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<h2 class='date-header'><span>Thursday, April 12, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:black'><img height="269" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/wQ-e-T9EBz-3IAVjDJd9tPpAVSbLka3hyTI6HNfYl_GHZCCVCG7cnMkXm6zr-syL3iZTkBTKnQrH60ENRXXP8mwaHAF5eXM6BSO3oqwKOqeLs5Mr40YYmipkb06wfbHkW30bQGhZykiM-RVphk5GWLWd%3Ds0-d" width="426"><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'>I know <a href="http://www.poetrybus.com/ken-rumble/"><span style='color:black'>Ken Rumble</span></a> originally from his participation in the Lucifer Poetics group of </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>North Carolina</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>, very possibly the liveliest poetry community not integrally a part of a major metro in the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> The director of the Desert City Poetry series &#8211; the title refers to the series&#8217; origin in Winston-Salem &amp; the role of the desert in the advertising for that mini-metro&#8217;s most famous product, Camel<i style='mso-bidi-font-style:normal'> </i>cigarettes &#8211; has been one of the prime movers in making that scene what it is today. So I was surprised to discover that not only was he born in Washington, D.C. &amp; raised nearby in Chevy Chase, Maryland, but that his first book, <i style='mso-bidi-font-style:normal'><a href="http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf"><span style='color:black'>Key Bridge</span></a>, </i>just published by <a href="http://www.carolinawrenpress.org/"><span style='color:black'>Carolina Wren Press</span></a>, is in some way an homage of sorts to that other resident both of D.C. (as an employee of the OSS, that WW2 pre-CIA) &amp; North Carolina (first as teacher, then rector at Black Mountain College), the poet who first put <i style='mso-bidi-font-style:normal'>place </i>into <i style='mso-bidi-font-style:normal'>displacement, </i><a href="http://writing.upenn.edu/epc/authors/olson/"><span style='color:black'>Charles Olson</span></a>. <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'>The Key in </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Key</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Bridge</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> is <a href="http://en.wikipedia.org/wiki/Francis_Scott_Key"><span style='color:black'>Francis Scott</span></a> &amp; the structure in question is <a href="http://en.wikipedia.org/wiki/Francis_Scott_Key_Bridge_(Washington)"><span style='color:black'>the Route 29 crossing</span></a> of the </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Potomac</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> from </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Washington</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> into </span><st1:place><st1:City><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Rosslyn</span></span></st1:City><span  style='font-size:10.0pt;font-family:Arial;color:black'>, </span><st1:State><span   style='font-size:10.0pt;font-family:Arial;color:black'>Virginia</span></st1:State></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. Key&#8217;s home once was near the northern edge of the D.C. end of the bridge in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Georgetown</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. It&#8217;s not that <i style='mso-bidi-font-style:normal'>Key Bridge </i>is &#8220;about&#8221; the bridge itself, per se, tho it does figure in, more in the sense of being a major character, an organizing principle. Rather, </span><st1:place><st1:PlaceName><i   style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Key</span></i></st1:PlaceName><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> </span></i><st1:PlaceType><i   style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Bridge</span></i></st1:PlaceType></st1:place><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>understands both the words of its title as terms rich with metaphoric potential. Rather, not unlike much of Olson&#8217;s work, this book &#8211; I&#8217;m tempted to write <i style='mso-bidi-font-style:normal'>this poem </i>&#8211; is about many different things, including the poet&#8217;s youth (or, as Wordsworth had it, the growth of a poet&#8217;s mind), the city of D.C. qua city, one of the most unique &#8211; not always in good ways &#8211; in the USA, including aspects of the experience that are otherwise inescapable, race foremost among them. <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'>I said &#8220;tempted to write <i style='mso-bidi-font-style:normal'>this poem</i>&#8221; because in many ways <i style='mso-bidi-font-style:normal'>Key Bridge </i>feels like exactly that, a project that is so tightly knit together that to call it a collection seems obviously inaccurate. For one thing, most of the poems &#8211; or sections &#8211; here don&#8217;t have titles but simply dates, presumably of composition, where one would expect to find &#8220;the poem&#8217;s name.