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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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<h2 class='date-header'><span>Tuesday, May 19, 2009</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='color:black'><a href="http://www.aerialedge.com/GoldenAge.htm"><span style='color:black;text-decoration:none;text-underline:none'><img border="0" height="383" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/nzVBO7fsuwsh-gWOcM_DHWDk8A4jtLAzRoHZTJeM8pzjRgvSOnE4FNBWOvyjNBcF-td6s0t7g7p2A2wLcHU6WmH8ha0Fndm6L_ZkDsypGZUH%3Ds0-d" width="511"></span></a><br>
</span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>Photo by Ben Friedlander</span><span style='color:black'><o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Nothing demonstrates the importance of tone to the work of Bruce Andrews than seeing poetry that comes across as being very similar in method, but 180 degrees different in tone. That was my very first impression on starting to read Kevin Davies&#8217; <i style='mso-bidi-font-style:normal'><a href="http://www.aerialedge.com/GoldenAge.htm"><span style='color:black'>The Golden Age of Paraphernalia</span></a> </i>(Edge Books, 2008), and it&#8217;s one that returned on more than a couple of occasions in the process of reading this entirely delightful book. Delightful, not an effect I tend to think of Andrews ever seeking, is a consequence here of Davies&#8217; relentlessly cheerful attitude as well as a series of shrewd choices on his part. <i style='mso-bidi-font-style:normal'>Paraphernalia, </i>which was the subject of the <a href="http://www.thenation.com/doc/20090223/davis"><span style='color:black'>most detailed &amp; thoughtful review</span></a> of a contemporary post-avant text ever to appear in <i style='mso-bidi-font-style:normal'>The Nation</i> (under the heading &#8220;Happy Thoughts&#8221;) last February, appears to consist of five works that are shuffled together throughout this volume. <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'>In fact, the only way to read this book is as a single ongoing poetic process (think Phil Whalen or maybe Larry Eigner) since the boundary where one work ends &amp; the next begins appears to be willfully arbitrary (indeed, the table of contents suggests that individual lines within certain pieces are themselves parts of other works &#8211; taking the interleaving of poems well beyond Robert Duncan&#8217;s tendency to put a few <i style='mso-bidi-font-style:normal'>Passages </i>right alongside sections of <i style='mso-bidi-font-style:normal'>Structures of Rime &#8211; </i>two projects that were never released as independent books).<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'>Davies appears to have found a spot exactly halfway between language poetry and flarf, or maybe to have heard what was particularly <span class=SpellE>flarfy</span> about Bruce Andrews&#8217; approach to <span class=SpellE>langpo</span>. Davies has poked at this scab just enough to open a wound that is simultaneously a panorama of the contemporary. If Andrews is painterly in his ability to string together endless runs of phrases, lines, snatches of language, he prefers a somber, even dark palette, the reader is continually put off balance &amp; is apt to feel challenged personally &#8211; which is quite different from being challenged by the work itself. Davies, tho, is full of pastels &amp; bright, primary colors. In both instances, what is required is an exquisite sense of how to combine found language with one&#8217;s own writing. If Andrews&#8217; verse makes you feel like you&#8217;re about to topple over from having been poked in the chest one too many times (or maybe 100), you&#8217;re more apt to feel off-balance in <i style='mso-bidi-font-style:normal'>Paraphernalia </i>as tho you&#8217;re trying to waltz to a polka played by a merry-go-round calliope. It&#8217;s a radically different experience, even as you end up on your butt either way:<o:p></o:p></span></p>

<p style='margin-left:.5in'><span class=body><span style='font-size:10.0pt;font-family:Verdana'>I&#8217;m standing before a mirror, shaving my ears<span class=GramE>,</span><br>
when Sufi devotional music bursts through the door<o:p></o:p></span></span></p>

<p style='margin-left:.5in'><span class=GramE><span class=body><span style='font-size:10.0pt;font-family:Verdana'>in</span></span></span><span class=body><span style='font-size:10.0pt;font-family:Verdana'> a livid sweat, with big news from the physics think tank.<br>
Yellow door. Red pants. Green projector. <br>
Brown calculator. Blue penguin. White succulent.<br>
Orange box. Black wrench. Purple<o:p></o:p></span></span></p>

<p style='margin-left:.5in'><span class=body><span style='font-size:10.0pt;font-family:Verdana'>Pot.<br>
Not all fruit trees hate you &#8212;</span></span><span style='font-size:10.0pt;font-family:Verdana'><o:p></o:p></span></p>

