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Showing posts with label <b>Joel Oppenheimer</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>Joel Oppenheimer</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, September 07, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><a href="http://www.greatmodernpictures.com/newpage26.htm"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="435" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/4sxl3a_A5qS92zhRfNIAZi0JRGgYllw-rEkQ7NC3fD6Mnrn-vx2UqK_3HRYZo5VIMS1sE4z7fTOJjW_Dmb0qiOgg2wZyBgXPiVG-dOxjon7c%3Ds0-d" width="617"></span></a><br><span style='font-size:8.0pt;font-family:Arial'>A reading at The Five Spot, 1964, Joel Oppenheimer standing in the doorway to the left, Allen Ginsberg reading with hand to forehead at the piano, Gregory Corso at front of Piano. <span class=GramE>Photo <span style='color:black'>by the great <a href="http://www.greatmodernpictures.com/fwmp.htm"><span style='color:black'>Fred <span class=SpellE>McDarragh</span></span></a>.</span></span><span style='color:black'> <o:p></o:p></span></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>Another lengthy email on Joel Oppenheimer on Saturday, this time from Bob Bertholf in </span></span><st1:City><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>Buffalo</span></span></st1:place></st1:City><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>.</span></span><span style='font-size:10.0pt;font-family:Arial'> I&#8217;ve corrected the spelling of some names. I&#8217;m tempted to ask why, if it&#8217;s true that language poetry &#8220;submerged the accomplishment&#8221; (a curious verb phrase that suggests drowning the baby or some such, I suppose) of Oppenheimer &amp; his peers, is this discussion taking place <i style='mso-bidi-font-style:normal'>here</i>?<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Ron Silliman&#8217;s <span class=GramE>comments about the disappearance of Joel Oppenheimer from the current discussion of poetry brings</span> back an idea that bewildered me during the years I worked in SUNY at </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Buffalo</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&#8217;s Poetry Collection. No adequate answer or explanation came forward to explain or define the nature of literary fame or even notoriety. Literary notoriety seems not to be linked completely with literary accomplishment, but does have something to do with contexts and community: the group of John Logan, Robert Bly, and James Wright was strong in Buffalo and elsewhere, but after Logan and Wright died (and Bly went to the wilderness) requests for their works stopped, as if this well known group had fallen directly of the table. Despite the efforts of Ralph Maud and others, Charles Olson&#8217;s place as a poet and poetic thinker has slipped terrible. Here one could discuss the continued negating power of the Iowa workshop poems and the poets now in alliance with <i style='mso-bidi-font-style:normal'>Poetry</i> (Chicago) and the Poetry Foundation. But Olson and his associates&#8212;Robert Duncan and Robert Creeley, Ed Dorn and Joel Oppenheimer&#8212;have produced a library of poetry and poetics which challenged literary conventions and released the active creative imagination. Yes, the persisting romantic imagination so scorned in the twentieth century first by T. S. Eliot and the New Critics and then later by Charles Bernstein, and powerfully by Marjorie Perloff.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><span style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span>Joel Oppenheimer realized the maturity of his writing at the same time that Bernstein, Andrews and Language Poetry flooded the contemporary discussions of poetry and poetics with essay and after essay commanding poetics, and then another flood of poetry that was supposed to live up to and into the essays. The publicity was ponderous and its influence submerged the accomplishment of a group of poets which included Joel Oppenheimer, Ted Enslin, John Taggart, Nate Mackey, Michael Palmer and Susan Howe. Palmer and Howe were first claimed as language poets, but later declined its restricting appellation. Oppenheimer&#8217;s first serial poem, <i style='mso-bidi-font-style:normal'>The Woman Poems</i>, appeared in 1975; other serial poems followed&#8212; <i style='mso-bidi-font-style:normal'>At Fifty</i> (1982), <i style='mso-bidi-font-style:normal'>New Spaces</i> (1983), and <i style='mso-bidi-font-style:normal'>New Hampshire Journal</i> (1994). Oppenheimer knew that one poem did not define its own structural conclusion, and that he was engaged in writing one long poem with parts having separate names but no conclusion. He also cultivated, especially in <i style='mso-bidi-font-style:normal'>New Hampshire Journal</i>, a keen sense of the rhythm of the poetic line and the precise statement of perception. Lyric poetry was his medium. He was <span class=GramE>exemplify</span> a process of living and writing which made the lyric poem the experience itself not the report of the experience. