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Showing posts with label <b>Joseph Massey</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>Joseph Massey</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>Monday, July 26, 2010</span></h2>

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<p class="MsoNormal" align="center" style="text-align:center"><a href="http://www.shearsman.com/pages/books/catalog/2009/massey.html"><span style="color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none"><img border="0" height="278" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/7q6qXoN5Mt4GlFx89NjvDYPHIhx40MQeVYU_in2H9hL0_jUqtLvEKuaJ4EcC1VdrYnlpNKmUQaBwAfK0oClt1xSWNXi5h-FOvbHxb8zy16PmlwgMeRrQ%3Ds0-d" width="184"></span></a><span style="mso-spacerun:yes"> </span><a href="http://www.bookthug.ca/products.php?cat=83"><span style="color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none"><img border="0" height="278" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/-FRnZpmyiY0bvjmMBajqyMFBNfSzRmzXSxoMe3QXqAL6ySbJ-zSwqhEdWSx8k9QQryngItaCUWnez76GRvqKiiCarGv_%3Ds0-d" width="169"></span></a></p>
<p class="MsoNormal">When I used the phrase <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search%3Fq%3DPrecisionism"><span style="color:windowtext">New Precisionist</span></a>, the particular template I most had in <span style="color:black;mso-themecolor:text1">mind was <a href="http://slantedshanty.blogspot.com/"><span style="color:black;mso-themecolor: text1">Joseph Massey</span></a>, a relatively young poet &#8211; well under 40 &#8211; who hails from the Philadelphia area though he&#8217;s made his home along the coast in northernmost California for several years. Massey was / is my model because he&#8217;s a precisionist on two, sometimes three separate axes of the poem at once:<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:1.0in"><b style="mso-bidi-font-weight: normal"><span style="color:black;mso-themecolor:text1">Path</span></b><span style="color:black;mso-themecolor:text1"><br> <br> Weeds<br> whacked to pulp<br> between slits<br> in cinder<br> blocks laid<br> in gravel.<br> A path<br> to these<br> porch steps<span class="GramE">,</span><br> their chipped<br> blue paint<br> </span><span style="mso-bidi-font-size:10.0pt;line-height:115%;mso-bidi-font-family: Arial;color:black;mso-themecolor:text1">&#8211;</span><span style="color:black; mso-themecolor:text1">the rain-<br> stained wood<br> cracked through.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, September 20, 2002</span></h2>

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<span style="font-family: Arial;">Having praised Joseph
Massey&#8217;s <i style="mso-bidi-font-style: normal;">Minima St., </i>one aspect of
the book continues to haunt. If its truest predecessor might be George Oppen&#8217;s <i style="mso-bidi-font-style: normal;">Discrete Series</i>, what does that mean? <i style="mso-bidi-font-style: normal;">Discrete Series </i>was published 68 years
ago; Oppen himself has been gone for nearly 20. Do my sardonic comments
comparing &#8220;mainstream&#8221; poets with Bing Crosby* not apply if, in fact, the
writing from the 1930s happens to be work within my own literary tradition?<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I was mulling this over when
I came across the first sonnet in Anselm Hollo&#8217;s most recent collection, <i style="mso-bidi-font-style: normal;">So the Ants Made it to the Catfood</i> (Samizdat,
2001), which begins:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">now</span></span><span style="font-family: Arial;">
that some of the young ones<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">have</span></span><span style="font-family: Arial;">
taken to writing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">like</span></span><span style="font-family: Arial;">
Eugene <span class="SpellE">Jolas</span> and Elsa von Freytag again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">(<span class="GramE">if</span> not quite as vigorously)<o:p></o:p></span></div>
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<span style="font-family: Arial;">(<span class="GramE">pass</span> the thesaurus, said the <span class="SpellE">dinosaurus</span>)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">we</span></span><span style="font-family: Arial;"> may
once again enjoy the &#8220;oh I see<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">(s<span class="GramE">)he</span> just found out about that&#8221; experience<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">My own first book, <i style="mso-bidi-font-style: normal;">Crow </i>(Ithaca House, 1971), was composed
largely under the spell of William Carlos Williams&#8217; <i style="mso-bidi-font-style: normal;">Spring &amp; All</i>, which Harvey Brown&#8217;s Frontier Press had
re-released in 1970. Williams&#8217; book, which had first appeared in 1923, was more
radical than almost anything appearing in print in the 1960s. But it was
radical not in the <span class="SpellE">Jolas</span>/von Freytag sense of a
circus of typographies &#8211; Williams&#8217; essay in action was revolutionary in its
common sense about the nature of writing &amp; its relation to the world.
