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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>Jonathon Wilcke</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>Jonathon Wilcke</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>Friday, December 13, 2002</span></h2>

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<span style="font-family: Arial;">Jonathon <span class="SpellE">Wilcke</span>,
a Canadian poet now living in </span><st1:country-region><st1:place><span style="font-family: Arial;">Japan</span></st1:place></st1:country-region><span style="font-family: Arial;">, noticed my complaint that I&#8217;m almost invariably
unable to &#8220;hear&#8221; the poetry of so many poets of the </span><st1:place><span style="font-family: Arial;">British Commonwealth</span></st1:place><span style="font-family: Arial;"> unless they are part of that particular subset who
took particular interest in post-avant writing in the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;">. He, however, had a different take. <o:p></o:p></span></div>
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<tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">I also have a
comment/question about your notion of "writing for the ear" and "music"
that you used in your blog from <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2384112093">Wednesday,
November 06, 2002</a>. You say that there aren't many poets from
English-speaking countries (with exceptions like Fred Wah, </span></tt><st1:personname><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Tom
 Raworth</span></tt></st1:personname><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">, etc.) that write in
such a way that the music in their writing reaches your ear. But thinking back
to </span></tt><st1:personname><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Bob Perelman</span></tt></st1:personname><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">
in his portion of the <i style="mso-bidi-font-style: normal;">Writing Talks</i>
book, wherein he states (roughly &#8211; I don't have a copy of the book here in Japan)
that "hearing is not a matter of sounds passively entering the ear but
rather the brain being able to grasp and interpret sounds that it has already
been trained to grasp," <b style="mso-bidi-font-weight: normal;">I wonder if
being able to "hear" certain poetry depends more on what the
"ear" is ready to grasp rather than the "music" contained
within the poetry. </b>So, with Fred Wah, for example, who was a jazz musician
and tends to write out of jazz, especially in his prose work, like <i style="mso-bidi-font-style: normal;">Music at the Heart of Thinking</i>, is a
very audible text for me because I also was a jazz musician, and I am attuned
to the American tradition of poetry. I've noticed that among musician friends
of mine who try to listen to jazz (especially Ornette Coleman or Anthony
Braxton) or 20th Century "Classical Music" (like John Cage, Steve
Reich) for the first time claim that they can't "hear" the music or
understand what's going on until they've listened to the music several times
and given their ears time to create a cognitive structure for interpreting the
sounds. So I wonder how you would respond to my saying that your not having an
ear for certain poetry is conditioned upon not having yet generated a cognitive
structure that grasps the music <span class="GramE">within?</span><o:p></o:p></span></tt></div>
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<tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Sincerely,<o:p></o:p></span></tt></div>
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<tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Jonathon <span class="SpellE">Wilcke</span><o:p></o:p></span></tt></div>
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<span style="font-family: Arial;">This analogy with music both
rings a bell &amp; puzzles me. <span class="GramE">Rings a bell in that it
cognitively makes sense as a plausible explanation.</span> I can think of
examples.* Puzzles me in that it gives me no particular handle to account for
my own interests, either in poetry or in music. I was raised in a home with so
few records that I can, nearly 40 years later, virtually name them all.** I
never had a music class even in grammar school. But for my 21<sup>st</sup>
birthday, I went to hear the west coast premier of Steve Reich&#8217;s <i style="mso-bidi-font-style: normal;">Violin Phase</i>, Paul Zukofsky on the
violin. When I began working on my first booklength poem, I chose both a title
&amp; a structure borrowed from musical models: <i style="mso-bidi-font-style: normal;">Ketjak. </i><o:p></o:p></span></div>
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<span style="font-family: Arial;">How does one &#8220;get ready to
listen&#8221;? Why do some people seem to be more receptive to certain modes or
tendencies within art than others? Some of this I suspect is as simple as the
sort of schoolyard personality traits that will drive one child at recess to
stand atop the most rickety jungle gym, another to become the center of a crowd
of children in some organized activity, still a third to sit off in a corner,
nose in a book. All three types (&amp; a gazillion more) can end up as writers
&amp; if it should turn out to be the quiet kid in the corner who evolves into
the risk taker as a poet, she or he can probably explain to you what the specific
reasons might have been. Certainly in my own life I must have decided very
young that I would be different from the unhappy adults I saw around me &#8211; what
different meant really didn&#8217;t matter for quite a few years. By the time that it
did, so many other decisions had fallen into place that it was &#8220;obvious&#8221; that I
would pay more attention to the music of Tuva than to that of Gilbert &amp;
Sullivan. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">What is more problematic, I
think, is deciding where in the process the question of regional dialect comes
into play. It is one thing for me to say that I can &#8220;hear&#8221; a British poet such
as Lee Harwood or Thomas A. Clark, but not a Glynn Maxwell. That at some level
is very close to the discrimination that draws me to the work of a Barrett
Watten, but away from the work of a Timothy Steele or an Alan Shapiro. I have,
it&#8217;s worth noting, no particular trouble with the rhyming poets of the former </span><st1:place><span style="font-family: Arial;">Soviet Union</span></st1:place><span style="font-family: Arial;">, such as Ilya Kutik or Ivan Zhdanov &#8211; though frankly
I prefer both in their original language, even if I can only make out snatches
of what is being said. Rhyme in a language with such modular suffixes &amp;
flexible syntax as Russian has a different function, both formally &amp;
socially. Rhyming nouns in </span><st1:country-region><st1:place><span style="font-family: Arial;">Russia</span></st1:place></st1:country-region><span style="font-family: Arial;">n is not unlike walking around with your fly open.
