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Showing posts with label <b>Larry Eigner</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>Larry Eigner</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, December 16, 2014</span></h2>

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<a href="https://media.sas.upenn.edu/pennsound/misc/Images/Bartlett-Eigner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://media.sas.upenn.edu/pennsound/misc/Images/Bartlett-Eigner.jpg" /></a></div>
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<br />
<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://jacket2.org/commentary/jennifer-bartlett-conversation-jane-joritz-nakagawa"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Jennifer</span></a>
<a href="http://saintelizabethstreet.blogspot.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Bartlett</span></a><br />
<br />
</span><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://media.sas.upenn.edu/pennsound/authors/Bartlett/Bartlett-Jennifer_On-Larry-Eigner_Complete-Recording_Gloucester-Writers-Center_11-29-14.mp3"><span style="color: red;">talking</span></a> </span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">on<br />
<br />
<a href="http://www.sup.org/books/title/?id=8058"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Larry</span></a>
<a href="http://en.wikipedia.org/wiki/Larry_Eigner"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Eigner</span></a><br />
</span></b><i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br /></span></i></div>
<div style="text-align: center;">
<i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">(note sale on </span></i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">The Collected Poems)<br />
</span><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
</span><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br />
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Jennifer%2520Bartlett' rel='tag'>Jennifer Bartlett</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Larry%2520Eigner' rel='tag'>Larry Eigner</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Talks' rel='tag'>Talks</a>
</span>
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<h2 class='date-header'><span>Saturday, January 04, 2014</span></h2>

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<b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;"><a href="http://www.kickstarter.com/projects/894916256/the-larry-eigner-project"><span style="color: red;">Kickstart</span></a></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;"><br />
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at
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/01/14_4.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-01-04T00:00:00-05:00'>Saturday, January 04, 2014</abbr></a>
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<p class=MsoNormal align=center style='text-align:center'><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"'>Honoring the life &amp; work of<br> </span><b style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt; line-height:115%;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://bit.ly/ge2B5D"><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"'>Larry Eigner</span></a></span></b><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"'><br> with </span>Robert Grenier, Lyn Hejinian, Richard Eigner, <br> Rebecca <span class=SpellE>Gaydos</span>, Kit Robinson, Michael Davidson, <br> George Hart, Albert Gelpi, Hillary <span class=SpellE>Gravendyk</span>, <br> Jack &amp; <span class=SpellE>Adelle</span> Foley, Norma Cole, &amp; Robert Hass<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"'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, March 18, 2010</span></h2>

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<p class=MsoNormal>I have lived with the poetry of Larry Eigner for 45 years. He turned 33 in 1960, the year the Allen anthology was published (and where I first read his work five years hence). When I started gathering poetry for a journal that would become <i>Tottel&#8217;s</i> in 1969, he was one of the first writers whose work I solicited &amp; we began a casual correspondence that lasted until he moved, amazingly, to my home town. The board-&amp;-care home where he first resided in<span style='mso-spacerun:yes'>  </span>Berkeley in 1978 was just down the street from the apartment building I&#8217;d lived in when I&#8217;d written much of <i style='mso-bidi-font-style:normal'>Crow, </i>my first real book,<i style='mso-bidi-font-style:normal'> </i>eight years before.</p>

<p class=MsoNormal>I knew about the palsy, of course, and it was evident that his parents in Swampscott didn&#8217;t think to keep him supplied with adequate typing ribbons, so that he often resorted to &#8220;filling in&#8221; what was otherwise too faint to read in letters or on cards, save that his handwriting was minimal at best. I recall David Gitin telling me stories circa 1970 about poets showing up at his home only to discover that they could barely make out his speech but I didn&#8217;t really get it until he arrived in Berkeley &amp; I thought to call him to set up a time to come visit. A telephone call was not the way to meet Laurence Joel Eigner, but somehow I managed to comprehend that he&#8217;d agreed to the time I&#8217;d proposed &amp; so we finally met.<span style='color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>Larry had actually been generous enough to blurb <i style='mso-bidi-font-style: normal'>Crow</i>, and you can read his blurb, a note really, there among his <i style='mso-bidi-font-style:normal'><a href="http://www.sup.org/book.cgi?id=8058"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Collected Poems</span></a></i> &#8211; it&#8217;s entitled &#8220;</span><span style='font-family:"Courier New";color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'>b i r d s<span style='mso-spacerun:yes'> &nbsp; </span>d a n c e<span style='mso-spacerun:yes'> &nbsp; </span>c r o w</span><span style='color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'>&#8221; on page 1010 in volume III of Stanford&#8217;s monumental publication project, dated May 15, 1971. <o:p></o:p></span></p>

<p class=MsoNormal>During his not quite 18 years in Berkeley, Larry was mostly someone I would see at readings or at parties &amp; I would find myself helping from time to time getting Larry &amp; his wheelchair up the long steps to Canessa Park for the readings there. When the University Art Museum of Berkeley held a celebration of his work, mounting some lines of his work on the outside of the building, holding a reading in the auditorium, Kit Robinson &amp; I did a show for the university radio station, explaining that Larry was not in any sense a disabled poet, but rather a great one who happened to have physical limitations. </p>

<p class=MsoNormal>And when Larry died in February of 1996, I was already living here in Chester County, PA, just about to move into the home from which I&#8217;m writing today. I had not yet been away from the Bay Area for nine months, but it was Larry&#8217;s death more than anything else that truly marked that breach for me. Looking at his collected poems some 14 years later takes me instantly back to that profound sense of loss I felt on learning that he was in Alta Bates Hospital &amp; not expected to pull through. </p>