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>The ideology of Conceptual Poetry of Kenneth Goldsmith, and Christian Bök and then the &#8220;Flarf&#8221; cloud of Gary Sullivan, Rod Smith and Christina Strong have taken over the weakening influence of the language program to offer a complete dismissal of the sentient life of the poet. Yes, right, another dismissal of the romantic imagination in its newest forms ploughed over again with an ideology at the same time that the controlling doctrines of <i style='mso-bidi-font-style:normal'>Poetry </i>the Poetry Foundation make and take the headlines and plot out the dubious notoriety of its poets. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>No doubt I&#8217;ve begun and not finished a complex concept of literary history. There will be another time. But it light of what I&#8217;ve suggested it is no wonder Joel Oppenheimer and his poetry looks lost. But he is not; he <span style='color:black'>is part of the great literary deposit under contemporary writing waiting to emerge. His books are also available on the home page of the <a href="http://ublib.buffalo.edu/pl/collections/oppenheimer/index.html"><span style='color:black'>Poetry Collection</span></a>:<o:p></o:p></span></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Robert J. <span class=GramE>Bertholf ,</span> ed. <i style='mso-bidi-font-style:normal'>Collected Later Poems of Joel Oppenheimer</i> ed. </span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>and intro. <span class=GramE>with eleven drawings by John Dobbs. </span> <span class=GramE>The Poetry Collection, 1997.</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Jonathan <span class=GramE>Williams</span> ed. <i style='mso-bidi-font-style:normal'>Names &amp; Local Habitations (Selected Earlier Poems 1951-1972) </i>The Jargon Society, 1988.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Robert J. Bertholf and David <span class=SpellE>Landrey</span>, eds<i style='mso-bidi-font-style:normal'>. Drawing From Life: A Selection of Joel Oppenheimer&#8217;s Village Voice Columns. </i>Moyer Bell, 1997.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Lyman Gilmore<i style='mso-bidi-font-style:normal'>, Don&#8217;t Touch the Poet: The Life and Times of Joel Oppenheimer: A Biography</i>. <span class=GramE>Talisman Press, 1998.</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>and<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Robert J. Bertholf, <i style='mso-bidi-font-style:normal'>Remembering Joel Oppenheimer</i>.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> <span class=GramE>Talisman Press, 2006.</span> (<span class=GramE>which will be available there).</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Robert J. Bertholf<br>
Charles D. Abbott Scholar of Poetry and the Arts, Emeritus<br>
The Poetry Collection<br>
SUNY Buffalo<o:p></o:p></span></p>
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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><span style='color:black'><img height="326" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/aUD9H8AQ4MI9pYmZuUqkkWcTW6AagrGnT6z21VK6WdP1eUtBArj79UYLff2wR4uBwzt8Dga4uQ0BdzprxszWvjCqTW07R1R9JjqIwDt2WqQz%3Ds0-d" width="324"><br>
</span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>Joel Oppenheimer &amp; Francine <span class=SpellE>Du</span> <span class=SpellE>Plessix</span> Gray <br>
at </span></i><st1:place><st1:PlaceName><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>Black</span></i></st1:PlaceName><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'> </span></i><st1:PlaceType><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>Mountain</span></i></st1:PlaceType><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'> </span></i><st1:PlaceType><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>College</span></i></st1:PlaceType></st1:place><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'> 1951<br>
(Photo by Jonathan Williams)</span></i><span style='color:black'><o:p></o:p></span></p>


