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Showing posts with label <b>Juliana Spahr</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>Juliana Spahr</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>Saturday, May 04, 2013</span></h2>

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<b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%;"><a href="http://www.thevolta.org/audio/ewc29-conversation.mp3"><span style="color: red;">Accessibility &amp; the Avant-Garde</span></a></span></b><b><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;"><o:p></o:p></span></b></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; 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 group conversation held at Sea Ranch<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; margin-bottom: .25in; text-align: center;">
<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; 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;">on New Year&#8217;s Day between <o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; 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://theclaudiusapp.com/4-nealon.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;">Chris</span></a>
<a href="http://english.jhu.edu/bios/christopher-nealon/"><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;">Nealon</span></a>,
<a href="http://english.ucdavis.edu/people/directory/jclover"><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;">Joshua</span></a>
<a href="http://en.wikipedia.org/wiki/Joshua_Clover"><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;">Clover</span></a>,
<a href="http://swoonrocket.blogspot.com/2013/01/normal-0-false-false-false-en-us-x-none.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;">Juliana</span></a>
<a href="http://en.wikipedia.org/wiki/Juliana_Spahr"><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;">Spahr</span></a>,
<o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; 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://postmedievalcrowdreview.wordpress.com/papers/chaganti/"><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;">Seeta</span></a>
<a href="http://english.ucdavis.edu/people/directory/seetac"><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;">Chaganti</span></a>,
<a href="http://vectors.usc.edu/thoughtmesh/publish/189.php"><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;">Tim</span></a>
<a href="http://english.ucdavis.edu/people/directory/tkreiner"><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;">Kreiner</span></a>,
<o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; 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.lapetitezine.org/Jasper.Bernes.htm"><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;">Jasper</span></a>
<a href="http://lareviewofbooks.org/article.php?type=&amp;id=1463&amp;fulltext=1&amp;media=#article-text-cutpoint"><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;">Bernes</span></a>,
&amp; <a href="http://www.reclamationsjournal.org/blog/?p=612"><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;">Jill</span></a>
<a href="//www.youtube.com/watch?v=aubmyBdT8BA"><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;">Richards</span></a></span><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;"><o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; 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;">in response
to <o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; 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.bostonreview.net/BR37.3/marjorie_perloff_poetry_lyric_reinvention.php"><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;">Marjorie
Perloff</span></a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; 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 gem
from <i><a href="http://www.thevolta.org/index.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;">The Volta</span></a><o:p></o:p></i></span></div>
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<h2 class='date-header'><span>Friday, February 22, 2013</span></h2>

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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%; 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://en.wikipedia.org/wiki/Juliana_Spahr"><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;">Juliana</span></a>
<a href="http://epc.buffalo.edu/authors/spahr/"><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;">Spahr</span></a><br />
</span></b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%;"><a href="http://media.sas.upenn.edu/pennsound/authors/Spahr/Mills/Spahr-Juliana_Literary-Salon_Mills-College_2005.mp3"><span style="color: red;">reading</span></a></span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%; 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 />
@ Mills College<br />
2005<o:p></o:p></span></div>
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<h2 class='date-header'><span>Tuesday, October 22, 2002</span></h2>

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<span style="font-family: Arial;">Of all of writing&#8217;s illusive
qualities, none invokes more magic &#8211; at least in the sense of requiring a leap
of imagination that transcends all immediate physical evidence &#8211; than <span class="GramE">does</span> depiction. <i style="mso-bidi-font-style: normal;">It was
a dark and stormy night.</i> <i style="mso-bidi-font-style: normal;">You looked
into my eyes.</i> <i style="mso-bidi-font-style: normal;">Inside his vest, the
bomb <span class="GramE">exploded,</span> shrapnel, blood, bone and flesh spewing
about the plaza. The apple rested on the table, next to the wooden mallard. </i>All
of the homilies put forth by various library and publishing trade groups as to
the ability of literature to &#8220;transport the reader&#8221; to new &amp; unimagined
places are predicated upon this capacity of language not merely to refer to a
world of objects, but to do so in a manner that is socially internalized (<i style="mso-bidi-font-style: normal;">learned behavior</i>) as an equivalent for
the process &amp; experience of sight. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span style="font-family: Arial;">If
sight would be language&#8217;s privileged sense, it has also been a dimension hotly
disputed. It was Zukofsky&#8217;s thesis in <i style="mso-bidi-font-style: normal;">Bottom:
<span class="GramE">On</span> Shakespeare </i>that the Bard of Avon was
responsible for the deep cultural linkage between the two: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
Writing after Shakespeare few remembered:
eyes involve a void; eyes also avoid the abstruse beyond their focus. Today the
literary theologian reads Shakespeare and oversees his own spruce theology.
