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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Language Poetry</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>Language Poetry</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>Tuesday, October 15, 2002</span></h2>

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<span style="font-family: Arial;">I&#8217;m going to </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> for a few days for the <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382360025">readings</a>
to launch the <i style="mso-bidi-font-style: normal;"><a href="http://www.rattapallax.com/fusion.htm">Short Fuse</a></i> anthology &amp;
won&#8217;t be taking my laptop. Since my Palm Pilot isn&#8217;t web-enabled, the blog
shall be silent until Friday at least.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Two of the books I shall be
taking with me will be <i style="mso-bidi-font-style: normal;">Your Ancient See
Through</i> by Hoa Nguyen and <i style="mso-bidi-font-style: normal;">Clean and
Well Lit</i> by </span><st1:personname><span style="font-family: Arial;">Tom
 Raworth</span></st1:personname>.<span style="font-family: Arial;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">In the meantime, </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> readers should participate in the <a href="http://www.hcs.harvard.edu/~golder/dialect/index.html">Dialect Survey</a>.
It consists of 122 questions concerning vocabulary, pronunciation and usage,
every one of which is worth pondering. I am of course reminded of the
linguistic geography of the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;"> that Jack Spicer worked on some 40 years ago. This
survey, I suspect, is a descendant of that research. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Contemplating for a moment
Question 103 &#8211;<o:p></o:p></span></div>
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<b>103. What do you call the thing from
which you might drink water in a school?</b><br />
a) <input name="q103" type="radio" value="1" />bubbler<br />
b) <input name="q103" type="radio" value="2" />water bubbler<br />
c) <input checked="" name="q103" type="radio" value="3" />drinking fountain<br />
d) <input name="q103" type="radio" value="4" />water fountain<br />
e) <input name="q103" type="radio" value="5" /><span style="display: none; mso-hide: all;"><input name="q103-other-choice" type="hidden" value="5" /></span>other:
<input name="q103-other" type="TEXT" /><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;</span><span style="font-family: Arial;">&#8211;</span></div>
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<span style="font-family: Arial;">I&#8217;m reminded that Rochelle
Nameroff identifies &#8220;bubbler&#8221; as an aspect of the language of her native city, </span><st1:city><st1:place><span style="font-family: Arial;">Milwaukee</span></st1:place></st1:city><span style="font-family: Arial;">. It is, as she likes to put it, &#8220;&#8217;M'waukee talk.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">Which, in turn, leads me to <a href="http://www.avbc.com/visit/boontling.html">Boontling</a>, the most radical
of regional American dialects. Boontling, short for Boont lingo, Boont standing
for Boonville, a town in the Anderson Valley of Northern California, roughly
two-thirds of the distance north from San Francisco on the way to Mendocino.
Quite isolated in the 19<sup>th</sup> century, the teenagers in Boonville,
Philo and Anderson developed a code some time around 1890 that enabled them to
talk salaciously in the general vicinity of the elders without invoking
censorship or retribution. But of course the teenagers all became adults and in
that region during that period, relatively few of them left for the wide world
and just as few newcomers moved into the community, so by, say, World War I,
boontling had become the daily discursive mode of the region. Boontling held
reasonably contained and coherent until after the Second World War when first
radio and then television finally reached the valley. Now the only speakers
left apparently are adults who learned it from their grandparents. Sometimes
you will see a Boontling speaker at a folk festival, telling a familiar tale in
that all but impenetrable variation of English. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It&#8217;s been years since I&#8217;ve
been to Boonville, but even in the 1980s, pay telephone booths were labeled
Buck Walter (literally: <i style="mso-bidi-font-style: normal;">nickel phone</i>).