<p class=MsoNormal>All of which is to say, by way of preface, that this note today is unlikely to be all I&#8217;ll have to say about the four-volume <i style='mso-bidi-font-style:normal'>Collected Poems</i>, edited by Curtis Faville &amp; Robert Grenier, two friends who likewise stretch some 40 years across the arc of my life.</p>

<p class=MsoNormal>But I&#8217;ve been asked six or seven times what I think about the &#8220;controversy&#8221; of the collection&#8217;s layout. And therein hangs a tale &amp;, I think, a lesson.</p>

<p class=MsoNormal>When I first heard that Faville &amp; Grenier planned to have the book published in Courier typeface, I wrote &amp; asked each not to do it. I was very much fixated on the impact this decision made on Robert Duncan&#8217;s work. Publishing <i style='mso-bidi-font-style:normal'>Ground Work: Before the War </i>in courier so as to replicate as much as possible Duncan&#8217;s typescripts was one of three disastrous decision that Robert made &#8211; the other two being to hold off on publishing a book for a 14-year hiatus &amp; making a poor choice in a literary executor &#8211; that took Duncan&#8217;s writing from being widely read &amp; considered &#8211; even by the likes of Harold Bloom &#8211; as on a par with that of John Ashbery to becoming something of a footnote from the 1970s. One hopes that the efforts of Lisa Jarnot &amp; Peter Quartermain, the first with her biography, the second having taken over the editing tasks of getting Duncan&#8217;s work back into print, will rescue that situation. But my immediate instinct was to imagine that this might be a disaster.</p>

<p class=MsoNormal>I was wrong. The editing decisions that Faville &amp; Grenier, combined with the design work of Stanford University Press, have made this one of the richest &amp; most readable collections that I own. Thumbing through the book in a store ought to be enough to persuade one of this, I should think, except for the fact that a four-volume set that can only be purchased in the aggregate (for the not inconsiderable price of $150) is not something you are likely to find anytime soon in your mall bookshoppe. No, this book is not perfect, and there certainly are issues that can be usefully discussed. But I&#8217;m not persuaded that the design of the volume is where one&#8217;s energy might be best spent.</p>

<p class=MsoNormal>Consider, just for a moment, the poem that figures on the book&#8217;s cover in each of the four volumes. On the first, we see just the initial couplet, <i style='mso-bidi-font-style:normal'>calligraphy typewriters</i>. On the second, the entire poem. On the third, the original page of Larry&#8217;s manuscript that includes a note that reads (circled by Larry&#8217;s pencil):</p>

<p class=MsoNormal style='margin-left:2.5in'>First 2 lines might be<br> a good title for a Col<br> <span style='mso-spacerun:yes'>   </span>lected Poems</p>

<p class=MsoNormal>On the final volume, we see the entire page of Larry&#8217;s master manuscript. (Click on the images above to expand each photograph.)</p>

<p class=MsoNormal>This sequence &#8211; initially Faville&#8217;s idea &#8211; communicates powerfully not just the materials as he &amp; Grenier found them, but I think they also pose some of the key aspects of the decision-making in setting up this vast collection. First, that suggested title alone tells us Larry&#8217;s position on this issue &#8211; that spacing &amp; visual presentation are critical in understanding his work. At 7.5-point type on a 12-point line, the Courier is readable throughout the work while maintaining the feel of the typewritten, and the uniform width of the letters that is essential to the presentation of these poems. By moving the majority of the texts left, Grenier &amp; Faville have given themselves adequate room to incorporate Larry&#8217;s infrequent longer works that &#8211; like all his mature writing &#8211; sweep across the page as left-hand margins invariably stagger to the right. Any other decision would have generated a hodge-podge visually. </p>

<p class=MsoNormal>What Duncan got wrong that Grenier & Faville ultimately got right was an understanding that a book, as distinct from a poem, is an inherently collaborative project. Any compromises that have  been made are to the advantage here of the reader, and it shows. F&amp;G include some representative texts at the end of Volume IV (and an essay by Faville, &#8220;The Text as an Image of Itself&#8221;) that demonstrate the issues the editors faced in coming up with the visual presentation of the book. Could this have been done another way? Perhaps, but not nearly so well.</p>

<p class=MsoNormal>The real issues in this book are elsewhere. There are, as Steve Fama has noted, two poems that were inadvertently omitted, a remarkably low errata rate for a collection that is 1800 pages long, not including significant prefaces, appendices and notes. That amounts to a nit. One might argue for a less personal introduction at the start of Volume I, one aimed at unfamiliar readers. And I'm sure that the facsimile publication of a collection of poems from eighth grade at the start of the first volume will have its non-enthusiasts as well. I would have put it in an appendix.</p>

<p class=MsoNormal>But the larger question has entirely to do with distribution. At this size and this price, one cannot expect every young poet in America to rush out &amp; buy the collection, even though they should. It&#8217;s aimed frankly at libraries, and at people who take their poetry very seriously. This gathering really shows the degree to which Larry&#8217;s reputation ultimately will have to rest on somebody producing a good <i style='mso-bidi-font-style: normal'>Selected Poems, </i>something that can be issued in paperback &amp; used in a classroom, containing maybe just 500 of the 3,000-plus that are found here. That collection is going to be much harder to edit. </p>