<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span class=GramE><span class=body><span style='font-size:10.0pt;font-family:Verdana'>just</span></span></span><span class=body><span style='font-size:10.0pt;font-family:Verdana'> this one.</span></span><span style='font-size:10.0pt;font-family:Verdana'><br>
<span class=body>Freud once attempted to purchase <st1:place w:st="on"><st1:country-region w:st="on">Mexico</st1:country-region></st1:place>.</span><br>
<st1:place w:st="on"><st1:City w:st="on"><span class=body>Darwin</span></st1:City></st1:place><span class=body> feared meteors and their connection to lichen.</span><br>
Mathew Arnold hated ducks, just<em><span style='font-family:Verdana'> hated </span> </em>'<span class=SpellE>em</span>.<br>
Martin Frobisher cooked and ate an entire cabin boy.<br>
Jack Spicer<br>
invented the clap-on clap-off lamp.<br>
Fatty Arbuckle faked his own death and ended up running a go-cart <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>track</span> in <st1:place w:st="on"><st1:State w:st="on">Alabama</st1:State></st1:place>. <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>Goya<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:5.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<span class=GramE>lost</span> his nose<o:p></o:p></span></p>

<p class=style2 style='margin-top:5.0pt;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana'>in</span></span><span style='font-size:10.0pt;font-family:Verdana'> a practical joke gone very wrong.<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>Backing slowly away from the bear, not looking<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>in</span> its eyes. Pretending to be asleep. <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>Ignoring the tornado. Refusing to acknowledge<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>the</span> legitimacy of the mudslide. <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>Not flinching &#8212; holding steady &#8212; when the toaster<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>falls</span> into the bath. Glancing back, turning to salt, and not<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana'>caring</span></span><span style='font-size:10.0pt;font-family:Verdana'>. Driving blindfolded on acid in the 70s.<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Arguing for a lower grade. Pulling the thigh<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana'>hairs</span></span><span style='font-size:10.0pt;font-family:Verdana'> of the opposing power forward. <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A small gully, with a few boards, can be home<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana'>for</span></span><span style='font-size:10.0pt;font-family:Verdana'> a while. Bowing inappropriately, standing up<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>at</span> the wrong time, an accidental snort. <em><span style='font-family:Verdana'>Now you are ready. </span></em><o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>It isn't what anyone needs or wants. This music<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>includes</span> recordings made out <st1:place w:st="on"><st1:PlaceName w:st="on">Trade</st1:PlaceName> <st1:PlaceType w:st="on">Center</st1:PlaceType></st1:place> windows. <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>Plato libeled <span class=SpellE>Gorgias</span> to advance his own <span class=SpellE>protofascist</span> <o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span class=GramE>agenda</span>. Those clicking sounds. An unexpectedly<o:p></o:p></span></p>
<p class=style2 style='margin-top:0in;margin-right:0in;margin-bottom:5.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana'>depressing</span></span><span style='font-size:10.0pt;font-family:Verdana'> millennium, a real letdown after<o:p></o:p></span></p>