Charles Adams wrote a most useful volume, <i style="mso-bidi-font-style: normal;">Boontling:
An American Lingo, with a dictionary of Boontling</i> that the </span><st1:place><st1:placetype><span style="font-family: Arial;">University</span></st1:placetype><span style="font-family: Arial;"> of </span><st1:placename><span style="font-family: Arial;">Texas</span></st1:placename></st1:place><span style="font-family: Arial;">
press published in 1971. The dictionary alone is over 100 pages long. Copies
can be found through <a href="http://www.abebooks.com/">abebooks.com</a>,
though the hardback prices strike me as a little pricey. Most of the websites on
the topic are pretty limited. The one link I gave above comes from a regional
brewery site, but it&#8217;s the best short introduction I&#8217;ve encountered. <o:p></o:p></span></div>
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at
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/language' rel='tag'>language</a>,
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<h2 class='date-header'><span>Thursday, October 10, 2002</span></h2>

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<span style="font-family: Arial;">A first book of 175 pages is
simply remarkable. It can also be tough going at times. When I noted at the outset
of the blog that I am a slow reader, Tan Lin&#8217;s <i style="mso-bidi-font-style: normal;">Lotion Bullwhip Giraffe</i> (<i style="mso-bidi-font-style: normal;">LBG</i>)
(Sun &amp; Moon, 1996) was one of the books I had in mind. I began it sometime
in 1999 and just finished it this morning. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">I&#8217;m not certain as to
whether or not <i style="mso-bidi-font-style: normal;">LBG</i> is organized
chronologically. I imagine that it might be, at least because I found myself
quite resistant to the earliest sections of the book, but largely persuaded by
the work later on. Either Lin improved as a poet, or else he simply convinced
me over time. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Because Lin, at least in <i style="mso-bidi-font-style: normal;">LBG</i>, is very much an abstract poet (with
a healthy Spicerian influence poking its head out from time to time), my
experience reading the volume at moments reminded me of first reading the
poetry of Bruce Andrews. Of all the language poets, Andrews was virtually the
only one who apparently never went through a phase as a young poet writing in
some variant of a New American poetry genre. It was, to borrow a trope from
music that I&#8217;ve heard Andrews himself make, as though a young pianist had been
exposed to the work of Cecil Taylor at the very beginning and just never saw
the need to plod through the texts of Beethoven &amp; Brahms before getting on
with &#8220;the real work.&#8221; The result was that many readers took awhile to trust
Andrews because his early books seemed so largely devoid of links backward to a
knowable literary tradition. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Lin of course comes a
generation later &amp; does have some visible roots, including both Spicer
&amp; Andrews, Clark Coolidge, and what feels to me like pretty predictable elements
of surrealism, dada &amp; conceptual art. It&#8217;s an interesting enough gumbo, but
it wasn&#8217;t until the final 50 pages that it felt as though the work here was
really Lin&#8217;s own. As with all writing that tends toward the abstract, so much
depends upon the ear of the poet. While there are a few authors with a
genuinely great ear, such as Coolidge, Ken Irby or, most recently, Rod Smith,
most writers have one that is only average. When that is the case, the poet
needs to have something more going on in the poem, the way, for example,
Andrews&#8217; texts are resplendent with social satire &amp; comment. That next
dimension doesn&#8217;t quite ever show up in <i style="mso-bidi-font-style: normal;">LBG</i>,
but the evolution of Lin&#8217;s book &#8211; or at least in my response to Lin&#8217;s book &#8211;
makes me realize that I want to read more to find out what&#8217;s come next.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Friday, October 04, 2002</span></h2>

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<span style="font-family: Arial;">For a very long time, </span><st1:personname><span style="font-family: Arial;">Kit Robinson</span></st1:personname><span style="font-family: Arial;"> has been one of the finest writers of the lyric