<p class=MsoNormal>Eigner is hardly alone in this regard, we need a pocket Berrigan (beyond, that is, <span style="font-style:italic;">The Sonnets</span>) &amp; the fate of the selected Williams &amp; Creeley volumes (or the competing O&#8217;Hara selecteds) all demonstrate how problematic such projects can be. But they&#8217;re necessary for the same reason that all the overlapping editions of Dickinson, Stein or Shakespeare are, because these are such important writers &amp; figure so critically in defining who we are &amp; can be. Until that volume, an Eigner for the masses, is available, tho, keep in mind that <i style='mso-bidi-font-style:normal'>The Collected Poems of Larry Eigner </i>is the most powerful &amp; substantial book of this millennium &#8211; and this could still be the case a century from now.</p>
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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>It took me a long time &#8211; seven years &#8211; to read <a href="http://epc.buffalo.edu/authors/eigner/"><span style='color:black'>Larry Eigner&#8217;s</span></a> last works, <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/2woodv"><span style='color:black'>readiness<span style='mso-spacerun:yes'>  </span>/ enough / depends / on</span></a></i>. Green Integer is the post-avant press least likely to send me a review copy of anything, and I never see its wares in bookstores unless I happen to be visiting <a href="http://tinyurl.com/3dgr7s"><span style='color:black'>Small Press Distribution</span></a> in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. But the more important reason why it took me so long before I finally picked up a &#8220;hurt&#8221; copy in the Harvard Book Coop this past spring was that I dreaded &#8220;completing&#8221; my reading of Eigner&#8217;s oeuvre. If you were to list out the ten or twelve most influential poets in my life, Eigner would surely be on it. And after he moved to </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> in 1978 or thereabouts, he became more than a friend-by-correspondence. His death in early 1996 was the real hammer blow that let me know I didn&#8217;t live in the Bay Area any longer &#8211; </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> without Larry Eigner is simply a different 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'>It&#8217;s no accident that <i style='mso-bidi-font-style:normal'>In the American Tree </i>is dedicated to Larry. His impact on my generation was enormous. While he&#8217;d originally become known in the 1960s as one of the Projectivist Poets &#8211; he&#8217;s included in the &#8220;Black Mountain&#8221; section of the Allen anthology, tho he never visited the college to my knowledge &amp; certainly couldn&#8217;t have been scoring his own speech for the printed page, given the impact that cerebral palsy had on his capacity to form words &#8211; Eigner really was a philosopher of consciousness who used poetry almost architecturally to sculpt the most marvelous observations of the particular, even when he chose the simplest categorical terms to plot this out. There is one poem in this relatively slender volume that is perhaps the apotheosis of this approach to the poem. Like most of Eigner&#8217;s works, it has no title other than the date of its composition, &#8220;</span><st1:date Year="1978" Day="24" Month="9"><span  style='font-size:10.0pt;font-family:Arial;color:black'>September 24  78</span></st1:date><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Courier New";color:black'>hills<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Courier New";color:black'><span style='mso-spacerun:yes'> &nbsp; &nbsp;  </span>earth<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Courier New";color:black'><span style='mso-spacerun:yes'>  &nbsp; &nbsp; &nbsp; </span><span style='mso-spacerun:yes'> &nbsp; </span>sky<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Courier New";color:black'><span style='mso-spacerun:yes'> &nbsp; &nbsp; &nbsp; <span style="font-weight:bold;"></span> &nbsp; &nbsp; </span><span style='mso-spacerun:yes'>    </span>night<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:"Courier New";color:black'><span style='mso-spacerun:yes'>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; </span><span style='mso-spacerun:yes'>   &nbsp;  &nbsp;  &nbsp;  &nbsp;  </span>clouds<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Five nouns, no waiting.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> It proceeds from the particular to a more general category &#8211; <i style='mso-bidi-font-style:normal'>hills </i>are a synecdoche for <i style='mso-bidi-font-style:normal'>earth, </i>and one might say further that <i style='mso-bidi-font-style:normal'>sky </i>performs the same role for <i style='mso-bidi-font-style:normal'>night. </i><span class=GramE>But not really.</span> We have shifted from the physical to the temporal. That shift is in fact one of the meanings of the final term <i style='mso-bidi-font-style:normal'>clouds. </i>What is the relationship between the observable and these larger categories in our lives? If <i style='mso-bidi-font-style:normal'>sky </i>leads us to night (or alternately <i style='mso-bidi-font-style:normal'>day</i>), where does <i style='mso-bidi-font-style:normal'>clouds </i>take us? What ultimately do clouds mean? Is there a storm brewing or are these the lollipop puffballs of a serene evening? Eigner doesn&#8217;t answer that question.<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 not unreasonable for a person unfamiliar with Eigner&#8217;s work to counter, when they hear a reading like the one above, that I&#8217;m getting an awful lot from five of the blandest words in the English language. To which really the only answer would appear to be that if you read <i style='mso-bidi-font-style:normal'>all </i>of Eigner, all two or three thousand poems that have appeared in books &amp; journals, that he would type into his letters (or, worse, write with the faintest of pencils &#8211; his penmanship was worse than his speech, and for the same reasons), you&#8217;d realize that this text above can&#8217;t really be read any other way. Eigner&#8217;s economy of vocabulary and means may have once been prompted by the physical challenges of his palsy, but I think he must have understood almost at once the limitless power of brevity. He is, as a result, the most exacting of poets &#8211; if a word is two spaces to the right, there is a reason for it. Nothing is casual here, even for a poem that can be read in fewer than five seconds. <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 also accounts for the sometimes strangely torqued grammar that, for example, can be found in this book&#8217;s title. I&#8217;ve always thought of this as what Eigner learned from Charles Olson in much the same way that his conciseness owes a debt to Robert Creeley. The key term in that sequence is in fact its last: <i style='mso-bidi-font-style:normal'>on. </i>Readiness enough depends <i style='mso-bidi-font-style:normal'>on. </i>What is that state of dependency, of contextuality, that lurks in this preposition? It&#8217;s as tho these maximally taut first three terms were driving through that last one &#8211; it&#8217;s no accident that the syllable count here moves steadily downward: three, two, two, <span class=GramE>one</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'>I was surprised to discover that Larry wrote just six poems in the nine months after I moved to </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Pennsylvania</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>, that he himself seemed to understand that his life&#8217;s project had completed. The final poem is a single line:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span class=GramE><span style='font-size:10.0pt;font-family:"Courier New";color:black'>nice<span style='mso-spacerun:yes'> &nbsp; </span>and</span></span><span style='font-size:10.0pt;font-family:"Courier New";color:black'> how many times<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'>Written on November 17, it&#8217;s one of the rare ones with a title, &#8220;Might Gertrude Stein Lie Open to Criticism?&#8221; to which the poem sounds like a joke response until you start to allow all the possible meanings of <i style='mso-bidi-font-style:normal'>nice </i>to filter in, that extra space between it and the four remaining words all the punctuation in the world. To this Eigner appended a note which editor Robert Grenier proves wise enough to leave in: <i style='mso-bidi-font-style:normal'>I guess this is / what I had, <span class=GramE>though <span style='mso-spacerun:yes'> </span>/</span> now, <span class=SpellE>dec</span>. 9, it / seems to be.</i> This is indeed what Larry Eigner had at the end of a long and fruitful life. As you permit all the possible connotations from that last phrase &#8211; <i style='mso-bidi-font-style:normal'>it / seems to be </i>&#8211; rise up &amp; drift away, you realize just how very much that was. <o:p></o:p></span></p>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Thursday, November 14, 2002</span></h2>

