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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>Joel Lewis</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>Tuesday, August 18, 2009</span></h2>

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<p class=MsoNormal align=right style='text-align:right'><a href="http://farm4.static.flickr.com/3287/3109083954_0f2108f189_o.jpg"><span style='color:black;mso-themecolor:text1;text-decoration:none;text-underline:none'><img border="0" height="312" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/W2JN5PeSSoiqJ9meBqqGdhu3yXhZ4XIZbHKPFCHrtNMQbpXv9Tebgk2T71Qs0ynkF37Er1rAMW3-Ed0U9jrY-QMyuy7M2y7mqmBNXnS9z6NyREA%3Ds0-d" width="320"></span></a><span style='color:black;mso-themecolor:text1'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>In <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2005/11/jordan-davis-curtis-faville-ended-up.html"><span style='color:black;mso-themecolor:text1'>his superb little history of the New York School</span></a>, Jordan Davis identified four distinct generations thereof:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:1.7in;text-indent:-1.2in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Generation One: &#8220;a central group of four to seven New York School poets, several of whom studied at Harvard&#8221;</span><span style='font-size:12.0pt;font-family:"Arial","serif";mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:1.7in;text-indent:-1.2in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Generation Two: &#8220;a core group of four to seven poets, several of whom studied at Columbia; around central figures of the core group there gathered several dozen more poets&#8221;</span><span style='font-size:12.0pt;font-family:"Arial","serif";mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:1.7in;text-indent:-1.2in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Generation Three: &#8220;a core group of four to ten poets, some of whom studied at the University of Chicago</span><span style='font-size:12.0pt;font-family:"Arial","serif";mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>, </span><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>but whose main institutional affiliation was the Poetry Project at St. Mark&#8217;s Church&#8221;</span><span style='font-size:12.0pt;font-family:"Arial","serif";mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:1.7in;text-indent:-1.2in;line-height:normal'><span style='mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'>Generation Four: &#8220;one, more or less: <a href="http://jacketmagazine.com/07/lewisjoel.html"><span style='color:black;mso-themecolor:text1'>Joel Lewis</span></a> (and he chose to remain in New Jersey)&#8221;</span><span style='font-size:12.0pt;font-family:"Arial","serif";mso-fareast-font-family:"Arial";color:black;mso-themecolor:text1;mso-no-proof:no'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>There is an irony or three in equating the NY School 4.0 with <a href="http://home.jps.net/~nada/lewis.htm"><span style='color:black;mso-themecolor:text1'>Joel Lewis</span></a>. For one thing, Lewis <i style='mso-bidi-font-style:normal'>is </i>the quintessential New Jersey poet of our time, as much so as Walt Whitman, William Carlos Williams, Amiri Baraka, David Shapiro or Joel Ceravolo were for theirs. For another, Lewis doesn&#8217;t write in what many people take to be the archetypal &#8220;New York School&#8221; manner, that adaptation of Ashbery&#8217;s methodological tics &amp; quirks, the smooth surface &amp; all-over allusiveness that is just a little too charming to be read as diffidence. In many respects, Lewis is an unrepentent old-school New American poet, which places his work closest to that of, say, Ed Sanders &amp;/or Anne Waldman or even Tuli Kupferberg among writers historically identified with the NY Scene. Now all three of those poets have likewise been associated with the Beats, and Sanders also with Charles Olson&#8217;s projectivist poetics.<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>Of these, it&#8217;s Sanders that Lewis feels the nearest to, tho the one who is <I style='mso-bidi-font-style:normal'>really</i> in closest proximity, someone who ought to be taken as foundational to the New York scene (but never is), whom Lewis feels kin enough to at moments in <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/Producte/9781584980568/learning-from-new-jersey.aspx"><span style='color:black;mso-themecolor:text1'>Learning from New Jersey</span></a> </i>that this book can feel like a reincarnation, is <a href="http://epc.buffalo.edu/authors/blackburn/"><span style='color:black;mso-themecolor:text1'>Paul Blackburn</span></a><i style='mso-bidi-font-style:normal'>, </i>likewise an anthropologist of the spoken, a connoisseur of the urban, and someone whose preference is to self-present as the wit-at-the-end-of-the-bar, rather than, say, as the Gilgamesh of Hoboken or whatever. <o:p></o:p></span></p>