There is also the latest derivative verbalism after Shakespeare&#8217;s savage
characters &#8211; forgetting while it curses others&#8217; intellect, in behalf of eyes,
that the curse has become the feigning eye of the black dog intellect. <span class="SpellE">Clotens</span> and <span class="SpellE">Calibans</span>,
Shakespeare&#8217;s tragic theme that <i style="mso-bidi-font-style: normal;">love
should see</i> flows around their words and shows them all the more their
sightless tune which does not find its rests so as to draw breath or sequence. </div>
<div class="MsoNormal">
<span style="font-family: Arial;">Note that &#8220;rests&#8221; is plural.
<o:p></o:p></span></div>
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<span style="font-family: Arial;">Today, there exists one
literature on the gaze, that penetrating look that entangles desire with power,
another on the spectacle, on all the roles of reification. &amp; from Stein
onward, a new literature of opacity, of the immanence of the signifier, has
offered an alternative vision.* <o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-family: Arial;">&#8220;Starred <span class="GramE">Together</span>&#8221;
is a three paragraph prose poem by Jena Osman that looks intently at the
process of looking &amp; the concomitant phenomena of perspective &amp; point
of view. The position it stakes out is unique &amp; worth examining. That it
stakes out a position is itself noteworthy. Osman, as with her <i style="mso-bidi-font-style: normal;">Chain </i>co-founder Juliana Spahr, is a
writer intensely concerned with a poetry that has a critical function &amp;
edge, the sort of text most likely to bring out snarling from &#8220;black dog
intellect&#8221; intent on saving poetry for the feigned purity of uncritical
emotion. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Arial;">But it is the role of the
person that is in fact at stake. The poem telegraphs the core of its concerns
in a terrifically condensed first sentence: &#8220;A glance hits an object or person
and pins it down like a star.&#8221; This sentence itself could be taken as a model
for the poem, as so many of the larger text&#8217;s devices and strategies are
employed simultaneously here. The most obvious is a Brechtian device that I
want to be especially careful in discussing, as it&#8217;s just the sort of thing
that a &#8220;dog intellect&#8221; would be most apt to misconstrue, perhaps even
willfully. Let&#8217;s call this device <span class="SpellE"><i style="mso-bidi-font-style: normal;">depersonification</i></span>. The agent or noun phrase that is the
literal subject of this sentence, &#8220;A glance,&#8221; has been removed from any human
(or otherwise sentient) context, abstracted precisely so that it can be
examined as a process without our being distracted in the most literal sense by
some charming (or not) foible-ridden setting, the person. The implicit question
&#8211; <i style="mso-bidi-font-style: normal;">who glances? &#8211; </i>is not answered
because it is exactly <i style="mso-bidi-font-style: normal;">not </i>the point.
The verb, or rather the first verb, is notable for its implicit violence &#8211;
&#8220;hits.&#8221; Now one finds the person tucked into the conjunction that is the object
of the sentence: &#8220;an object or person.&#8221; It is no accident which item comes
first in that pairing. After the conjunction <span class="GramE">comes</span> the
send verb phrase, &#8220;pins it down,&#8221; one that will invoke butterfly collecting for
some readers, wrestling for some and target practice for others. The final
analogy, however, is completely unpredictable given what has come before: &#8220;like
a star.&#8221;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Like a star</span></i><span style="font-family: Arial;">.
Incongruous as the phrase is in the context of the first sentence, it returns
us to both the title and to the Cecilia Vicuña epigraph:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">A
constellation of darkness<br />
another of light<br />
<br />
A gesture to be completed<br />
by light<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Light is what enables sight
to be embodied. In this poem, Osman will use the stars as light, as
constellations, as mapping tool and as repository of human narrative. She will
write, near the very end of &#8220;Starred Together,&#8221; &#8220;When you look at a
constellation, you draw the points together with your own lines.&#8221; But the
problem of the poem is that, as the second sentence states, &#8220;The actual moves.&#8221;
Between these two poles, Osman brings in other tropes: cinema, homelessness.