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<span style="color: black; font-family: Arial;">I sat
down with
yesterday&#8217;s post to the blog from K. Silem Mohammad &amp; Tom Orange
&amp; just
listed the points to which I personally wanted to respond: my list came
to
three pages single spaced. It&#8217;s just not possible in blog form to
approach
anything with such obsessively pointillist detail, so I thought instead
to
group these sometimes disjunct ideas, each one of which could spark a
more
thorough discussion somewhere<span class="GramE">,<span style="mso-spacerun: yes;">&nbsp; </span>&amp;</span> came up with two
intersecting
axes of concern:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="color: black; font-family: Arial;">&#9679;<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">My</span>
definition
of abstract lyric &#8211; &#8220;</span><span style="font-family: Arial;">bounded by
modest
scale and focused on the elements within&#8221;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: Arial;">&#9679;<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">The</span>
role of
&#8220;the social&#8221; within &amp; around poetry, a question that has been raised
by </span><st1:personname><span style="font-family: Arial;">Louis Cabri</span></st1:personname><span style="font-family: Arial;"> &amp; others<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Hovering around these
two
axes I find a third key issue: the role of close reading &amp; &#8220;bean
counting&#8221;
in thinking through issues of poetry. I want to approach this one first,
because
I think its implications impact what can be said about either of the
other two.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Close reading&#8217;s
association
with the New Critics (NC) is often treated as grounds for distrust
because of
NC&#8217;s alignment with a reactionary aesthetic tendency in the United
States &#8211; one
that joined the poetics of the Southern Agrarians to those of the Boston
Brahmans &#8211; but it is worth noting that key NC theorist René Wellek&#8217;s
training
in critical practice came through the Prague Linguistics Circle, founded
in
1926 by a group of scholars that included Roman Jakobson &amp;
incorporated
many of the tendencies that originated within Russian Formalism (&amp;
in
relation to Russian futurist poets, from Mayakovsky to Khlebnikov).
Unless one
adopts the dual theory that (1) structural elements have inherent
political
biases &#8211; an argument that would be kin to an equation of, say, Poundian
metrics
with fascism &amp;/or that (2) aspects of the Prague School itself were
part of
a larger historical drift of a rightward moving avant-garde, the way the
Trostskyists of the 1930s New York Intellectuals transformed themselves
into
the Neocons of the 1970s (the history, say, of <i style="mso-bidi-font-style: normal;">Partisan Review</i>) &#8211; an argument that again puts close reading
into a
fundamental(<span class="SpellE">ist</span>) relation to a political
tendency &#8211;
then in fact one needs to look at the practice of close reading in the
light of
its materialist roots. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The process of bean
counting
&#8211; a phrase I really like, by the way &#8211; is predicated on the reality that
<i style="mso-bidi-font-style: normal;">beans exist. </i>Signifying elements
(that
could be saying <i style="mso-bidi-font-style: normal;">anything</i>)
actually
are present &amp; countable in a poem (as in a novel or any other social
product). One major &#8211; and characteristic &#8211; failing of much bad critical
writing
(which is in fact <i style="mso-bidi-font-style: normal;">most</i></span>
<span style="font-family: Arial;">critical writing) is that, in literal terms,
its
practitioners <i style="mso-bidi-font-style: normal;">don&#8217;t know
beans</i>. That
is, they make sweeping generalizations that cannot be tested because if
they
could, their assertions would collapse from the weight of contradictory
data.
Again, let me pose the example of M.L. Rosenthal &amp; confessional
poetry.
Rosenthal&#8217;s attempt to bind together disparate tendencies of poetry in
an
attempt to rescue the direct inheritors of NC&#8217;s aesthetic program from a
fate
it so richly deserved would fuel concepts such as Jim Breslin&#8217;s likening
American poetry to a land of many suburbs, absent conflict &amp;
ultimately
lacking shape &amp; content, sort of a Columbine of the heart. Dana
Gioia&#8217;s
terribly incomplete (&amp; too often inaccurate) social history of the
institutionalization of poetry in &#8220;Can Poetry Matter<span class="GramE">?,</span>&#8221;
is merely that same argument presented with a <i style="mso-bidi-font-style: normal;">Music Man </i>exhortation for the masses to go out &amp; buy
trombones.
Not coincidentally, many of the arguments made about langpo over the
past three
decades &#8211; that it is theory driven, humorless, anti-referential,
anti-narrative, self-consciously difficult, etc. &#8211; are all disprovable
simply
by actually looking at what is there. So, yes, I will continue to favor
the
enumeration of beans. I think it&#8217;s the most materialist critical
practice
available, when used appropriately, &amp; an excellent inoculation
against all
manner of mythology &amp; self-interested hokum.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Kasey states that he
is &#8220;<span style="color: black;">skeptical about such designations as &#8216;social&#8217; and
&#8216;asocial&#8217;
as polarized ways of conceiving lyric <i style="mso-bidi-font-style: normal;">formally</i>.&#8221;
That&#8217;s not precisely what I had said &#8211; although it is close to Tom
Orange&#8217;s
paraphrase &#8211; but the concept as such is worth pursuing. Tom&#8217;s own
argument was
rather the reverse: for him, a work that could be unpacked
hermeneutically is
less transgressive than one that resists by presenting an impenetrable
surface
of signifiers. It&#8217;s a logic by which Christian Bök&#8217;s <i style="mso-bidi-font-style: normal;">Eunoia</i></span></span> <span style="font-family: Arial;">or the
