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Showing posts with label <b>Ketjak</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>Ketjak</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, January 02, 2003</span></h2>

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<span style="font-family: Arial;">Some works appear destined
to change one&#8217;s mind.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It took me several months to
get around to reading Lyn Hejinian&#8217;s <i style="mso-bidi-font-style: normal;">My
Life</i> when it was first published by Burning Deck in 1980 because my initial
reaction thumbing through the small volume was negative. It felt far too much
to me like gazing into a mirror &#8211; as though Hejinian had dutifully plagiarized
my own approach to the new sentence from <i style="mso-bidi-font-style: normal;">Ketjak,</i>
perhaps with less use of found materials, using <i style="mso-bidi-font-style: normal;">My Life&#8217;s </i>outer structural elements of one paragraph for every year
in this unusual autobiography &amp; one sentence for every paragraph &#8211; thus 37
paragraphs each containing 37 sentences &#8211; to construct a work that looked
different, but which really differed principally through an uncritical approach
to the question of autobiography. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This wasn&#8217;t the first time
I&#8217;d had a less-than-positive initial reaction to Hejinian&#8217;s writing only to
revise my opinion completely soon thereafter. When, sometime in the early
1970s, <i style="mso-bidi-font-style: normal;">Occurrence</i> editor John Wilson
first had Hejinian send me a packet of writing, I&#8217;d recognized instantly the
strong sense of style, but had felt that it sought out lushness for its own
sake &#8211; and I wrote her pretty bluntly to say so. When I got back a letter that
took my grumpy misreading seriously but didn&#8217;t back off from her aesthetic
commitments, I realized I was &#8220;<span class="SpellE">misunderestimating</span>&#8221;
her indeed. As I was aware that I had had similar responses at first to other
poets whose work later became exceptionally important to me &#8211; Clark Coolidge
would be a case in point &#8211; I decided to just hold off until I got a better
sense of things. This was true of both her work initially and later of <i style="mso-bidi-font-style: normal;">My Life. </i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It was through the poetry of
another writer about whom I might make that same &#8220;lushness for its own sake&#8221;
charge that I came to reassess Hejinian&#8217;s approach to poetry generally &#8211; Ken
Irby. The fourth issue of Hejinian&#8217;s chapbook series, the original Tuumba Press
project, was Irby&#8217;s <i style="mso-bidi-font-style: normal;">Archipelago</i>,
published (it says on its intensely blue cover) in November 1976. One month
earlier, however, I&#8217;d run into Hejinian operating a stall at a small press fair
at San Francisco&#8217;s Fort Mason, with this book front &amp; center on her table.
Irby is nothing if not a poet of the ear, perhaps the purest example of this of
this obvious possibility within Projectivist poetics, and he&#8217;s something of an
acquired taste. By 1976, I&#8217;d been a serious Irby aficionado for over a decade
&amp; felt at times (as I still do) as though I were a member of some secret
society: The Serious Readers of Kenneth Irby. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">On the spot, Hejinian &amp;
I got deeply into a wonderful conversation about Irby&#8217;s poetry &amp; realized
who each other was &#8211; I mumbled some sort of apology over my intemperate
response to her material (which, as I recall, she deflected, saying that it was
entirely unnecessary, a judgment more generous than true). Relatively soon
after, Hejinian &amp; her partner (now husband) Larry <span class="SpellE">Ochs</span>
moved south from Willits to Berkeley &amp; I got to know both them as two of
the most probing, inventive, talented &amp; imaginative people on the planet.
Each of her first four books &#8211; <i style="mso-bidi-font-style: normal;">A Thought
is the Bride of What Thinking; A Mask of Motion; <span class="SpellE">Gesualdo</span>;
</i>&amp; <i style="mso-bidi-font-style: normal;">Writing is an Aid to Memory </i>&#8211;
had been so utterly different that I believed I could not, in fact, prejudge
this one on a thumb-through. So when I didn&#8217;t immediately respond well to <i style="mso-bidi-font-style: normal;">My Life,</i> my reaction was to set aside
until some time when I could look at it again with fresh eyes.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">That opportunity came on a
transcontinental flight back from the East Coast to </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;"> early in 1981. I got into my seat, buckled up,
pulled the book from the Danish book bag that was my constant companion in
those years &amp; did not set the volume down again until I finished it,
literally as the plane was making its approach into SFO. Thus I read it for the
first time in a single sitting, something I never do with anything beyond a
20-page chapbook. That reading is still, to this day, the last book with which
I&#8217;ve done this.<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;">My Life </span></i><span style="font-family: Arial;">was
not, in fact, the book I&#8217;d expected (or dreaded) at all. Where <i style="mso-bidi-font-style: normal;">Ketjak</i> is very much an outward facing
text, <i style="mso-bidi-font-style: normal;">My Life</i> operates by facing (as
would any memoir) backwards. This focus transforms the project entirely. Where <i style="mso-bidi-font-style: normal;">Ketjak </i>uses repetition to make &#8220;the new
sentence&#8221; possible, by literally breaking apart the residual narrative
instincts in my work, <i style="mso-bidi-font-style: normal;">My Life</i>
proceeds by simply assuming the new sentence as a given &amp; using repetition
thematically, both within the body of the text proper and in the epigrams that head
up every paragraph. Where the structure of <i style="mso-bidi-font-style: normal;">Ketjak</i>
