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Showing posts with label <b>Laura Moriarty</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>Laura Moriarty</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Thursday, October 18, 2007</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Arial;color:black'><img height="283" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/z59YnMwHTFWk50J4ndWqsLBlmroWmfboqaKKpSHYYNRZB9yQ_Mvov4KSQIZS9K6eN6k44DxhjQ79k1K8qGy4ZbjA%3Ds0-d" width="267"><span style='mso-spacerun:yes'>   </span></span><img height="283" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/2lBGVtdkCn7uD0ubFAv_UUQYJGPhrrhddxA1TCmfYsUAbVkRzLJQxOc4Lu5rZLgD2jq2jUr489OBo9KfvYhe%3Ds0-d" width="189"><span style='font-size:10.0pt;font-family:Arial;color:black'><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'>Laura Moriarty&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.hookepress.com/laura.html"><span style='color:black'>An Air Force</span></a>, </i>just out from <a href="http://www.hookepress.com/"><span class=SpellE><span style='color:black'>Hooke</span></span><span style='color:black'> Press</span></a>, is a beautiful &amp; terribly sad memoir of the author&#8217;s youth as an &#8220;air force brat,&#8221; the daughter of a Vietnam era jet mechanic. Beautiful because Moriarty is a master of the sparest of styles, as the book&#8217;s opening passage makes evident:<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>I am born in the Air Force.<br>
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Preexisting condition<br>
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<span class=SpellE>Eternall</span> War<br>
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1 body<br>
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Will the force of the air create global cataclysm and despair?<br>
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In 1946 Tom Moriarty enlists in the Army Air Force at </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Fort</span></st1:PlaceType><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> </span><st1:PlaceName><span class=SpellE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Snelling</span></span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Minneapolis</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>. He is 17.<br>
<br>
Jack rabbits on the runway in waves<br>
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Where the periwinkle sky gives onto<br>
<br>
Pictures of a childlike father in uniform.<br>
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I wait for something to happen that makes sense. Our neighbor is killed in </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Vietnam</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>. He leaves a son behind who is my age. I am 12. It is 1964.<br>
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<span class=GramE>Excessive casualties with no strategic payback now as  before.</span><br>
<br>
Orders<br>
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Ordinance<br>
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Stoicism<br>
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We move to Otis Air Force Base from </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>St Paul</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>  when I am 3. My parents have never heard of </span><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Cape Cod</span></st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>. They look it up in an atlas. Mae is a secretary for 3M, <span class=GramE>then</span> called Minnesota Mining. She quits when she has me. Tom is a sergeant and jet mechanic. At Otis he will be a flight engineer on the C-121 Constellation, flying for the 961st Squadron of the Air Defense Command. His job is to keep the plane in the air. The version he flies, customized with a radar dome on top and an undercarriage full of surveillance equipment is called a Pregnant Connie.<br>
<br> 
Reconnaissance<br>
<br>
Permanent change of station<br>
<br>
Creative destruction<br>
<br>
Cold War<br>
<br>
Promotional opportunity<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'>Roughly the first two pages of a 25-page chapbook, Moriarty here moves between the deeply personal, the coldly objective &amp; the linguistic detritus of the period.&#185; It is this latter feature, the absolute banality of so many terms &amp; <span class=GramE>phrases, that</span> colors this text in the monochromes of any military base. In the sequence above, we have one term, <i style='mso-bidi-font-style:normal'>Reconnaissance, </i>whose French roots track its history in military theory, terms that reflect their own internal contradictions (including here importing Joseph Schumpeter&#8217;s <i style='mso-bidi-font-style:normal'>Creative destruction </i>from the field of economics), focusing finally on the personal dimension a jet mechanic might see in such circumstances. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In the very best of times &#8211; peace &#8211; the life of an enlisted family compares with that of one living on welfare in the projects &#8211; not only are pay bad and living conditions marginal, but the constant movement of personnel prevents any cumulative sense of place or identification with community beyond one&#8217;s &#8220;branch&#8221; of the military. In war, these same people become blood sacrifice to the great machine of policy. The same public brutalism that channels such a large portion of our black men into the criminal justice system has few qualms about sending young men &amp; women into harm&#8217;s way halfway around the world if the alternative is to appear &#8220;weak&#8221; at election time. All the rhetoric about the military representing our &#8220;best &amp; brightest&#8221; is patently hypocritical &#8211; if they were as alleged, the very last place they would turn to would be such indentured servitude. <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 clear how Moriarty&#8217;s parents got to the Air Force in the first place &#8211; their lives here present a horizon. From another perspective, of course, they could have been the center of this mystery. What made them expendable? What we have instead is the truncated perspective of any coming of age tale, one where the men philander &amp; beat their wives, where neighbors are shipped abroad never to return. Somehow in this barren military housing landscape, one young woman found poetry, or it found her, initially in the form of <span class=SpellE>Vachel</span> Lindsay &amp; A.E. <span class=SpellE>Housman</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'>So this is, at one level, the  most personal of stories. It is also, in the same moment, a fable, a tale of caution. What happened to the Moriarty family during </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Vietnam</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> could just as easily occur today in the context of </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Iraq</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. <span class=GramE>Or </span></span><st1:country-region><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Afghanistan</span></span></st1:place></st1:country-region><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> <span class=GramE>Or </span></span><st1:country-region><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Iran</span></span></st1:place></st1:country-region><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> Wherever men &amp; women of limited economic prospects are channeled into opportunities to gain a career &amp; see the world &amp;, most of all, just get the hell out of Dodge. Tom Moriarty was not the only man to make a life out of getting beyond </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Minnesota</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>. Wherever. Viz, for example, the whole </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> School of </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Tulsa</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. <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'>Moriarty has always been a writer of great economy &#8211; even her most lush writing often feels austere, as tho she disapproves of excess in all forms. The closest antecedent I can think of is the work of George Oppen &#8211; not a minimalist in the sense, say, of Creeley or Armantrout, but avoiding anything anywhere that might be taken for padding. <i style='mso-bidi-font-style:normal'>An Air Force </i>feels especially stripped down, as if this in itself were the point. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In contrast, Moriarty&#8217;s other new book this season feels large &amp; rich. <i style='mso-bidi-font-style:normal'><a href="http://www.omnidawn.com/moriarty/index.htm"><span style='color:black'>A Semblance: Selected and New Poems, 1975-2007</span></a>, </i>just out from Omnidawn, gathers work from all of her previous poetry collections (there have been two novels), and &#8211; unless I am mistaken &#8211; a couple that have yet to appear as well. At 220 pages &amp; with 12-point type, it&#8217;s the sort of impeccable cornucopia I suspect any one of us wants our own selected poems to be. It&#8217;s one of those big books that, not unlike <span class=SpellE>Laynie</span> Browne&#8217;s <i style='mso-bidi-font-style:normal'>Daily Sonnets, </i>let you know that this author is well past the &#8220;promising young poet&#8221; phase and has emerged as one of the master writers on the American stage. <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'>You can see how her spare style can build texts of astonishing density &amp; luster, such as this, an uncollected work that leads off this book:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana'>Waking from<br>
Sleep a Thousand Miles Thick<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana'>The blue crack as the snow <br>
Unfastens the house<br>
Sheer moon section white leaf<br>
eyes beaming drip<br>
with salt-heavy<br>
silver coin sleep<br>
Heated air tired<span class=GramE>&nbsp; </span><br>
seeps out of flesh<br>
I wake each morning velvet<br>
eared from night&#8217;s wine<br>
Listen for the child<br>
Our animals nestling<br>
Count themselves mumble<br>
Calm stars fading<br>
Energy bristles from tight<br>
Foreheads, eyes<br>
Violet shadows like spirits<br>
Leap between house and barn<br>
The day&#8217;s whir begins<br>
The sun&#8217;s lip<br>
enfolds the horizon<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana'>Blouse crumpled my<br>
breasts unbuttoned into sleeping<br>
lips The spirits handspring October<br>
white apple smell nostril<br>
quivers Sugar taste<br>
The dream pours into the listening <br>
room Petals bunch into<br>
eyes closed against stark<br>
light golden, speeding Our room<br>
winged mother-of-pearl within its<br>
tough clam bright car merging<br>
onto a swift freeway at dawn<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana'>&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; Using 44 words from<br>
&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;
Bruce Conner&#8217;s &#8220;Tables and Cards&#8221;<br>
&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;
Hansen-Fuller Gallery Nov 1975 <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'>If she didn&#8217;t tell you at the end that she was using a procedure, I don&#8217;t think you would notice. That she&#8217;s decided to employ material from a work of funk artist Bruce Conner &#8211; whose heyday was the 1960s, part of a West Coast scene that was an adjunct to the rise of the Beats &amp; the New Americans generally &#8211; others included George Herms, Ed Keinholz, Jay <span class=SpellE>DeFeo</span>, Robert Duncan&#8217;s partner Jess, William T. Wiley, David <span class=SpellE>Gilhooly</span>, Viola Frey &#8211; tells you considerably more. What often appear to be straightforward textual surfaces <span class=GramE>are</span> often, in Moriarty&#8217;s work, the consequence of complex cumulative methodology. Only the result looks simple. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This is an approach to writing that both values its audience and, perhaps even more so, the privacy of the artist regardless of how much of her life she bares. One sense that I always take from her writing is just how much pleasure there must be involved in its creation, but I&#8217;m not always sure that this is the side of it that she wants to share. This duality is something that I sense as well from a number of other women writers, especially around the Bay Area &#8211; Bev Dahlen, Leslie Scalapino, <span class=GramE>the</span> late Barbara Guest. One result is that Moriarty, like these others, is somebody I can read profitably repeatedly, focusing on very different aspects of the work with each reading. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>A Semblance </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>does not appear to be edited in strict chronological order, which I always find a little frustrating (as I did most recently with Tom Pickard&#8217;s <i style='mso-bidi-font-style:normal'>Hole in the Wall </i>for the same reason). Yet the great risk of any selected or collected edition &#8211; think of Williams, whose writing was quite pedestrian until he reached his late 30s &#8211; is that the early work will be weakest &amp; that readers might never make it to the great later pieces if they must plow through 20 or 50 pages of juvenilia first. But if there was any period of Moriarty&#8217;s life in which she produced less than mature works, it&#8217;s been complete erased from this volume. This <span class=GramE>book</span> sings from cover to cover. <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'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; The double <i style='mso-bidi-font-style:normal'>l </i>of <span class=SpellE><i style='mso-bidi-font-style:normal'>Eternall</i></span><i style='mso-bidi-font-style:normal'> </i>is not a typo &#8211; Moriarty occasionally will set a word or phrase off at an angle like this, just enough torque to ripple the surface. <o:p></o:p></span></p>
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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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