 years ago); <i style='mso-bidi-font-style:normal'>Some Life; Again; As Ever &#8211; </i>that it seems no accident that <span class=SpellE>Kyger&#8217;s</span> volume in the Charles Olson-inspired Curriculum of the Soul series, the topic she was assigned, turns out to be <i style='mso-bidi-font-style:normal'>Phenomenological. </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'>A second dimension, as important as the first (and something much more active in Kyger than, say, Eigner), is humor. <span class=SpellE>Kyger&#8217;s</span> not afraid of jokes, even when they take up the whole poem:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Love</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
When people say they love me I tell them<br>
Give me a loaf of bread &#8211; I loaf you!<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'>Humor is precisely the dimension that invests depiction (&amp; its kin description&#178;) with personality. What Phil Whalen once characterized quite accurately as a &#8220;continuous nerve movie,&#8221; poetry without personality is rather a dull lens indeed. Consider what that cornball pun above brings to a simple equation of love with giving with the staple of bread &#8211; it invests everything with a sense of play &amp; with goodwill. It offers boundless energy as well as a sense of forgiveness &#8211; you can be a complete dodo the people who really love you actually do. Vulnerability here is not risk. This isn&#8217;t a bad portrait of love at all in spite of all its silliness. Perhaps I should say <i style='mso-bidi-font-style:normal'>because </i>of all its silliness.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>About Now </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>chronicles nearly one half century of American poetry using just such simple tactics. While there are poems here that tell tales &amp; some go on for pages (there are a couple even that border on becoming novels in the sense that Jack Spicer&#8217;s <i style='mso-bidi-font-style:normal'>Heads of the Town Up To the <span class=SpellE>Aether</span> </i>might be called a novel), <span class=SpellE>Kyger&#8217;s</span> exactness of vision remains her strong suit however she thinks to employ it. Consider the use of nouns &amp; noun phrases in this three-line poem from 1995, how the first one hovers between cliché &amp; description (that divide is, in a sense, <i style='mso-bidi-font-style:normal'>the whole point</i>), the second is a noun phrase that announces itself as metaphor, while the third &#8211; <i style='mso-bidi-font-style:normal'>the door </i>&#8211; is so matter-of-factly utilitarian &amp; depictive that it snaps the other two into place. At least until you realize just how much of a metaphor sans ground it is as well:<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'>The storm is upon us<br>
Where is the wand of unawareness<br>
Did I throw it out the door last night? <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>About Now </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is a volume on a scale with, say, the <i style='mso-bidi-font-style:normal'>Collected Poems of Ted Berrigan. </i>If you own one, you really ought to own both, alongside of course comparable volumes from Ginsberg, Whalen, Creeley, the forthcoming Jack Spicer collected, etc. The poetry of Joanne Kyger is not only vital for an historical understanding how all these different kinds of writing fit together, it is one of the shining monuments of a generation that has given us an extraordinary amount of pleasure. Who wouldn&#8217;t want to sip from this stream?<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;color:black'>&#185; Three of them close personal friends of Robert Duncan. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; The differences between which are worth thinking about, particularly if considered in moderately literal terms.</span></span><span style='font-size:8.0pt;font-family:Arial;color:black'> <o:p></o:p></span></p>
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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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<h2 class='title'>Other Books in Print</h2>
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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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