&#8221; Yet it&#8217;s not strictly chronological: you find, say, 4.december.2002 between 26.february and 5.march. The table of contents isn&#8217;t any help here, because in one sense there isn&#8217;t one, but rather a work entitled &#8220;<span class=GramE>A<span style='mso-spacerun:yes'>  </span>Way</span><span style='mso-spacerun:yes'> </span>In&#8221; that looks like a table of contents &amp; appears where one would expect to find it. It even goes up as far as page 71, just like the book itself, but rather than listing titles &amp; page numbers, it offers lines taken from the page &#8211; not the first lines of individual sections either &#8211; and page numbers. Further, no page has more than one such (26 in all are listed), tho many pages have more than work or section. Thus, in what may be the most <span class=SpellE>Steinian</span> section, &#8220;18.march.2001&#8221; <span class=GramE>&#8211;</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>the bridge bridged the bridgeable river<span class=GramE>,</span><br>
<span class=SpellE>bridgely</span> bridging the bridged</span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>river</span></st1:PlaceType><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> 
 <br>
</span><st1:PlaceType><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Bridge</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> is. It is.<br>
The bridge exists, is exits,<br>
exists/is, is ex-<br>
the bridge occupies,<br>
colonizes, engages, conquers, invades, seizes,<br>
maintains, captures, pervades, takes over, storms,<br>
grasps, extends, is<br>
<br>
time &amp; space &#8211;<br>
indivisible time, space &amp; form: the bridge:<br>
the fluid form of intangibilities. The<br>
bridge is.<br>
Bridge <span class=GramE>be</span>.<br>
Bridge <span class=GramE>be</span> bridging.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8211; it is the last line that shows up on this non-table of contents. <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'>Many of the poems or sections are short here also, very much in the same way as some of Olson&#8217;s later <i style='mso-bidi-font-style:normal'>Maximus Poems. </i>Thus &#8220;15.february.2002&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>(<span class=GramE>denuded</span><br>
(delighted<br>
<span style='mso-spacerun:yes'> &nbsp; &nbsp;  &nbsp;  &nbsp;   &nbsp;  &nbsp;  </span>&#8212; we missed each other in inches<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'>Or, further down the same page,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>[4.december.2002</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
subject&#8217;s abuse<br>
<span style='mso-spacerun:yes'>   &nbsp;  &nbsp;  &nbsp;  &nbsp;  &nbsp; &nbsp; </span>(<span class=SpellE>alleywise</span>]<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'>Or, many pages earlier, &#8220;4.june.2000&#8221; in its entirety:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>An other, an out there, away<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'>very much recalling the final line of <i style='mso-bidi-font-style:normal'>Maximus.<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>So many of the surface features of an Olsonian poetics are here &#8211; the short poems with oblique points, incomplete elements of bracketing, use of ampersands &#8211; that the differences are striking. First, <a href="http://www.fascicle.com/issue01/Poets/rumble1.htm"><span style='color:black'>Rumble</span></a>, who was born a few years after Olson&#8217;s death, avoids, with a couple of notable exceptions, the Poundian use of abbreviations that Olson (&amp; Duncan, Blackburn &amp; a host of other Projectivists, even including Creeley on occasion early on) adopted. More importantly, tho, the Olson Rumble&#8217;s interested in is not the singer of outsized asthmatic song, Olson&#8217;s particular brand  of melopoeia, but rather Olson the cognitive poet, the lover of complexity, the poet who never underestimates the intelligence of his audience. <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'>This is especially palpable in the longer pieces, such as these two which appear back to back just past the mid-point of the book:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>2. September.2001</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