As, frankly, it is in English also. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But what about the
distinction between a </span><st1:personname><span style="font-family: Arial;">Tom
 Raworth</span></st1:personname><span style="font-family: Arial;"> &#8211; clear as a
bell to my ear &#8211; &amp; J.H. Prynne, Mr. Opacity? How, for example, am I to hear
this first stanza of &#8220;On the Matter of Thermal Packing,&#8221; one of <span class="SpellE">Prynne&#8217;s</span> best known poems?<o:p></o:p></span></div>
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<span style="font-family: Arial;">In
the days of time now what I have<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">is</span></span><span style="font-family: Arial;"> the <span class="SpellE">meltwater</span> constantly round my feet<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">and</span></span><span style="font-family: Arial;">
ankles. There the ice is glory to the<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">past</span></span><span style="font-family: Arial;">
and the eloquence, the gentility of<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">the</span></span><span style="font-family: Arial;">
world&#8217;s being; I have known this<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Arial;">as</span></span><span style="font-family: Arial;"> a
competence for so long that the<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Arial;">start</span></span><span style="font-family: Arial;">
is buried in light<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">This many enjambed lines
over such a short terrain cannot be accidental. Indeed, that hard ending at the
end of the second line itself conceals what we discover immediately upon
starting the third &#8211; that it too is enjambed (a tiny formal joke that is paired
with its opposite when &#8220;this&#8221; at the end of the fifth line turns out not to
lead to a noun at the head of the sixth). I <i style="mso-bidi-font-style: normal;">hear
</i>all the caesurae alright &#8211; the stanza appears to be built around them,
starting with that careful cleaving of the &#8220;m&#8221; in &#8221;time&#8221; in the first line from
its nearest cousin &#8220;n&#8221; in &#8220;now,&#8221; the stanza ending in the seventh line right
where the caesura should fall. But unless I want to draw a clunky analogy
between the this chronicle of minor effects &amp; the weightiness of <span class="SpellE">Prynne&#8217;s</span> subject, the rationale for a stanza that, read
aloud, sounds this awkward just is lost on me. Is he doing something I don&#8217;t
see or hear, or is there a way to read that third line so that the period after
&#8220;ankles&#8221; doesn&#8217;t completely stop all flow? <o:p></o:p></span></div>
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<span style="font-family: Arial;">Yet it is apparent, here
&amp; elsewhere, that <span class="SpellE">Prynne&#8217;s</span> sympathies are not
that far from my own &amp; that he is decidedly a poet of the ear, related in
this aspect to such writers as Duncan, Creeley, Olson or Dorn. Reading him, you
cannot doubt that you are in the presence of man who knows exactly what he is
about &amp; is after in his poetry. The intelligence is palpable. This is why
Prynne, for me, is such a good example. Everything about his work tells me that
I should love it unreservedly, but I spend so much time scrunching my nose
&amp; furrowing my brow as I read it that I wonder sometimes at what level he
&amp; I are practicing the same language. &amp; that seems very different than
the question of preferring Anthony Braxton to John <span class="SpellE">Tesh</span>
or <span class="SpellE">Yanni</span>. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* When I
taught a graduate seminar in 1981 at </span><st1:place><st1:placename><span style="font-family: Arial; font-size: 10.0pt;">San Francisco</span></st1:placename><span style="font-family: Arial; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: Arial; font-size: 10.0pt;">State</span></st1:placetype></st1:place><span style="font-family: Arial; font-size: 10.0pt;">, using what would become the core
of <i style="mso-bidi-font-style: normal;">In the American Tree</i> as my reading
<span class="GramE">list,</span> one student swore in her journal that the first
several poets we read &#8211; Bob Grenier, Bruce Andrews, Rae Armantrout, Clark
Coolidge &#8211; were complete gibberish. But with </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Steve Benson</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">&#8217;s work, something clicked. She
later went back to the books we&#8217;d used by the first four poets &amp; suddenly
discovered that they were completely lucid, even brilliant. In her journal, she
openly worried about somehow having been brainwashed. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">**A set of
King Cole Trio 78s, the equivalent of a modern album; a couple of Johnny Ray
singles, also 78s &amp; <span class="SpellE"><i style="mso-bidi-font-style: normal;">Volare</i></span>
by <span class="SpellE">Dominico</span> <span class="SpellE">Modugno</span>, a 45. <o:p></o:p></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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