<p class=style2 style='margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana'>the</span></span><span style='font-size:10.0pt;font-family:Verdana'> frisky ad campaign. <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'>It&#8217;s worth noting that the beginning &amp; end of this excerpt both occur mid-stanza &#8211; just as the stanza breaks within take place entirely mid-sentence, mid phrase. Only rarely does Davies begin at the beginning or end at anything like a logical conclusion. Each shift in the &#8220;narrative&#8221; represents a tectonic juxtaposition of discursive plates, which means, among other things, that we want to associate the tale of the fruit trees with Freud, for which there is little internal corroboration. It comes between the first &amp; second of the three sets of parallelisms &#8211; colors, people, actions. But the colors relations to their objects is problematic at best (<i style='mso-bidi-font-style:normal'>Blue </i>penguin?), the events &amp; attitudes ascribed to the people is likewise (Arbuckle ended up directing comedy shorts under the name of William Goodrich before an attempted comeback that was cut short by his death at 46), the actions are all predicates lacking the very subjects with which the two previous sequences were so fixated. <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 a hybrid poetics, albeit not a Hybrid Poetics in the usual sense of that phrase. Davies pulls in from language poetry, the New York School (more than a little Kenneth Koch here, more than a little Ron Padgett) &amp; the aforementioned flarf effortlessly, and a good deal of the book&#8217;s considerable pleasure lies in watching a master work with this palette. Reading this also demonstrates how these differing generations &amp; aesthetics have more in common than perhaps thought previously &#8211; Davies makes them all seem so very simpatico. &amp; there more than a couple of references in this book &#8211; Martin Frobisher in this passage &#8211; to remind the reader that Davies may have lived in the U.S. for many years, but he is (or was) Canadian. <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'>So hybridism, as a dynamic, can exist entirely within the post-avant. This is not really news, I suppose, nor would be its precise opposite, a quietist who mixes several of its strains. Third way poetics gains its status as a privileged New Thing solely because it mixes post-modern technique with anti-modern impulse or vice versa. Yet anybody who has paid attention to the poetries of the past 40 years ought to be able to tell you that mixing tendencies within either of these two broad traditions can be every bit as fraught with peril. Dorn&#8217;s use of comic book narrative techniques in <i style='mso-bidi-font-style:normal'>&#8216;Slinger, </i>perfectly acceptable practice within the New York School, initially was greeted as a betrayal by several of his Black Mountain <span class=SpellE>compadres</span>, some of whom never did come around to seeing his perspective. LeRoi Jones&#8217; work as Amiri Baraka likewise proved controversial, tho many of the actual literary techniques he was now using had long been employed by Lawrence <span class=SpellE>Ferlinghetti</span> (who took them from Jacques <span class=SpellE>Prevert</span>). And to my knowledge nobody ever put the lyrics of Joseph <span class=SpellE>Ceravolo</span> alongside those of Larry Eigner &#8211; tho the two of them point toward a cognitive poetics a decade ahead of language writing. All you have to do to sense the distance between these various poetries is to read Jack Spicer. Even when, as in <i style='mso-bidi-font-style:normal'>Heads of the Town <span class=GramE>Up</span> to the <span class=SpellE>Aether</span>, </i>Spicer says it with a smile, it doesn&#8217;t take close reading to sense the gritted teeth &amp; curled upper lip. <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'>All of which is to say that nobody should take what Davies is doing here for granted just because he makes it look easy. Far from being the happy-go-lucky collage work it vamps as, <i style='mso-bidi-font-style:normal'>The Golden Age of Paraphernalia </i>is as trenchant a critical reading of the poetics of the past 30 years as any I&#8217;ve seen. No wonder it&#8217;s a spectacular book. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, February 10, 2003</span></h2>