Forty-seven years after its first publication, <i style="mso-bidi-font-style: normal;">Spring &amp; All</i> was still revolutionary<span class="GramE">.*</span>*<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">If the history of poetry is
ultimately a history of change, any model of such a history would account not
only for the movement of poetry, the elaboration of new devices and forms, the
perpetual redefinition of literature itself, but also for the capacity of all
forms to carry onward from whatever point they become socially established as
viable. For forms linger </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">efinitely.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">Consider this. Poetry Daily&#8217;s
directory of current articles and reviews in web-accessible media (<a href="http://poetrydaily.org/news.htm">http://www.poems.org/news.htm</a>) lists
the following, as the sum of what was being discussed this week:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Seven pieces on
British poets, including two each on Auden and Motion and one review of a
Wilfred Owens biography &#8211; the bulk of these come from <i style="mso-bidi-font-style: normal;">The Guardian</i>, perhaps the only English-language publication in the
world that would consider running more than two pieces on poetry in one week <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Two pieces on
Dana <span class="SpellE">Gioia&#8217;s</span> <i style="mso-bidi-font-style: normal;">Can
Poetry Matter? </i><span class="GramE">including</span> one by Adam Kirsch in the
militantly conservative <i style="mso-bidi-font-style: normal;">New York Sun </i>that
characterizes the book as &#8220;"one of the most important American books of
poetry criticism of the last 50 years."<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Two pieces on
poet laureate Billy Collins from the <i style="mso-bidi-font-style: normal;">Indianapolis
Star</i> and <i style="mso-bidi-font-style: normal;">Seattle Weekly </i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">An obituary of
William Phillips, founder of the <i style="mso-bidi-font-style: normal;">Partisan
Review</i>, the journal that proved central to the career of Robert Lowell and
his group of Brahmans<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">A review of Mona
Van <span class="SpellE">Duyn&#8217;s</span> <i style="mso-bidi-font-style: normal;">Selected
Poems</i> from the <i style="mso-bidi-font-style: normal;">New York Times</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Seven items on
poetry in relation to the commemoration to the September 11<sup>th</sup>
attacks<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">One seasonal
item &#8211; Edward Hirsch&#8217;s column from the <i style="mso-bidi-font-style: normal;">Washington
Post</i> &#8211; on Yom Kippur<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">An article on the
nominations process for the poet laureate position in </span><st1:state><st1:place><span style="font-family: Arial;">Louisiana</span></st1:place></st1:state><span style="font-family: Arial;"> from the <i style="mso-bidi-font-style: normal;">New
Orleans Times-Picayune</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">A piece on the
poet Susan Firer from the <i style="mso-bidi-font-style: normal;">Milwaukee
Journal Sentinel </i>that actually mentions Allen Ginsberg, Frank O&#8217;Hara, Ted
Berrigan, Kenneth Koch and Alice Notley, &#8220;whose thorny work is a strong
influences <i style="mso-bidi-font-style: normal;">[sic] </i>on her right now.&#8221; <o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: Arial;">Is it any wonder that a
general reader might come away with the impression that American writing is, at
best, a tributary of the most reactionary British literary tendencies? In this
context, a work that demonstrates an affiliation with George Oppen&#8217;s early
writing most definitely gets a pass &#8211; <i style="mso-bidi-font-style: normal;">Discrete
Series</i> is in many ways more current and relevant than at least 14 of the 15
&#8220;non-911&#8221; items that appeared in the past week. <i style="mso-bidi-font-style: normal;">Spring &amp; All</i> is beyond imagining.<o:p></o:p></span></div>
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<span style="font-family: Arial;">But I worry that I/we fail
to do ourselves justice if we merely settle for the perpetuation of our own