<p class=Body><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'><a href="http://www.buffalostate.edu/library/rooftop/members/landrey.htm"><span style='color:black'>David <span class=SpellE>Landrey</span></span></a> sent the following letter after my note on <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2008/08/one-of-new-american-poets-who-seems-to.html"><span style='color:black'>Joel Oppenheimer</span></a> last weekend. The </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>Electronic</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'> </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>Poetry</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'> </span><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>Center</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'> has begun work on an Oppenheimer &#8220;page.&#8221;<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>I am at once grateful for and guilt-ridden by the discussion of Joel Oppenheimer and his work: grateful that, 20 years after his death, there is renewed interest; guilt-ridden because I and some others who knew Joel in his later years (in my case through frequent visits to Buffalo, where, among many talks and readings, he delivered the 4th of the annual Charles Olson memorial lectures, following Duncan, McClure, and Sanders) have allowed those years to pass with relative silence.<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>As I point out (please excuse the self-promotion) in &#8220;Robert Creeley&#8217;s and Joel Oppenheimer&#8217;s Changing Visions&#8221; (in <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/root/pages/serp.asp?Title=The+World+in+Time+and+Space&amp;submit=Search&amp;Author=Last+Name,+First+Name"><span style='color:black'>The World in Time and Space: Towards a History of Innovative American Poetry in our Time</span></a></i></span><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>, Talisman House, 2001, 2002), Joel&#8217;s life and work changed utterly from 1970 on, as he stopped drinking and moved out into &#8220;New Spaces&#8221; (the title of perhaps his finest volume).<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>The comments so far in this thread&#8212;understandably, given the difficulty of acquiring his later work&#8212;are caught up in pre-1970. In fact: 1) his later work broke much new ground and grew stronger to the end; 2) his explorations of language and the worlds of politics and mind were huge and exciting; and 3) his poems were increasingly &#8220;supercharged with emotion,&#8221; and oh how they sing.<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>Kirby Olson asked if there are &#8220;any Oppenheimer poems that haunt the imaginations of any contemporary readers.&#8221;<span style='mso-spacerun:yes'>&#160; </span>What folks on this line have not seen is <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/root/pages/serp.asp?Title=Collected+Later+Poems+of+Joel+Oppenheimer&amp;submit=Search&amp;Author=Last+Name,+First+NameLast+Name,+First+NameOppenheimer,+Joel"><span style='color:black'>Collected Later Poems</span></a></i>, published in 1997 by The Poetry/Rare Books Collection of SUNY Buffalo, wherein there is a gold mine of such work. Start with &#8220;The Woman Poems&#8221; (1975) and read on. Some particularly extraordinary pieces are: &#8220;A Village Poem,&#8221; &#8220;Lessons I &amp; II,&#8221; &#8220;Acts,&#8221; &#8220;Cacti,&#8221; &#8220;Houses,&#8221; &#8220;The Uses of Adversity&#8221; (such a powerful presentation of his chemotherapy as to cause some of my Turkish colleagues to quit smoking); and &#8220;New Hampshire Journal.&#8221; I&#8217;ve seen many friends re-read <i style='mso-bidi-font-style:normal'>Collected Later Poems </i></span><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>and become torn by emotion, yet his reputation lags.<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>His reputation&#8217;s bad fortune can be illustrated by a Sunday book-signing at St. Mark&#8217;s Church in the Village in 1997. Robert Bertholf and I had published a collection of his Village Voice essays called <i style='mso-bidi-font-style:normal'>Drawing From Life</i></span><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'> (Asphodel Press), but the books we were to sign had been sent to St. Mark&#8217;s Bookstore instead of to the church. The store was closed.<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>References to Lyman Gilmore&#8217;s biography are right on. The book is a profoundly insightful study of the man and his work. (Lyman has also written a superb biography of William Bronk: <i style='mso-bidi-font-style:normal'>The Force of Desire</i></span><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>. Both biographies are published by Talisman House.)<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>For a fine sense of Joel in the late years, read Robert J. <span class=SpellE>Bertholf&#8217;s</span> <i style='mso-bidi-font-style:normal'>Remembering Joel Oppenheimer</i>, also from Talisman. And try to find: 1) <i style='mso-bidi-font-style:normal'>The Wrong Season</i>, 1973 from <span class=SpellE>Bobbs</span>-Merrill, an immersion in the 1972 Mets; 2) <i style='mso-bidi-font-style:normal'>Poetry, the Ecology of the Soul</i></span><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>, 1983 from White Pine, a selection of Talks and Poems.<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"\30D2\30E9\30AE\30CE\89D2\30B4 Pro W3"'>I hope that this discussion produces the awareness of Joel&#8217;s work that it richly deserves.<o:p></o:p></span></p>