poetry
of Sheila E. Murphy or Peter Ganick might be seen as <i style="mso-bidi-font-style: normal;">more social</i></span> <span style="font-family: Arial;">than
</span><st1:personname><span style="font-family: Arial;">Louis Cabri</span></st1:personname><span style="font-family: Arial;">s&#8217; <i style="mso-bidi-font-style: normal;">The
Mood
Embosser</i>, </span><st1:personname><span style="font-family: Arial;">Barrett
 Watten</span></st1:personname><span style="font-family: Arial;">&#8217;s <i style="mso-bidi-font-style: normal;">Bad History</i> or
</span><st1:personname><span style="font-family: Arial;">Bob Perelman</span></st1:personname><span style="font-family: Arial;">&#8217;s <i style="mso-bidi-font-style: normal;">The
First
World</i>. <o:p></o:p></span></div>
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<span style="font-family: Arial;">From my perspective,
lyric
is a formal category, neither a pejorative nor an adulatory term. There
are
lyric poets whose work is wonderful (Joseph Ceravolo, Kit Robinson,
Barbara
Guest, the Zukofsky of <i style="mso-bidi-font-style: normal;">Barely and
Widely</i>)
&amp; there are lyric poets whose work would make any sensitive reader
cringe
(fill in the blanks). Contrary to Tom&#8217;s argument, however, I do not
think that
the capacity of a poem to be unpacked hermeneutically is by definition
the
determination of what is or is not a lyric. Rather, it is the poem&#8217;s
sense of its
own boundaries vis-à-vis the larger world. The New Critics&#8217; passion for
the
lyric is separate from their own use of methodology to demonstrate why
this or
that lyric, this or that poet should be anointed. As I tried to
demonstrate
awhile back with the poetry of <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382880512">Bruce
Andrews</a>, <i style="mso-bidi-font-style: normal;">any</i> text can be
unpacked
through close reading &#8211; that is a condition of the reading mind, not
something to
which only some poets are subject to some of the time. <i style="mso-bidi-font-style: normal;">Eunoia </i>is as much subject to such a process as would be <i style="mso-bidi-font-style: normal;">The Mood Embosser</i> or Barbara
Guest&#8217;s
&#8220;Defensive Rapture.&#8221; What privileged the lyric for the New Critics was
not any
hermeneutic depth, nor any relation to personal expression, but rather
the
lyric&#8217;s sense of itself as aesthetically contained &#8211; &#8220;focused on the
elements
within&#8221; &#8211; which spared this genre entanglements with the social, a
category
that in the 1930s was at least as charged &amp; problematic as it is
today. It
was containment precisely that enabled the New Critics to claim that
they were
reading only what was in the poem &amp; nothing extraneous that might
&#8220;pollute&#8221;
the critique. Only lyric could thus verify their claim to be specialized
&#8211; and hence
professional &#8211; readers, the position that in turn enabled them between
1935
&amp; 1950 to become the dominant power within American English
departments. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">Guest, on the face of
her
poetry, is clearly a lyric writer. That she elsewhere has been active in
service
to the field, as biographer &amp; teacher, doesn&#8217;t actually alter what
is on
the page, any more than Jack Spicer&#8217;s or Ezra Pound&#8217;s notoriously
antisocial
comments &amp; activities in the real world erases the value of their
poetry.
In this sense, Kasey is quite correct in asserting that the social is
not a
formal term. Where form does intersect with the social, however, has to
do with
the poem&#8217;s own sense of its permeability vis-à-vis the world. This has
less to
do with reference in the sense of &#8220;this poem is about the struggle of
the
heroic people of Lichtenstein&#8221; than it does with language sources, image
schemas &amp; -- the deciding factor for me &#8211; the way in which the poem
structurally defines itself. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">The most interesting
instances in this territory (as in many others) are those that situate
themselves ambiguously along the border. Larry Eigner is an excellent
case in
point. His poems are as contained &amp; formally balanced as any written
over
the past 50 years:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">walking</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">the</span> idea
of
dancing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;</span><span class="GramE">time</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<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; </span><span class="GramE">making</span>
room<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This untitled piece
from <i style="mso-bidi-font-style: normal;">The World and Its Streets, Places
</i>(Black
Sparrow, 1977) could be analyzed in exactly the same kind of formal
terms that
I used with <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2383955338">Barbara
Guest</a> on November 3. The poem proposes itself almost as the essence
of
lightness, with extra spacing between lines &amp; the characteristic
Eigner
sweep down across the page. Its use of suffix &amp; sound organizes the
prosody: hear the <i style="mso-bidi-font-style: normal;">k </i>move from
<i style="mso-bidi-font-style: normal;">walking </i>to <i style="mso-bidi-font-style: normal;">making</i> &amp; the elegant use of the liquid <i style="mso-bidi-font-style: normal;">m </i>from <i style="mso-bidi-font-style: normal;">time </i>to <i style="mso-bidi-font-style: normal;">making </i>&amp; finally to <i style="mso-bidi-font-style: normal;">room. </i>There is nothing apparent
<i style="mso-bidi-font-style: normal;">within </i>this text to suggest
anything
other than what is on the page &#8211; even the casual or unfamiliar reader
will
recognize that the relation between walking &amp; dancing (think of a
choreographer like Simone <span class="SpellE">Forti</span> or Sally
Silvers)
could be very adequately characterized as <i style="mso-bidi-font-style: normal;">time
making room</i>. &amp; yet here is a poet who could not walk, who spent