The poem constantly constructs the possibility of seeing only to undercut via
another perspective already inherent in what has been laid out. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The result is a remarkable
text, remarkable in part for its sheer density &#8211; Osman can get more complexity
into two pages than most poets get into 20. Reading it, I find two aspects that
push my own thinking </span><st1:city><st1:place><span style="font-family: Arial;">furth</span></st1:place></st1:city><span style="font-family: Arial;">er than it has previously gone. First is a concept
for which Osman makes claims:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
<span style="font-family: Arial;">The narrative
drive is what clings to the actual moves; the narrative drive persists through
the fragmentation in which seeing occurs. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The narrative drive is a
concept that invokes psychology, but not one that I personally recognize from
that field. If accorded the status of a drive, narrative in this sense of
joining elements together to create coherence is much <span class="GramE">more<span style="mso-spacerun: yes;">&nbsp; </span>(</span>or perhaps much deeper) than the
parsimony principle of cognitive linguistics. Is it eros, the death wish, some
combination? I&#8217;m not certain, but the way Osman puts the concept out there in
this poem makes me want to mull it over in more depth than I have done before. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The second aspect is Osman&#8217;s
strategy, implicit but clear enough even in the first sentence of the work, of
deliberately avoiding any personification of the text. The word &#8220;I&#8221; never
occurs, replaced most often by &#8220;you&#8221; and occasionally &#8220;we.&#8221; In fact, the only
instance in the text in which we do &#8220;hear&#8221; the narrator function
self-reflexively, it&#8217;s in both quotation marks <i style="mso-bidi-font-style: normal;">and</i> French: &#8220;&#8217;Voyeur? <span class="GramE">&#8211; <span class="SpellE">C&#8217;est</span>
<span class="SpellE">Moi</span>!&#8217;&#8221;</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Here Osman is working
through the problem of sight, the gaze and that mutual penetration that is
recognition, but recognition in the <span class="SpellE">Althusserian</span>
sense of ideology**. That last sentence I quoted about &#8220;drawing the points with
your own lines,&#8221;**<span class="GramE">*<span style="mso-spacerun: yes;">&nbsp;
</span>leads</span> directly to the end of the poem:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
<span style="font-family: Arial;">But when
someone catches your eye in a direct grip, there are no more stars. You might
shake your hands at the sky as the light crashes in, we&#8217;re pinning you down.
You might shake your head to clear it, <span class="GramE">then</span> step
inside. <span style="mso-tab-count: 1;">&nbsp;&nbsp; </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">&#8220;Starred Together&#8221; refuses
to escape the problem of <span class="GramE">Others</span>. It&#8217;s a testament to
Osman&#8217;s integrity, that the poem doesn&#8217;t evade the problem. Nor does it offer
us a way out, easy or otherwise. &#8220;Inside&#8221; is exactly not a solution. The word
&#8220;Together&#8221; in the title is not there by accident.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I suspect that Osman&#8217;s
intellectual integrity on this question of the person is part of what creeps
out <i style="mso-bidi-font-style: normal;">Seattle Times </i>reviewer Richard
Wakefield. Characterizing &#8220;Starred Together&#8221; as &#8220;a belabored amalgam of clichéd
ideas and limp prose,&#8221; </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;">
<a href="http://seattletimes.nwsource.com/text/134547660_best06.html">quotes</a>
the first four sentences of the poem, including &#8220;While sitting in the box,
images from a window are stolen from the street.&#8221; He comments:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
She doesn't, apparently, have the taste to
delete an excruciating line like that last one: What is "sitting in the
box"? Her grammar seems to say it is "images," but how can they
be "stolen from the street" WHILE "sitting in the box"? <span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Osman&#8217;s poem is hardly &#8220;limp
prose,&#8221; though </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s phallic trope is worth noting. Working through the