is accumulative and essentially musical in its movements, <i style="mso-bidi-font-style: normal;">My Life</i> functions as a series of compositions all roughly equal in
size &#8211; there is <span class="GramE">a logic</span> (a narrative dimension that is
only half hidden) both within &amp; between paragraphs. The requirement of
composing such structural equivalents &#8211; their formalism is reminiscent of a
sonnet sequence, although, in the 1980 edition, of 37-sentence prose sonnets &#8211;
places enormous compositional demands on Hejinian, which she moves through with
a sweep &amp; grace that is stunning, one jaw-dropping, awe-inspiring turn
after another. Even for someone thoroughly knowledgeable as to the implications
of langpo in 1981, someone who had in fact read all of Hejinian&#8217;s earlier volumes,
<i style="mso-bidi-font-style: normal;">My Life</i> is one of those reading
experiences that very thoroughly <span class="GramE">cleaves</span> the world
into before &amp; after. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, December 05, 2002</span></h2>

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<span style="font-family: Arial;">My allusion, in the <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2384919343">interview
with Carl Boon</a>, to &#8220;getting a complete version of <i style="mso-bidi-font-style: normal;">The Age of Huts </i>ready&#8221; generated a number of email questions. Carl
himself may have raised the issue most succinctly:<o:p></o:p></span></div>
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<span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">There are three works in </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">The
Age of Huts</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">: </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">Sunset Debris</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">, </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">The Chinese Notebook</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">, and </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">2197</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">. What changes
will appear in the complete version? <span class="GramE">Revisions of these works
or additional new works?</span> <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Age of Huts </span></i><span style="font-family: Arial;">originally contained a fourth work, <i style="mso-bidi-font-style: normal;">Ketjak,</i>
the first in the cycle of the four poems. When Barrett Watten offered to
publish <i style="mso-bidi-font-style: normal;">Ketjak</i> as a separate book &#8211;
an event that changed my life &#8211; I had not yet completed the other three works,
which I worked on more or less simultaneously during the 1975-78 time frame. In
addition there are two other poems, <i style="mso-bidi-font-style: normal;">Sitting
Up, Standing, Taking Steps</i> &amp; <i style="mso-bidi-font-style: normal;">BART,
</i>written during the same time frame that have what I would characterize as
an adjunct relationship to the cycle of four poems.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Ketjak </span></i><span style="font-family: Arial;">proved
to be the hinge work in my life. Once it appeared in 1978, four years after I&#8217;d
actually written the poem, I was able to publish pretty much whatever I wanted,
at least in journals, a process that forced me to be much more careful about
what I consider &#8220;complete&#8221; or ready to publish. The 800 copies of <i style="mso-bidi-font-style: normal;">Ketjak </i>printed by This Press, however,
were already largely out of print when <i style="mso-bidi-font-style: normal;">The
Age of Huts</i> was published<i style="mso-bidi-font-style: normal;"> </i>by Roof
in 1986. <i style="mso-bidi-font-style: normal;">Tjanting, </i>written after <i style="mso-bidi-font-style: normal;">The Age of Huts &#8211; </i>it&#8217;s the bridge work
between <i style="mso-bidi-font-style: normal;">Huts </i>&amp; <span class="GramE"><i style="mso-bidi-font-style: normal;">The</i></span><i style="mso-bidi-font-style: normal;"> Alphabet</i> &#8211; was published in 1981 literally within a couple of
months of its completion. So the narrative of publication has not been the same
as that of composition.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I&#8217;ve tried at times to
articulate the relationship between <i style="mso-bidi-font-style: normal;">Ketjak
</i>&amp; the rest of <i style="mso-bidi-font-style: normal;">Huts, </i>going so
far in the <i style="mso-bidi-font-style: normal;">Quarry West </i>issue devoted
to my work to publish a chart.* Now, of course, with both books out of print,
the question of order is truly academic. But Salt is about to reissue <i style="mso-bidi-font-style: normal;">Tjanting</i> and I hope to complete <i style="mso-bidi-font-style: normal;">The Alphabet </i>by the end of 2003. Once
that is done, I will turn to <i style="mso-bidi-font-style: normal;">The Age of
Huts </i>and deal with that in more detail. I&#8217;ve had a number of conversations with
Charles Alexander about it as a project for Chax Press, so my hope would be
that it ends up there &#8211; but I doubt this would be anything that will get done
until later in the decade. Then, after that, I&#8217;ll start to think more seriously
about one or two books of critical writing. That is the plan. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Albeit
one that I think must be confusing to anyone who doesn&#8217;t realize that I use the
name <i style="mso-bidi-font-style: normal;">Ketjak</i> not just to refer to that
original text, but also to the larger writing project I am in the middle of, containing
<i style="mso-bidi-font-style: normal;">Huts, <span class="GramE">The</span>
Alphabet</i> &amp; the poem I have yet to begin. The chart also fails to deal
with <i style="mso-bidi-font-style: normal;">BART </i>&amp; <i style="mso-bidi-font-style: normal;">Sitting Up </i>adequately. I may be the poet most apt to use charts in
critical writing, but that doesn&#8217;t mean I always use them well. <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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