around, very possibly <i style="mso-bidi-font-style: normal;">the</i> finest. In
an age that, for reasons more social than literary, has not been particularly
kind to the lyric, </span><st1:personname><span style="font-family: Arial;">Kit
 Robinson</span></st1:personname><span style="font-family: Arial;"> might well be
the most underappreciated writer of my generation. There ought to be a large
Selected Poems and a fat festschrift or two devoted to his accomplishments, but
instead Robinson has slipped quietly under the radar.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are several plausible
reasons for this &#8211; Robinson has stayed out of the academy*, seems genuinely to
dislike the hustle of self-promotion, doesn't haunt internet discussion lists &#8211;
but I would suggest that focusing on the lyric has itself been a contributing
factor.<span style="mso-spacerun: yes;">&nbsp; </span>To the degree that this form of
poetry is too often not recognized as serious or "weighty," readers
miss out on what </span><st1:personname><span style="font-family: Arial;">Kit
 Robinson</span></st1:personname><span style="font-family: Arial;"> has also
become: the most acute chronicler of the white-collar office environment we
have.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Like the best poetry
anywhere, this does not mean that Robinson focuses solely or obsessively on
work or the office. Rather, he employs a discourse deeply informed by these
vocabularies and terrains. It percolates up again &amp; again. In this sense
Robinson is truly a labor poet at a time when, with a few notable exceptions
like Rodrigo Toscano &amp; Kevin Magee, class has been largely erased from the
post-avant landscape:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">The
sun is like an X-ray<br />
that deletes old voicemail messages<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This simple passage works on
so many levels &#8211; as humor, as science**, &amp; finally as the incorporation of
this intense "natural" Other into a scale of cultural minutiae on a
par with answering machines.<span style="mso-spacerun: yes;">&nbsp; </span>It's just
one moment among many in <i style="mso-bidi-font-style: normal;">The Crave</i>,
Robinson's new collection from Atelos, which I wish I'd written. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* An
interesting choice for the son of an English professor.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** The sun
really does give off rays &amp; solar storms can erase data from magnetic media<o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, October 03, 2002</span></h2>

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<i><span style="color: black; font-family: Arial;">
O for Opacity: </span></i></div>
<span style="font-family: Arial;">I have been devouring the poetry of David Bromige with
interest ever since I first went to hear him read with Harvey Bialy in 1968 at
the Albany Public Library, a series <span class="SpellE">curated</span> by <i>Manroot
</i>editor Paul Mariah. Having gotten to know the man and his work reasonably
well in the ensuing 34 years, one might think I would not be surprised the
nature of any new book by the British-born, Canadian raised author. One would
be wrong.<o:p></o:p></span><br />
<i><span style="color: black; font-family: Arial;">As in T as in Tether</span></i><span style="color: black; font-family: Arial;"> (Chax, 2002) shows yet a new side to the bard of <span class="SpellE">Sebastapol</span>* as this master of erudition turns instead to
mount arguments so densely packed as to resist yielding beyond the surface
domains of the signifier. It's hardly accidental. The book, which I've thus far
only partly completed (and am reading most slowly because I don't want it to
ever end), is composed of four sections, the first subdivided into five
sections, the remaining three each containing 16. The poems in the last three
sections are numbered 1 through 15: each section contains one poem numbered
7.5. Of the 53 sections or pieces, only one (to which I have not yet gotten) is
in a format other than the centered stanzas that we have most recently come to
associate with the poetry of a very different Bay Area writer, Michael McClure.