<p class=Body style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>David <span class=SpellE>Landrey</span>, </span><st1:place><st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>Buffalo</span></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>, </span><st1:State><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'>NY</span></st1:State></st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:Bookman'> September 2008<o:p></o:p></span></p>
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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>One of <span style='color:black'>the New American poets who seems to be receding fast from view is Joel Oppenheimer. A one-time student at <st1:place w:st="on"><st1:PlaceName w:st="on">Black</st1:PlaceName> <st1:PlaceType w:st="on">Mountain</st1:PlaceType></st1:place> &amp; a contributor to Donald Allen&#8217;s <i style='mso-bidi-font-style:normal'>The New American Poetry, </i>plus for many years a regular columnist with the <i style='mso-bidi-font-style:normal'>Village Voice, </i>Oppenheimer died at the age of 58 twenty years ago. Today there is a bare bones stub at <a href="http://en.wikipedia.org/wiki/Joel_Oppenheimer"><span style='color:black'>Wikipedia</span></a>, nothing at the <st1:place w:st="on"><st1:PlaceName w:st="on">Electronic</st1:PlaceName> <st1:PlaceName w:st="on">Poetry</st1:PlaceName> <st1:PlaceType w:st="on">Center</st1:PlaceType></st1:place> and just 20 copies of all his books combined in the warehouse at <a href="http://tinyurl.com/6hauon"><span style='color:black'>SPD</span></a>. If it weren&#8217;t for more copies of work available through the rare books network of <a href="http://tinyurl.com/5tyrfy"><span style='color:black'>Abebooks.com</span></a>, and his papers at the <a href="http://www.lib.uconn.edu/online/research/speclib/ASC/findaids/Oppenheimer/MSS19900056.html"><span style='color:black'>University <span class=GramE>of</span> Connecticut</span></a>, plus one <a href="http://tinyurl.com/564us5"><span style='color:black'>book</span></a> you can read most of via Google Books, he&#8217;d have largely disappeared altogether. <o:p></o:p></span></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Part of the problem, no doubt, is that Oppenheimer was part of the New York-Projectivist/post-Projectivist <span class=GramE>scene, that</span> included Paul Blackburn, Armand <span class=SpellE>Schwerner</span>, Clayton <span class=SpellE>Eshleman</span>, Jerry Rothenberg, Michael Heller, Robert Kelly, Diane <span class=SpellE>Wakoski</span>, George <span class=SpellE>Economou</span>, Ed Sanders, Jackson Mac Low &amp; others. This scene seemed to go in different directions after (a) Blackburn&#8217;s death, (b) the transformation of <i style='mso-bidi-font-style:normal'>Caterpillar </i>into <i style='mso-bidi-font-style:normal'>Sulfur </i>&amp; (c) the diaspora of these poets away from lower <st1:City w:st="on">Manhattan</st1:City>, especially to <st1:place w:st="on">Southern California</st1:place>. I don&#8217;t recall that Oppenheimer was ever really a part of the scene around <i style='mso-bidi-font-style:normal'>Caterpillar, </i>tho, and it may be that his job with the <i style='mso-bidi-font-style:normal'>Voice </i>had already taken him away from the Blackburn-centric world around St. Marks before <span class=SpellE>Eshleman&#8217;s</span> journal really got going. <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, like the Zen cowboy scene on the West Coast around <i style='mso-bidi-font-style:normal'>Coyote&#8217;s Journal, </i>which was quite apart from the Beat scene even if it included the likes of Gary Snyder, Lew Welch &amp; Phil <st1:City w:st="on">Whalen</st1:City>, <st1:State w:st="on">New York</st1:State> <span class=GramE>likewise</span> had a scene that was quite distinct from what one nominally thinks of as the <st1:place w:st="on"><st1:PlaceName w:st="on">New York</st1:PlaceName> <st1:PlaceType w:st="on">School</st1:PlaceType></st1:place>. Without somebody to step up to the preservation of Oppenheimer&#8217;s work, he in particular is at risk of becoming one of the disappeared. <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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<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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