<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span style='color:black;mso-themecolor:text1'>Learning from New Jersey </span></i><span style='color:black;mso-themecolor:text1'>is a flat-out delightful book, and it will be one of my signature memories of this summer. Hearing the language as Lewis hears it, or the signage as he jots it down, is an experience of enormous satisfaction. He has a great eye &amp; ear, and can be exceptionally subtle in how he uses these strengths. Here are he first three stanzas from the title poem:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='color:black;mso-themecolor:text1'>Rogue meteorologists call it a &#8220;radium sunset&#8221; but the air<br>
always shouts out someone&#8217;s Christian name, the braying voice<br>
of Saint Springsteen drifts from the swirl<br>
of tactile local daydreams.<br>
<br>
I negotiate a Hot Texas Weiner at Libby&#8217;s &#8211; just north<br>
of the Great Falls of the Passaic River.<br>
&#8220;Talk as if<span style='mso-spacerun:yes'>  </span>you love truck noise,&#8221; sez the douchebag<br>
to my left. So I fart propel myself off this tan<br>
<br>
counter stool, clocks on the street reading<br>
in fascistic digital output, the night-carved river slush,<br>
ears outsized in search of a quarry &amp; so what&#8217;s up, ghostie men?<br>
Doc Williams boasts: &#8220;I love oncoming traffic!&#8221;<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>There is a joy in the specificity &amp; clatter of the language here &amp; it&#8217;s immediately contagious. The rattle of it jumps out at you in a phrase like &#8220;<span style='mso-bidi-font-weight:bold'>New Jersey Ashkenazic Anti-Syzygy,&#8221; the title of one of two long sequences at the heart of this book. You can get some sense of Lewis&#8217; working method, in fact, by contrasting the poems of this section with <a href="http://jacketmagazine.com/07/lewisjoel.html"><span style='color:black;mso-themecolor:text1'>eight earlier versions</span></a> <span style='mso-spacerun:yes'> </span>of different pieces published in <I style='mso-bidi-font-style:normal'>Jacket</i> no. 7, back in April, 1999. Here is &#8220;Filabustering in Seacaucus&#8221; as it appears in the book:<o:p></o:p></span></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='color:black;mso-themecolor:text1'>I sold my language<br>
at a flea market<br>
and the small talk here<br>
&nbsp;<br>
on Paterson Plank Road<br>
is a conception vessel<br>
for native inertia.<br>
&nbsp;<br>
I sit weightless in a bus shelter<br>
with waffles in the pocket<br>
and Ruth Brown<br>
up from my i-Pod.<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>And as it stood ten years ago:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='color:black;mso-themecolor:text1'>I bought my language<br>
at a flea market<br>
and the small talk here<br>
&nbsp;<br>
on Paterson Plank Road<br>
is a conception vessel<br>
for native inertia.<br>
&nbsp;<br>
I sit weightless in a bus shelter<br>
waffles in the pocket<br>
the prozaced Ruth Brown<br>
in my ears<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>There are three substantial changes. The original &#8220;bought&#8221; &#8211; a statement as I read it of Lewis&#8217; indebtedness to found language &#8211; becomes &#8220;sold,&#8221; which casts the poet&#8217;s presence at a flea market into a completely different light. Blues great <a href="http://en.wikipedia.org/wiki/Ruth_Brown"><span style='color:black;mso-themecolor:text1'>Ruth Brown</span></a> has lost her Prozac &#8211; or possibly Lewis has taken a softer line on anti-depressants over the years. Finally, the last line has gone from general to specific &#8211; branded even, with that i-Pod product placement &#8211; and taken on a harder, more complex prosody that is more typical of Lewis&#8217; style. None of these changes, it&#8217;s worth noting, mess with the poem&#8217;s deeper mysteries, the idea of language as a &#8220;conception vessel,&#8221; a term from acupuncture, the path of the meridians, nor the idea of &#8220;waffles in the pocket&#8221; (the word <i style='mso-bidi-font-style:normal'>with </i>added to make it clear that <i style='mso-bidi-font-style:normal'>waffles </i>isn&#8217;t a verb). What are they doing there?<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>Lewis doesn&#8217;t pretend that these poems will change the future of verse &amp; their modesty fits perfectly the specificity not just of location, but of sound &amp; meaning. It&#8217;s a very Jersey book. The production has the usual flaws I associate with Talisman House &#8211; typos abound, for example (in the first passage quoted above, the last line has &#8220;Doc Williams boats&#8221; instead of &#8220;boasts&#8221;). And the design is as utilitarian as the wrong side of Newark, an aspect that is underscored by Tim Daly&#8217;s black &amp; white photographs of the Garden State, reproduced here with none of the crispness in inking they deserve. <o:p></o:p></span></p> 

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>But the eye &amp; ear of these poems, especially the latter, is unmistakable. The words in your mouth (it&#8217;s one of those books you just have to read aloud) rattle &amp; pop with the best. And, looking around at what else Lewis has published, I&#8217;m conscious that these 121 pages represent just the tip of the iceberg of his writing on New Jersey. It would be terrific to watch <i style='mso-bidi-font-style:normal'>Learning from New Jersey </i>follow in the path of that other great (partly) Jersey book, <i style='mso-bidi-font-style:normal'>Leaves of Grass, </i>and just keep getting bigger, edition after edition. Then we really would get to see the great achievement that has been &#8211; and is &#8211; Joel Lewis&#8217; verse. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Tuesday, December 16, 2008</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height:150%;font-family:Arial'>Next Sunday<br>
<span style='color:black'>December 21, </span></span></b><st1:time Hour="19" Minute="0"><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height:150%;font-family:Arial;color:black'>7:00 PM</span></b></st1:time><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height:150%;font-family:Arial;color:black'><br>
</span></b><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'><br>
</span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height:150%;font-family:Arial;color:black'><a href="http://jacketmagazine.com/07/lewisjoel.html"><span style='color:black'>Joel</span></a> <a href="http://home.jps.net/~nada/lewis.htm"><span style='color:black'>Lewis</span></a> &amp; <a href="http://poetryfoundation.org/archive/poet.html?id=6323"><span style='color:black'>Ron</span></a> <a href="http://www.writing.upenn.edu/pennsound/x/Silliman.html"><span style='color:black'>Silliman</span></a></span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:14.0pt;line-height:150%;font-family:Arial;color:black'><o:p></o:p></span></b></p>

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

<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:16.0pt;font-family:Arial;color:black'><a href="http://www.zincbar.com/"><span style='color:black'>Zinc Bar</span></a></span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:14.0pt;font-family:Arial;color:black'><br>
</span></b><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>82 W. Third Street<o:p></o:p></span></b></p>

<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>Between Thompson and Sullivan&#185;<o:p></o:p></span></b></p>

<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'> <st1:place><st1:City><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>New York</span></b></st1:City><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>, </span></b><st1:State><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>New York</span></b></st1:State></st1:place><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'><o:p></o:p></span></b></p>

<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span style='font-size:13.5pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; If you have not been to the Zinc in <span class=GramE>awhile,</span> please note that this is a new location.<o:p></o:p></span></p>
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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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