his
life confined to wheel chairs. Nowhere is that mentioned: the fact
simply <i style="mso-bidi-font-style: normal;">haunts </i>the poem for anyone who
ever knew
Eigner or knew of him well enough to know how cerebral palsy shaped
&amp;
limited his physical vocabulary. <span class="GramE">At what level is this
poem a
lyric?</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Eigner is justly
famous for
his use of simple nouns &#8211; wind, tree, sun, sky &#8211; and yet it is
relatively rare
in his poems for these items to exist as abstractions. The presence of
the
human world repeatedly invades &amp;
contextualizes.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">damp</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">wind</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span><span class="GramE">the</span> birds
chorusing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">clouds</span>
moving the sky<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<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; </span><span class="GramE">the</span> haze<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<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; </span><span class="GramE">blast</span>
the foghorn<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<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; </span><span class="GramE">through</span>
the trees<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bounded at either end
by
couplets, the birds anthropomorphized, clouds assigned intentionality,
the key
verb <i style="mso-bidi-font-style: normal;">blast</i> is as much a curse
as a
description of sound. Nature, in Eigner, is never innocent. Nor at times
is it
even nature. Another poem in the same book reads<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">the</span></span><span style="font-family: Arial;">
rain and the stars<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span><span class="GramE">in</span> the
head<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;</span><span style="mso-spacerun: yes;">&nbsp;&nbsp;
</span><span class="GramE">in</span> the head<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 3;">&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><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span><span class="GramE">beaches</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">slow</span>
clouds, the
dark<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Where exactly does
this take
place? What is the ontological status of the dark?
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Not all of Eigner&#8217;s
poems
work like this, but a substantial majority of them do. While his palette
is very
much that of the lyric, these poems are not contained but are often, as
with
these three, records of an intense struggle against constraint. These
poems are
in fact social very much in the same way that Olson&#8217;s <i style="mso-bidi-font-style: normal;">Maximus, </i>or Pound&#8217;s <i style="mso-bidi-font-style: normal;">Cantos </i>or
<span class="SpellE">Du</span> <span class="SpellE">Plessis</span>&#8217; <i style="mso-bidi-font-style: normal;">Drafts</i> are. They take as a given
their
interactions with the world.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Another poet who very
much
straddles &amp; plays with these borders, albeit in a very different
manner, is
Jackson Mac Low. Characteristic of his approach is the book <i style="mso-bidi-font-style: normal;">Twenties</i> (Roof, 1991) in which
each of
the 100 twenty-line poems is fixed not just formally, but in time &#8211; each
text
both as to the date of composition &amp; the location. Here are the
first two
stanzas of <i style="mso-bidi-font-style: normal;">44</i>, written on
</span><st1:date day="2" month="3" year="1990"><span style="font-family: Arial;">March 2,
1990</span></st1:date><span style="font-family: Arial;">, in &#8220;Dr. Wadsworth&#8217;s consulting
room&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Certainty<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>tardive dyskinesia<span style="mso-spacerun: yes;">&nbsp;&nbsp; </span>Pascal<span style="mso-spacerun: yes;">&nbsp;&nbsp;
</span>quilt<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">swift</span></span><span style="font-family: Arial;">
adjacency<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span>directed<span style="mso-spacerun: yes;">&nbsp;&nbsp; </span>cliff<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;
</span>waltz<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">nostrum</span></span><span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp; </span>Galatians<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>seed difficulty<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>inert<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">parse</span></span><span style="font-family: Arial;">
quelled draft marzipan<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span><span class="SpellE">pileate</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Zesty
quaff varnish<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>nice <span class="SpellE">ol</span>&#8217; obedience<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">lira</span></span><span style="font-family: Arial;">
ingression <span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span>price of
ineptitude<span style="mso-spacerun: yes;">&nbsp;&nbsp; </span>readiness<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">lean-to</span></span><span style="font-family: Arial;">
fortunate obligation<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>needle
paddle<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">assignation</span></span><span style="font-family: Arial;"> league<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>reach<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;
</span></span><st1:country-region><st1:place><span style="font-family: Arial;">Portugal</span></st1:place></st1:country-region></div>
<span style="font-family: Arial;"> plot<o:p></o:p></span>