problems of representation within ontology could only be seen as &#8220;clichéd
ideas&#8221; to someone for whom the idea itself is off limits. In addition, the objectification
of interiority (housing, rooms, theaters, &#8220;the box&#8221; &#8211; Osman seems to omit only
Plato&#8217;s cave) is hardly the readerly conundrum that </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;"> pretends it to be. The idea that </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;"> cannot understand how images can be &#8220;stolen from the
street&#8221; &#8211; let alone recognize how delightful its play on scale is &#8211; suggests
that he will find &#8220;The perversion of your own observation,&#8221; the reference to
voyeurism, &amp; &#8220;the corruption of your own detached look&#8221; later in the poem
equally opaque. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It is true that &#8220;Starred
Together&#8221; may confound the willfully illiterate reader, so there is a perverse
poetic justice in </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;"> selecting it to demonstrate &#8220;why there are so few
poems here &#8230; (in <i style="mso-bidi-font-style: normal;"><a href="http://www.simonsays.com/book/default_book.cfm?isbn=0743203860&amp;areaid=33">The
Best American Poetry, 2002</a></i>) that are even readable.&#8221; The poem is
focused right on the problems of taking responsibility for the pragmatics of
reference. Blaming the poems displays </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s position well enough. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Part of me wants to take </span><st1:city><st1:place><span style="font-family: Arial;">Wakefield</span></st1:place></st1:city><span style="font-family: Arial;"> to task for such critical malpractice. But another
part would love to understand what it must mean to live inside a worldview that
could come to these conclusions, finding complexity more or less the way the
Amish do electricity, as though it were something unintelligible &amp;
threatening.<span style="mso-spacerun: yes;">&nbsp; </span>To claim that such work is
unreadable is to concede that you cannot read it. Some of the contributors of
the writers in this &#8220;unreadable&#8221; collection include </span><st1:personname><span style="font-family: Arial;">Rae Armantrout</span></st1:personname><span style="font-family: Arial;">, John Ashbery, Amiri Baraka, Charles Bernstein,
Anselm Berrigan, Tom Clark, Clark Coolidge, Diane <span class="SpellE">Di</span>
Prima, Ted Enslin, Elaine <span class="SpellE">Equi</span>, Clayton Eshleman, Ben
Friedlander, Gene <span class="SpellE">Frumkin</span>, <span class="GramE">Forrest</span>
Gander &amp; Peter Gizzi, just to pick from the top of its alphabet.+ So what
is Wakefield saying? If you take him at his word, here is a professor of
literature who also is the poetry reviewer for a major American daily newspaper
who proclaims in print his own inability to read. His sad situation invokes the
very issues that Osman&#8217;s poem addresses. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* My own
essay, &#8220;Disappearance of the Word, Appearance of the World,&#8221; in <i style="mso-bidi-font-style: normal;"><a href="http://roofbooks.com/Book/index.cfm?GCOI=93780100484640">The New Sentence</a></i>
can be read as a contribution to the history of this debate.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Tho
Shakespeare might call it love.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** I can
imagine another reading of this work in which I would push much harder on the
idea of one&#8217;s &#8220;own lines,&#8221; given my own sense of how helpless most of us prove
to be in the context of our socio-historical positioning. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ Truth in
advertising: I&#8217;m also a contributor. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, October 21, 2002</span></h2>

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<div class="MsoNormal">
<span style="font-family: Arial;">I have mentioned <i style="mso-bidi-font-style: normal;"><a href="http://www.temple.edu/chain/home.htm">Chain</a> </i>on several occasions
on this blog, for good reason &#8211; it is the premier hard copy poetry journal of
the day. My first <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381448405">piece</a>
on September 11 touched a nerve in a way that hopefully has been productive.