<o:p></o:p></span><br />
<span style="color: black; font-family: Arial;">Bromige announces the language as signifier
theme in the first of the four sections, which the first piece proposes as an
alphabet, literally: <o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">A as
in alphabet<br />
B as in baffled <br />
C as in congress<br />
D as in delicate<br />
E as in elephant<br />
F as in fornicate<br />
G as in grass<br />
H as in hands-on<br />
I as in idiot<br />
J as in <span class="SpellE">jouissance</span><o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The arbitrariness of the logic of the
assignment of meaning is never more brutal than in the "obviousness"
of any children's alphabet book, and gradually the poems in the first section
turn up the heat:<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">P as
in <span class="SpellE">elocute</span><br />
O as in excitement<br />
N as in Z<br />
M as in breast<br />
L as in party<br />
K as in Whitman<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The second section,
"Initializing,"** is by far the <span class="GramE">most dense</span>,
reminiscent almost of Jeremy <span class="SpellE">Prynne's</span> work, as in
this excerpt from "To a Drawing Board (2)":<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">Slate
roof drive impel<br />
Hot brown register<br />
Clever-fingered want to fall<br />
Bird-nose valentine<br />
Seizes rainy day<br />
As long as you're there<br />
<span class="SpellE">Reclination</span> monkey<br />
So close as to shut<br />
The trap is studded<br />
Not this the lost access<br />
To a final run<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">Then, gradually, the text opens up again
almost as though it were a natural process that was being observed. Observe
how, in the final piece in the second section, "Stands the Pencil on its
Point," Bromige permits sound to gradually organize the ongoing text,
which in fact arrives at a moment of absolute lucidity:<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">Lists
supplicants<br />
Names the soul<br />
Whereon one stands<br />
Church clock at ten to three<br />
Mentions mellitus<br />
Orders weight be brought<br />
As if to tea or table<br />
Stranger amendment<br />
Checks off by fives<br />
Hot bodies in a hayloft<br />
Combustion baby<br />
Lists pains<br />
Plants punishments<br />
Options death or drunkenness<br />
Insists that choice<br />
Opens in the voice who<br />
Utters numbering<br />
<span class="SpellE">Halfdone</span> figured<br />
Criminal reform<br />
Grants immunity<br />
From mortal<br />
Upshot o love<br />
Pen is sans relation<br />
To its neighbor pencil<br />
Feathers and lead<br />
Islets of almost<br />
Life's no narration<br />
Mentions isolation<br />
Subordinates particulars<br />
Up against the insulation<br />
Poised on the links<br />
Hands touch the keys<br />
Print finish or begin<br />
Write meet again<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The process begins almost inaudibly with
"Lists pains," that first <i>p</i> starting a run of three, the
latter two of which end on the same <span class="SpellE"><i>ts</i></span> as
"lists," the word called up again in the echo of "insists"
followed finally by that clearest of indicators, the rhyme betwixt
"choice" &amp; "voice." One can follow these details
through the sly exploitation of Latinate endings right to the end of the text
with its remarkable equation of "Write" with "meet," the
role of the poem that absolute confrontation with a reader (who might also be
oneself). <o:p></o:p></span><br />
<span style="color: black; font-family: Arial;">The use of centered lines mutes variations
in line length, since the longer ones literally "stick out" less by
moving out in both directions***. But what I think Bromige is ultimately after
here is maximizing the verticality of the language experience, the way in each
line does function as though it were a phrase flashing ever so briefly on an
LCD screen. Writing/Meeting is exactly what this book is about. <i>Tether</i>
is a thrilling, challenging &amp; occasionally sad work, the poet confronting
how the body, particularly one that has long battled diabetes, tethers the
soul. It's one of those books that <span class="GramE">lets</span> you see poetry
responding to its highest calling. We have far too few of these.<o:p></o:p></span><br />
<br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">* &amp; current poet
laureate of Sonoma Country, steering one hopes a solid middle course betwixt
the nonsense of Mr. Collins and that of Mr. <span class="SpellE">Baraka</span>. <o:p></o:p></span><br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">** The second, third and
fourth sections, "Initializing," "Establishing" and "<span class="SpellE">Authenticizing</span>" derive their names from the stages of
Bromige's computer's process of booting up.<o:p></o:p></span><br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">&nbsp;*** Bromige alludes to
the &#8220;spine&#8221; of the text, a <span class="SpellE">spatialization</span> of the left
margin (and one that suggests that a poem &#8220;faces forward&#8221; when centered, and is
viewed &#8220;in profile&#8221; when left as that normative left column).<o:p></o:p></span>
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<li><a href='http://www.english.illinois.edu/maps/poets/s_z/silliman/silliman.htm'>Modern American Poetry</a></li>
<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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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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<h2 class='title'>Other Books in Print</h2>
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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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