<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Each poem in the book
is
composed of exactly five such stanzas, almost all of whose lines also
exhibit a
spatial caesura. <span class="SpellE">Exoskeletally</span>, the poems are
as
fixed or closed as any sonnet series. Aurally, they&#8217;re a riot, sounding
like a
calliope heard under the influence of some bad psychotropic, with just a
hint
of the Daytona 500 buzzing in the consonants. To call them &#8220;lyric&#8221; in
the
prosodic sense is to parody the notion, which I think is part of the
point.
Most significantly, however, is the range of possible linguistic inputs
into
this verbal <span class="GramE">machine.</span> Its first line consists of
an
abstract state of belief; a chronic condition resulting from
anti-psychotic
medications, characterized by uncontrollable chewing motions; a
philosopher <span class="GramE">whose</span> most famous work&#8217;s title could be translated
into
English as <i style="mso-bidi-font-style: normal;">Thoughts</i>; and a
homey
object &#8211; one that very often is composed of a limited set of repeated
patterns
&#8211; associated with craft more than art.<span style="mso-spacerun: yes;">&nbsp;
</span>At one level, Mac Low is playing with our definition of the work
itself.
At another, he is pulling material in from everywhere &#8211; there is no part
of the
human experience that cannot be sucked into this process, &amp; like
both
tardive dyskinesia &amp; Pascal, many of the
</span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ividual words &amp; phrases by their very
nature
function as barbs or hooks to the social universe.
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If Eigner gives us
what we
expect in a New American lyric form, he does while continually
problematizing
&amp; subverting the notion. Mac Low on the other hand fulfills the
social
contract for a lyric work with the passion of an obsessive compulsive.
The
poems are closed formally. At one level their sense of containment is
complete.
But at another, the world is traveling through these <i style="mso-bidi-font-style: normal;">Twenties</i> like so much </span><st1:place><span style="font-family: Arial;">Po</span></st1:place><span style="font-family: Arial;">rt
Authority
traffic at rush hour. Mac Low gives us the outer structure, but violates
its
implicit (or possibly hidden) assumptions with an abandon that is often
</span><st1:city><st1:place><span style="font-family: Arial;">brea</span></st1:place></st1:city><span style="font-family: Arial;">th-taking. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mac Low &amp; Eigner
each
raise the question of lyric containment, but do so in ways that raise
the
stakes for the genre considerably. Like </span><st1:personname><span style="font-family: Arial;">Rae Armantrout</span></st1:personname><span style="font-family: Arial;"> (who might be thought of as a third front in
this
assault on the lyric), they demonstrate how a poetic palette &#8211; a set of
traditional devices &#8211; developed to insulate the poem from the dirty
world can
itself be socialized &amp; that, in fact, there is not just one right
way to go
about this. They functionally disprove the core tenet of New Criticism
&amp;
have expanded the possibilities of the poem not just for our time, but
for the
future. <o:p></o:p></span></div>
<div style='clear: both;'></div>
</div>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Wednesday, September 25, 2002</span></h2>

