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Showing posts with label <b>Kenneth Rexroth</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>Kenneth Rexroth</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>Thursday, August 30, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><a href="http://farm9.staticflickr.com/8436/7803297248_ce52bb8a3c_o.jpg"><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline:none'><img border="0" height="403" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/jJ6-cu2jEtJkEIIwJNbiG1JBHvbqpHxYCL8rUHRmfEGlGIARRkeZhz0SNydCDCKkCPePKnAcLo9pODOE3qhvgrO8BH8SasbhciqtHbZpvOCELw%3Ds0-d" width="392"></span></a><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"'><br> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:150%;font-family:"Arial","sans-serif"'>Photo by Jonathan Williams</span></i><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;line-height: 150%;font-family:"Arial","sans-serif"'><o:p></o:p></span></i></p>  <p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.bopsecrets.org/rexroth/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Kenneth</span></a> <a href="http://en.wikipedia.org/wiki/Kenneth_Rexroth"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Rexroth</span></a><br> <a href="https://diva.sfsu.edu/bundles/191199/50070/contents/59450"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>reading</span></a> @ the <a href="https://diva.sfsu.edu/bundles/191205/49788/contents/59088"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Poetry Center</span></a><br> San Francisco State<br> <a href="https://diva.sfsu.edu/collections/poetrycenter/bundles/191199"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>July 13, 1955</span></a> &amp; <a href="https://diva.sfsu.edu/collections/poetrycenter/bundles/191205"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>October 5, 1959</span></a><o:p></o:p></span></p>  
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<h2 class='date-header'><span>Tuesday, October 08, 2002</span></h2>

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<span style="font-family: Arial;">The fourth issue of <i style="mso-bidi-font-style: normal;"><a href="http://www.poetry.org/">The
Electronic Poetry Review</a></i> is now live and includes a talk that I gave a
couple of years ago at the annual confab of the Modernist Studies Association, <a href="http://www.poetry.org/issues/issue4/text/prose/silliman1.htm">&#8220;The Desert
Modernism,&#8221;</a> focusing in part on the question of why William Carlos Williams
would have chosen to write a poem in 1951 that would lead to the famous, if
somewhat abashed, affirmation of<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>I <i style="mso-bidi-font-style: normal;">am a poet! </i>I<br />
am.<span style="mso-spacerun: yes;">&nbsp; </span>I am. I am a poet, I reaffirmed,
ashamed.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">As I so often do when
thinking about the history of poetry, I try to articulate a social context for
Williams&#8217; sense of isolation, which I do partly in terms of Objectivism:<o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt; text-align: justify;">
<span style="color: black; font-family: Arial;">The early 1950s was the nadir of Objectivism.
Zukofsky, completing <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;</i> 12 in 1951,
would not touch the poem again until 1960. <i>Some Time</i>, Zukofsky's
gathering of his shorter works between 1940 and 1956, contains just 33 poems
for its seventeen years. In her bibliography of the composition of these works,
Zukofsky's wife Celia notes that, in 1954, the only poetry he wrote were two
sections of &#8220;Songs of Degrees,&#8221; one a nine-line valentine, the other &#8220;William /
Carlos / Williams // alive!&#8221; George Oppen hadn't written anything since 1934.