<br>
&#8212;<i style='mso-bidi-font-style:normal'>Why do you think you &amp; other African American tenors have had a hard time breaking into the opera world?<br>
</i>&#8212;<i style='mso-bidi-font-style:normal'>Because the tenors get the girl.<br>
<br>
</i>monochrome, monoculture, monotone<span class=GramE>,</span><br>
mononucleosis, mano y mano y no <span class=SpellE>hermana</span> o <span class=SpellE>hermano</span><br>
<br>
&#8212;<br>
<br>
<span class=SpellE>Ahh</span>, my city, today I missed you<br>
where I <span class=SpellE>would&#8221;ve</span> gone?<br>
you&#8217;re a nest to me always next to me<br>
a palm a mind a diamond &#8211; I&#8217;d walk<br>
the streets I drive the desk down<br>
like in the movie I don&#8217;t remember the name of.<br>
<span class=GramE>Even your rats tumbling over each other along<br>
the footpath along<br>
the </span></span><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Potomac</span></span></st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> a long<br>
ways<br>
a way.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
&#8212;<br>
<br>
Don&#8217;t be <i style='mso-bidi-font-style:normal'>delicate.</i><br>
Use a whip<span class=GramE>,</span><br>
a note, a rhythm, or <i style='mso-bidi-font-style:normal'>not<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The poem addresses the city directly, something relatively few poets can do without sounding too self-conscious, as well as uses three variations of the list (one of them partly in Spanish) to demonstrate its multi-pronged point. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>3.september.2001<br> <br>
Pierre <span class=SpellE>L&#8217;Enfant</span> &amp; Ben <span class=SpellE>Banneker</span><br>
walked the Aves the <span class=SpellE>Blvds</span> the Sts the <span class=SpellE>Rds</span> &amp; Circles<br>
they drew the lives they made<br>
<br>
saw or dreamed lives<br>
walked &amp; saw fountains in circles angles edges interstices<br>
<br>
North/south the numbers go:<br>
16<sup>th</sup>, 14<sup>th</sup>, 12<sup>th</sup>, 19<sup>th</sup><br>
east/west the letters:<br>
N, P, F, S, M, U<br>
then two-syllable names alphabetically:<br>
Fuller, Girard, Irving, Quincy<br>
<br>
then three syllables:<br>
Allison, Delafield, Jonquil, Rittenhouse &#8211; all by alphabet<br>
up to the north tip<br>
<span style='mso-spacerun:yes'> &nbsp;  &nbsp; &nbsp;  &nbsp; </span><span style='mso-spacerun:yes'>  &nbsp;  &nbsp;   </span>(spent <i style='mso-bidi-font-style:normal'>rage for order</i><br>
until the pattern is left in a tangle<br>
of Redwood Spruce Sycamore Tulip &amp; Tamarack<br>
<span style='mso-spacerun:yes'>  &nbsp; &nbsp;  &nbsp;  &nbsp;  &nbsp;   &nbsp;   </span>(before that: Arcadia<br>
<br>
the Capitol building<br>
<span style='mso-spacerun:yes'>  &nbsp; &nbsp;   &nbsp;  &nbsp;   &nbsp;     &nbsp;</span>(slave-built<br>
the center the <span class=SpellE>Cyclop&#8217;s</span> eye<br>
my dear <span class=SpellE>dear</span> little monster:<br>
this balance this grid slashed<br>
NE/SE with state names, this monster<br>
geometry<br>
<br>
dreamed into swamp land<br>
<span class=SpellE>L&#8217;Enfant</span> &amp; <span class=SpellE>Banneker</span> walked through<br>
seeing city all around not<br>
<br>
the web the veins the branches not<br>
the swamp the fractured glass not<br>
the palm lines not the spokes the city<br>
<br>
the city, the city, seeing all<br>
about <br>
the city.<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'>If you hear an echo here, not  of Olson, but of Oppen&#8217;s <i style='mso-bidi-font-style:normal'>Of Being Numerous, </i>that&#8217;s probably not an accident. Overall &#8211; and this is very Olsonian &#8211; the intelligence of this book lies less in its individual sections (or poems), great as it often is there, &amp; most powerfully of all in the relationship between poems, in the book as a whole. As complicated &amp; accomplished as each section might be<span class=GramE>,</span> each is primarily a facet, one aspect of a far more complex thing. It&#8217;s in this sense that <i style='mso-bidi-font-style:normal'>Key Bridge </i>is a far better poem than a bridge, within which you will find not one, but many keys to the way(s) we live now. <o:p></o:p></span></p>
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