          <div class="date-posts">
        
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<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="OLE_LINK1"><span style="font-family: Arial;">One of
literature&#8217;s great latent potentials is the capacity to take a reader to far and
distant places. In my own life, I have had the occasion to share the stage in
what is now St. Petersburg, Russia, with Ivan Zhdanov, a poet born and raised
in Siberia, who simply shut his eyes and recited a long poem and though
virtually all I could get out of it with my pathetic Russian was the pure
prosody of the occasion, delivered in Zhdanov&#8217;s impeccable baritone, I was left
in awe, a wonderment I still feel 13 years later. <o:p></o:p></span></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">I feel a similar sense of poetry&#8217;s great reach when reading the work of
people whose own life experiences seem radically different from my own. Frank
Stanford&#8217;s childhood in the <span class="GramE">deep</span> South would be one
instance. Lorine Niedecker in the woods and small towns of rural </span></span><st1:state><st1:place><span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">Wisconsin</span></span></st1:place></st1:state><span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;"> is another.
Besmilr Brigham is a third.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">When I first began publishing poetry in the mid-1960s in little journals
such as Meg Randall&#8217;s <i style="mso-bidi-font-style: normal;">El <span class="SpellE">Corno</span> <span class="SpellE">Emplumado</span></i>, Brigham was
one of the other poets whose work one could expect to see. The poems were
spare, with a ragged, Creeley-<span class="SpellE">esque</span> line and
evidenced a familiarity with such things as farm animals that indicated a life
more rural than my own. Brigham was one of those poets whom I expected I would
someday meet. But I never did. There was one book from Knopf in 1971, <i style="mso-bidi-font-style: normal;">Heaved from the Earth,</i> but at some point
toward the end of that decade, I stopped seeing the poems in journals and then
nothing but silence. Brigham had apparently joined poetry&#8217;s legion of
disappeared, those poets whose work, though eminently worth reading, goes out
of print never apparently to return. There are many poets (including several in
the Spicer circle, such as Harold Dull, Ronnie <span class="SpellE">Primack</span>
and James Alexander) whose work deserves to be read but which simply can no
longer be found. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">All of which is to explain why I felt such joy to find, finally, a
volume, <i style="mso-bidi-font-style: normal;">Run Through Rock: Selected Short
Poems of Besmilr Brigham,</i> edited by C.D. Wright and published by Lost Roads
in 2000. Wright is also the editor who rescued Frank Stanford&#8217;s great long
poem, <i style="mso-bidi-font-style: normal;">The Battlefield Where the Moon Says
I Love You,</i> republished by Lost Roads the same year as the Brigham
volume.<span style="mso-spacerun: yes;">&nbsp; </span>Maybe Brigham&#8217;s work would not
have stayed lost forever had not Carolyn thought to take this project on &#8211;
Brigham&#8217;s son-in-law is the Southwest poet Keith Wilson &#8211; but in the
publication of poetry, there are no guarantees. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">The poems are much as I remember them, both wonderful &amp; modest. Like
several other poets of that period &#8211; Cid Corman, Ted Enslin, James Weil, Simon <span class="SpellE">Perchik</span> &#8211; Brigham&#8217;s shorter pieces understand the virtue of
never trying to accomplish too much. Where they differ from the more austere
programs of some of these other poets is in their openness to detail and their
commitment to the eye. It is the eye that connects her to another poet of this
period: Larry Eigner. Where Eigner&#8217;s poems initially appear light and airy on
the page, only to reveal the intense epistemological concerns that drove him,
Brigham&#8217;s poems are more notational and relaxed even when they&#8217;re also in the
same moment dark &amp; disturbing. A good example might be &#8220;Man Found in
Chiapas Woods&#8221;:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">hung up in the tree<br />
a thing that did not grow there<br />
his body stayed for seven<br />
rank moons<br />
until the priests found him<br />
<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>what he brought<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>climbing to the limb fork<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>choked&#8212;<br />
until no rope could strangle it<br />
<br />
pushing the tight words<br />
deeper than the heart&#8217;s rush<br />
(the few<br />
<br />
who saw him after<br />
a bauble blowing in the wind<br />
ran from the soul strung up:<br />
a cadaver of flesh without a cross<br />
and crossed their souls in silence<br />
<br />
he swung alone<br />
except for the big caw parrots<br />
that passed bush-deep from rain<br />
and hot birds<br />
shaking their feathers thick under leaves<br />
skin-blackened<br />
<br />
flesh sucked out with sun<br />
a dried leather covers his bones<br />
stuck watery<br />
like old clung bark<br />
breaking and gummed to the dying sap<br />
<br />
though there was a time<br />
when wind<br />
sucked under his clothes<br />
before the cord sandals fell<br />
<br />
and the faded old pants danced<br />
a wild bird<br />
caught in their crotch<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">The poem as a whole is terrific and Brigham gives it ample time to
develop. Yet it is precisely the gradual pacing of development that lets in
what I hear as overly hokey lines: &#8220;pushing the tight words / deeper than the
heart&#8217;s rush&#8221; (the lines also <i style="mso-bidi-font-style: normal;">sound great</i>
which may have kept them there &#8211; the added syllable in the second line is
actually the third one &#8211; &#8220;than&#8221; &#8211; pushing &#8220;the&#8221; further out the line and giving
a slant to the parallel noun phrases). Ultimately, I trust the decision to keep
these lines, even as I suppress a shudder. The willingness to go anywhere is
part of Brigham&#8217;s commitment to the reader.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">In addition to her short poems, Besmilr Brigham also worked in sequences
&amp; serial poems, none of which are collected here. Hopefully another volume
will appear in the future.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<span style="mso-bookmark: OLE_LINK1;"></span>

<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*Wilson
himself has a collection forthcoming from Chax Press that hopefully will get
his work out to a wider audience than it has had to date.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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_WidgetManager._RegisterWidget('_BlogView', new _WidgetInfo('Blog1', 'main', document.getElementById('Blog1'), {'cmtInteractionsEnabled': false, 'navMessage': 'Showing posts with label \x3cb\x3eLarry Eigner\x3c/b\x3e. \x3ca href\x3d\x22https://ronsilliman.blogspot.com/\x22\x3eShow all posts\x3c/a\x3e', 'lightboxEnabled': true, 'lightboxModuleUrl': 'https://www.blogger.com/static/v1/jsbin/4152225668-lbx.js', 'lightboxCssUrl': 'https://www.blogger.com/static/v1/v-css/368954415-lightbox_bundle.css'}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text4', 'sidebar', document.getElementById('Text4'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextListView', new _WidgetInfo('TextList1', 'sidebar', document.getElementById('TextList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_LinkListView', new _WidgetInfo('LinkList1', 'sidebar', document.getElementById('LinkList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text1', 'sidebar', document.getElementById('Text1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text3', 'sidebar', document.getElementById('Text3'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_ImageView', new _WidgetInfo('Image1', 'sidebar', document.getElementById('Image1'), {'resize': false}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text2', 'sidebar', document.getElementById('Text2'), {}, 'displayModeFull'));
</script>
</body>
</html>