Co-founder Juliana Spahr <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381591973">responded</a>
to it on the 14<sup>th </sup>of September. Jena Osman, the other co-founder,
used the occasion of the First Festival of Literary Magazines in </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> to respond to these issues. Here is her talk:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
As a poet I have
long been interested in chance occurrences, in unpredictable sense created by
different languages meeting inside of a page-bound framework.<span style="mso-spacerun: yes;">&nbsp; </span>My work has been informed by theater, in the
way that language performs in various contexts, in the relation of spectator to
stage and reader to page. I experiment with the collision of narrative and
anti-narrative strategies and take notice of the various registers of attention
that we bring to what&#8217;s before us.</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
I met Juliana while
I was a grad student at SUNY Buffalo. Some other younger poets in town when I
arrived included Peter Gizzi, Lew Daly, Pam Rehm and Liz Willis. We all had
quite various concerns, and I was interested in finding a way to create a
conversation through our work. At the end of my first year, I organized an
experiment called <i style="mso-bidi-font-style: normal;">The Lab Book</i> where
eight of us wrote poems and then each of us wrote responses to the poems
written by the other seven. The book that resulted began with a poem, followed
by the seven responses, then another poem, followed by seven responses, etc. I
was interested in the idea of writing as reading and reading as writing in
perpetual exchange.</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
Such forms of
exchange and investigation are crucial to my process as a writer.</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
A couple of years
later (in 1993), Juliana and I decided to start a magazine. I don&#8217;t remember
the exact moment when we made this decision, but we knew it was possible, there
was a beautifully simple access to funds, and we went ahead with it. For me,
the idea behind the first issue was something of an outgrowth of the
conversation begun in the lab-book experiment in that the structure allowed for
a diversity of content. As we said in the introduction to the first issue, we
weren&#8217;t interested in making a journal where the editor was &#8220;objective talent
scout&#8221; controlling the content; instead, we were interested in providing a
forum for conversation, where we couldn&#8217;t predict what would happen when the
various pieces were placed side by side.</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
Such uses of
procedural form are important to my process as a writer.</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
In the introduction
to the first issue of <i>Chain</i> we said &#8220;It is ironic that in order for
dialogue to take place, conversational limits must be set.&#8221; And so for each
issue there is a limit&#8212;a special topic&#8212;around which a large number of writers
and artists gather. Sometimes the gathering is cacophonous, sometimes eerily
synchronous. In my opinion, it&#8217;s often a source of delight and surprise. No
matter how much time I spend with the contents&#8212;reading, selecting, typesetting,
proofreading&#8212;I never have a real sense of what the issue is until it arrives
from the printer, bound between its covers. And even then I can never know it
completely because it changes every time I sit down to read it.</div>
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<br /></div>
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This is often the
way I feel about my poems.</div>
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<br /></div>
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Each of the
limits/special topics of the magazine come out of concerns that Juliana and I
are thoroughly engaged with in our own work: documentary poetics, hybrid
genres, procedural writing, visual poetics, different languages,
subverting/converting memoir form, performative forms, etc. Because we both
actively investigate the relation of forms of life (aesthetic, biological,
cultural) to forms of writing, these organizing structures make sense to us.
The work we publish feeds us, further informs us about these areas we&#8217;re
already in. In many ways the journal is an investigation into what we want to
know, an attempt to find some answers to questions we have.</div>
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<br /></div>
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There are certain
pieces that we&#8217;ve published that continue to haunt my own writing. Looking back
at past issues, I&#8217;m amazed at how many have crept into my aesthetic
consciousness and stayed there. </div>
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In a recent web-log
entry, Ron Silliman critiqued <i style="mso-bidi-font-style: normal;">Chain</i>
for its policy of organizing authors alphabetically, rather than structuring
the book as a kind of narrative that could properly honor its writers. He
suggests that because of <i style="mso-bidi-font-style: normal;">Chain&#8217;s</i>
inclusivity, it lacks influence on the literary landscape&#8212;the birth of future
poets&#8212;and that the overall effect of the journal is one of muteness rather than
speech. He suggests that accident caused by alphabetic chance is perhaps of
less value than the deliberate and &#8220;heroic&#8221; arguments of past journals, and
that unlike <i style="mso-bidi-font-style: normal;">Origin</i> (which was
responsible for making Blackburn and Zukofsky major figures on the literary
landscape), <i style="mso-bidi-font-style: normal;">Black Mountain Review</i>
(responsible for Creeley and Duncan), <i style="mso-bidi-font-style: normal;">Caterpillar</i>
(which brought Antin, Rothenberg, Mac Low, Kelly, Joris, Palmer and Bernstein
onto the scene), <i style="mso-bidi-font-style: normal;">Chain</i> can not claim
such strong parenting skills because, well, who can name its progeny? </div>
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My interest in
hybrid genres is due in part to a disinterest in the perpetuation of linear
heritage. Combinations, interruptions, complex conversations and crossings
over, provide much more appeal than following respectful and respected maps of
canon-building. Conversation is not for canonical heroes. Can you really
converse with an <span class="SpellE">unproblematized</span> construct? Or can
you only listen?</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
I&#8217;m sure I&#8217;m not the
only one who noticed in Silliman&#8217;s list of heroic editorial gestures the lack
of women&#8217;s names (although he did make a weak attempt to remedy it by claiming
that the magazine <i style="mso-bidi-font-style: normal;">However</i> was
responsible for bringing Lorine Niedecker back into the world (but why was she
ever gone? and is that really what <i style="mso-bidi-font-style: normal;">However</i>
is known for?).</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
Silliman is part of
the Language Poetry movement that informs much of what I do as a writer. And
what I take very seriously from the writings of the Language Poets is that
there is a value to reader activism, to not simply consuming, but creating
through the act of reading. And I bring this idea with me to the forms that I
use when writing poetry or when editing <i style="mso-bidi-font-style: normal;">Chain.