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<span style="font-family: Arial;">I&#8217;m totally jealous. </span><st1:personname><span style="font-family: Arial;">Kevin Davies</span></st1:personname><span style="font-family: Arial;"> wrote &#8220;Lateral Argument&#8221; and I didn&#8217;t. <o:p></o:p></span></div>
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<span style="font-family: Arial;">&#8220;Lateral Argument&#8221; is an as
yet unpublished poem that is circulating via PDF file, 20 pages of <span class="SpellE">shiveringly</span> brilliant writing. My first thought as I read
through this poem, composed over last summer, was: well, <i style="mso-bidi-font-style: normal;">what if </i>John Ashbery&#8217;s <i style="mso-bidi-font-style: normal;">Flow
Chart </i>&#8211; my favorite work of his &#8211; did have a beginning, middle &amp; end &#8211;
is <span class="GramE">this what</span> it would look like? Then I thought: well,
what if <i style="mso-bidi-font-style: normal;">Flow Chart</i> had a social
imagination, a politics? Or at least one that was coherent?<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<span style="font-family: Arial;">These thoughts reminded me
of a comment Davies himself made in a footnote, one of four, to a letter this
blog ran on <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2383870156">November
1</a>. In the body of the letter, Davies argued that, contra </span><st1:personname><span style="font-family: Arial;">Louis Cabri</span></st1:personname><span style="font-family: Arial;"> &#8211; a poet with whose writing Davies shares more than
a passing affinity &#8211; &#8220;The first two generations of the </span><st1:place><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename></st1:place><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> . . . have had significant and widespread effects on vanguard Canadian
poetry of the past forty years.&#8221; In the footnote, he throws this argument into
a more personal context:<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt;">In my own case, Berrigan was crucial to my education. The
first thing of his I read, in the year after high school (while working
desultorily at the local mill), was "Tambourine Life," in an
anthology at the local community-college library. This event was, I think,
similar to <a href="http://www.poetry.org/issues/issue4/text/prose/silliman1.htm">what Ron
describes when he first encountered <i style="mso-bidi-font-style: normal;">The
Desert Musi</i></a><i style="mso-bidi-font-style: normal;">c</i>: the sense that
there was a writing practice that could account for the vagaries and
particulars of the life I was living, one that was not tied to the prosody of
either the Romantics I adored or the academics I abhorred.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">In &#8220;Lateral Argument,&#8221;
Davies puts up, giving substance to the vision sketched out above:<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Not all the fruit trees hate you &#8211;<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .75in; mso-layout-grid-align: none; text-autospace: none; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">just</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
this one.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Freud once attempted to purchase </span><st1:country-region><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Mexico</span></st1:place></st1:country-region><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; mso-layout-grid-align: none; text-autospace: none; text-indent: -.25in;">
<st1:city><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Darwin</span></st1:place></st1:city><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;"> feared
meteors and their possible connection to lichen.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; mso-layout-grid-align: none; text-autospace: none; text-indent: -.25in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Mathew Arnold hated ducks, just </span><i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Italic;">hated
</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">&#8217;em.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Martin <span class="SpellE">Frobisher</span>
cooked and ate an entire cabin boy.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Jack Spicer invented the clap-on clap-off
lamp.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Fatty Arbuckle faked his own death and ended
up running a go-cart track in </span><st1:state><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Alabama</span></st1:place></st1:state><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Goya lost his nose<o:p></o:p></span></div>
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<br /></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">in</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
a practical joke gone very, very wrong.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Backing slowly away from the bear, not
looking<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">in</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
its eyes. <span class="GramE">Pretending to be asleep.</span><o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Ignoring the tornado.</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
Refusing to acknowledge<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">the</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
legitimacy of the mudslide.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Not flinching &#8211; holding steady &#8211; when the
toaster<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">falls</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
into the bath. Glancing back, turning to salt, and not<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">caring</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.
Driving blindfolded on acid in the 70s.<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">Arguing for a lower
grade.</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;"> Pulling the thigh<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">hairs</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
of the opposing power forward.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The title of &#8220;Lateral
Argument,&#8221; it seems to me, is very literal (lateral). The poem is very much
built around the stanza as its primary unit, often changing shape as the text
moves from one to the next. At the same time, the stanzas themselves are
destabilized by a process of &#8220;carry over,&#8221; the last line/thought of the
previous one bleeding into the stanza following. The device starts at the
beginning, with an ambiguous refusal to demarcate between epigraph and the body
of the poem itself:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">&#8220;Persons exist<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; mso-layout-grid-align: none; text-autospace: none; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">as</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
practical ways of speaking about<o:p></o:p></span></div>
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<br /></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">bundles</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">&#8211; Paul Williams.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">They awoke in a bookless world studded with
lean-<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">to</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
performance artists interacting with electricity.<o:p></o:p></span></div>
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<i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Italic;">This must be the place</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.
Evicted from elsewhere, here at last<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">not</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
rest but an apprenticeship in container<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">technology</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.
A kind of music that, though apparently stopping,<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">starting</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">,
stopping, more specifically never ends, thus<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; mso-layout-grid-align: none; text-autospace: none; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">displaying</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">
as virtue its greatest flaw. Successfully,<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">irritatingly</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;">.
</span><i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Italic;">Who here has access to liquor?</span></i><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Times-Roman;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Several of these carry-over lines
break in ways that seem unpredictable &amp; </span><st1:state><st1:place><span style="font-family: Arial;">del</span></st1:place></st1:state><span style="font-family: Arial;">icious: &#8220;The image problem of vipers//is their
greatest asset.&#8221;<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If there is a standard or
baseline stanzaic form here, it&#8217;s one that doesn&#8217;t really show up until the
fourth page &amp; doesn&#8217;t fully take over until the <span class="GramE">14<sup>th</sup>,</span>
where (as in the last part of the first quote above) almost every second line
is </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ented. Overall, this gives the poem a sense of homing
in, starting out with the broadest range of possible futures, gradually
arriving at a mode as though it were the dénouement. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Davies has been an active
participant in the </span><st1:state><st1:place><span style="font-family: Arial;">New
  York</span></st1:place></st1:state><span style="font-family: Arial;"> poetry
scene for so long that it takes some effort for me to think of him as Canadian,
although he has always maintained an active relationship with the poetry of his
homeland. &#8220;Lateral Argument&#8221; would be a wonderful poem wherever it was written.
<o:p></o:p></span></div>
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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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