favorite genres of the past. In my own case, it is true that I needed to go <i style="mso-bidi-font-style: normal;">through</i> the writing of Williams in order
to begin my own work. It is also true <span class="GramE">that today there are</span>
at least a half dozen different versions of post-Objectivism about. Those that
merely replicate the surface features of the poems seem to me radically at odds
with what Oppen, Zukofsky, Rakosi, Reznikoff, Niedecker and Bunting were up to
some 70 years ago.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*See my
note for September 2 in the archive. What this question regarding </span><st1:street><st1:address><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Minima St.</span></i></st1:address></st1:street><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;"> </span></i><span style="font-family: Arial; font-size: 10.0pt;">highlights, however indirectly, is
that normative mainstream poetry really is the literary equivalent of something
that comes <i style="mso-bidi-font-style: normal;">before</i> Bing Crosby! Thus
Robert <span class="SpellE">Pinsky</span> might be thought of as the contemporary
of, say, Scott Joplin, rather than of Anthony Braxton or John Zorn.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** &amp; 32
years after the Frontier Press edition, it still is.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, September 19, 2002</span></h2>

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<span style="font-family: Arial;">In his statement for Michael
<span class="SpellE">Lally&#8217;s</span> 1976 anthology, <i style="mso-bidi-font-style: normal;">None of the Above,</i> the late Jim Gustafson admonished, &#8220;Suggest that
one strives to read something more than the books that come in the mail.&#8221; It&#8217;s
not bad advice, but doesn&#8217;t account for the unexpected delights that once in a
rare while do turn up. Joseph Massey&#8217;s <i style="mso-bidi-font-style: normal;">Minima
St. </i>(Range Press, 2002) is just such a treat.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In actuality, <i style="mso-bidi-font-style: normal;">Minima St. </i>(a self-published limited
edition chapbook with a press run of just 50 copies) wasn&#8217;t a total surprise.
Rae Armantrout, who had received the book in her mail ahead of me, had written
to say that I would like the work. The poems are, as the title wryly implies,
minimalist:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>Awakened<br />
by the ticking<br />
<br />
not the alarm.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Such close attention to
detail demands both precision and a sense of balance &#8211; the stanza break prior
to the last line is the poem&#8217;s most important moment. As a whole, <i style="mso-bidi-font-style: normal;">Minima St.</i> manages both values well. I
vacillate between a preference for poems like the one above, which focus on an
individual element, and other pieces that are less completely descriptive,
where the text pushes the reader some to make the connections:<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>Gulls &#8211;<br />
<br />
collapsed<br />
song<br />
<br />
weighs<br />
sun.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The off-rhyme pulls together
the imponderables: how songs might collapse, the weight of sun, what any of
this has to do with gulls. <o:p></o:p></span></div>
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<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Minima St. </span></i><span style="font-family: Arial;">fits
into a long tradition of self-published first books mailed out to potentially
sympathetic readers that can be traced back at least far as Whitman&#8217;s initial
edition of <i style="mso-bidi-font-style: normal;">Leaves of Grass</i>. In its
use of short forms, hard-edged lines, commitment to precision, and especially
its fondness for the strategically placed em dash, the most obvious predecessor
to Massey&#8217;s volume might be George Oppen&#8217;s <i style="mso-bidi-font-style: normal;">Discrete
Series.</i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Interested readers might be
able to obtain copies by emailing <a href="mailto:rangemag@aol.com">rangemag@aol.com</a>.<o:p></o:p></span></div>
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<h2 class='title'>Ketjak</h2>
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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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