Chain</i> is not about &#8220;making&#8221; writers by publishing them in its pages
(although its tables of contents list many writers&#8212;established and emerging&#8212;<span class="GramE">whom</span> I believe to be of great significance). <i style="mso-bidi-font-style: normal;">Chain</i> is about providing a place for a
reader to engage with an idea&#8212;to think, to argue, to write in response. In
other words, it is putting the theory that informs my own writing as a poet
into practice in an editorial forum. Rather than what Silliman has called
&#8220;editorial muteness,&#8221; I believe that <i style="mso-bidi-font-style: normal;">Chain</i>
invites an animated conversation between reader and text that is generative in
its necessary unpredictability.</div>
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<br /></div>
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<span class="GramE">Which
is also an invitation I hope my own poems deliver.</span></div>
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<br /></div>
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In closing I&#8217;ll
quote once more from the introduction to the first issue of <i style="mso-bidi-font-style: normal;">Chain</i>, where it all began: &#8220;any printed
text is a gesture toward conversation; it&#8217;s a presentation that invites
response. We&#8217;re trying to create a forum that takes that invitation seriously,
that is not just going through the motions of what it means to instigate
response; it <i style="mso-bidi-font-style: normal;">requires</i> continuation.&#8221;</div>
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<h2 class='date-header'><span>Saturday, September 14, 2002</span></h2>

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<span style="font-family: Arial;">A thoughtful response to my
comments on <i style="mso-bidi-font-style: normal;">Chain</i> from Juliana Spahr:<o:p></o:p></span></div>
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i like to think of magazines not as
arguments but just as conversations or as possibilities. i think the job of the
editor is to put forward and stand back at the same time. and i think this is
the big difference between what you say and what i think. we started chain b/c
there were too many arguments being made. we started it in the climate of apex
and o-blek. there were arguments already and we needed other sorts of
conversations to happen. this felt crucial to us. we needed to make a place for
us to think about things in our way--a more sideways way or a less declaratory
way. now, perhaps, we/poetry community need arguments again. it is sad that
apex and o-blek are gone and really haven't been replaced. and somehow for some
reason that i'm not sure i know yet, we keep doing chain. but i'm not the person
to do this sort of editing. i'm just not interested in doing it (although i
always like to read apex and o-blek).</div>
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<br /></div>
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i think this is not a thwarting of
political efficacy. i just think it might be something different than you are
used to seeing. similarly, with the "writers a journal brings
forward" issue. i think there are writers to which chain as been
especially committed. or writers that i really feel are important and worked
hard to make sure they got into the journal, bugged them a lot, etc. but i've
always hated that idea that editors "make" writers. i would feel
weird making a claim on any we've published.</div>
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<br /></div>
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i do think that the one argument
that chain is making loudly is that poetry has a lot of various uses and
positions and a lot of connections that are often overlooked. i've been editing
from the middle of the pacific for six years now. and i've thought a lot about
the sort of work chain can do/attempts to do from this place because it isn't
all that evident everyday here (susan schultz is our only regular subscriber in
the Pacific). one thing chain does for me here is it keeps me reading writing
from over there (continent). which is good for me but that isn't enough
finally. from here, however, it has felt crucial to include more international
work (which we have done to the best of our abilities), to be more devoted to
cross talk among things that don't cross everyday, to more clearly address
poetry's cultural role, to support poetry as a genre of subcultures with ties
to various locals/locales, to put writing in both idiolects and in dialects
together in the hope that a larger and more complicated critique of standard
English would happen in both sorts of poetry, to make room for work about
identity and nationalism (those things the avant garde seems to spend too much
time seeing as reductive) and yet not to sacrifice the work that gets done in
more avant garde forms at the same time, to support both works written from the
local and works written against the global, etc.</div>
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at
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Juliana%2520Spahr' rel='tag'>Juliana Spahr</a>
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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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