Charles Reznikoff was self-publishing and the collection <i>Inscriptions:
1944-1956</i> takes up only 30 pages in his <i>Complete Poems</i>. Lorine
Niedecker had published just one book and that with a publisher in <st1:place><st1:city>Prairie
  City</st1:city>, <st1:state>Illinois</st1:state></st1:place>; she would not
publish another until Ian Hamilton <span class="SpellE">Finlay</span> brought out
<i style="mso-bidi-font-style: normal;">My Friend Tree</i> in <st1:country-region><st1:place>Scotland</st1:place></st1:country-region>
in 1961. &#8220;The Spoils,&#8221; which Basil Bunting wrote in 1951 was his first major
piece of poetry since 1935 and last until 1965. He wrote just three odes, as he
called his shorter poems, in the 1940s and none in the 1950s. </span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The talk in general and this
passage in particular provoked a most interesting and thoughtful email from </span><st1:personname><span style="font-family: Arial;">Eliot Weinberger</span></st1:personname><span style="font-family: Arial;">, which he has kindly given permission for me to
reprint here. I don&#8217;t agree with everything he says but he&#8217;s got me pondering the
need to re-vision the 1950s in particular beyond the canonic box that is </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ald Allen&#8217;s <i style="mso-bidi-font-style: normal;">The New American
Poetry. </i>Here is Weinberger&#8217;s perspective:<o:p></o:p></span></div>
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<br /></div>
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Along with the silence/invisibility of the
&#8220;objectivists,&#8221; you should add Rukeyser, who published no new books between
1948 and 1962. WCW told a depressed Reznikoff to keep writing, no matter what,
so <span class="SpellE">Rezi</span> wrote the novel &#8220;Manner Music.&#8221;</div>
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<br /></div>
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I think you underestimate the presence of Pound who,
though locked up, was writing a zillion letters a day and entertaining endless
visitors. It's also a period of the first standard editions of <span class="SpellE">Ez</span>: 1948, Cantos; 1949, Selected Poems; 1950, Letters;
1953, Translations; 1954, Literary Essays. Then in 1954 you have the Confucian
Odes and in 1955 Rock-Drill. He couldn't be more visible, however immobile.</div>
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<br /></div>
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I also wonder about WCW's isolation. If you look at
his letters and essays from the time, he's praising (and is in contact with) a
lot of poets: Lowell, Eberhart, Roethke, Rexroth, Harvey Shapiro, MacLeod,
etc-- besides the New Americans you mention (Creeley, Olson, Ginsberg) and the
honorary New American, Corman.</div>
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<br /></div>
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Also in the period you have Rexroth&#8217;s &#8220;Signature of
All Things,&#8221; &#8220;Dragon and the Unicorn&#8221; and &#8220;Beyond the Mt&#8221; (reviewed by WCW).
And Patchen had books from ND, Jargon, and the first City Lights pocket
pamphlets.</div>
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<br /></div>
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I'm as guilty as everyone else, maybe more guilty,
but I increasingly wonder whether we're all not prisoners of the <st1:personname>Don</st1:personname>
Allen taxonomy. The problem is that Allen overlooks a (small) sort-of
generation between the objectivists and the New <span class="SpellE">Amers</span>:
Rexroth, Rukeyser, Patchen, etc. And the anthology wars c. 1960 obscured
genuine affinities, at least in the early 50's. Lowell considered himself a <span class="SpellE">Poundian</span>; he loved WCW; everyone remembers his famous &#8220;raw
and the cooked&#8221; as referring to him and Ginsberg, but in fact, RL thought he
was one of the &#8220;raw,&#8221; compared to Wilbur etc. WCW and Roethke are not in
opposition, etc. It is forgotten that Origin was pitched on two poets: Olson
and Bronk, whom no one would put together any more. And the Allen obscured
genuine hostilities: Joel Oppenheimer used to tell about Beats and Black
Mountaineers getting into fistfights at the Cedar Tavern.</div>
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<br /></div>
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Is WCW in 1950-55 more isolated
aesthetically/personally than anyone else, or himself at any other time? Snyder
says somewhere that in the spiritual wasteland of the 50's one would hitchhike
a thousand miles just to have someone to talk to. Outside of a few small
groups-- like the SF <span class="SpellE">Ren</span> and the Black <span class="SpellE">Mteers</span> who were actually at Black Mt (unlike the <span class="SpellE">Blk</span> Mt group in Allen) and the inner-circle Beats-- how
much physical community was there anyway? </div>
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<br /></div>
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Could the proverbial Martian be able to sort the
poems c. 1950 of Levertov, Eberhart, Roethke, <st1:city><st1:place>Duncan</st1:place></st1:city>,
Rexroth, etc into &#8220;avant-garde&#8221; and &#8220;establishment&#8221;? Maybe there's a new
history to be written.</div>
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