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Showing posts with label <b>Laura Solomon</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 Solomon</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, August 21, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="187" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/_2t_HzTfOPjXPms_xCd5tkO_y9v4GHtM5cTZa2zyw8716iagEf3t5cKtQsW5s9ftiLwfsFGxeWJk1Go-QOJb0mn2nS2OBQUnRQ%3Ds0-d" width="166"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>When I picked Aram Saroyan&#8217;s <i style='mso-bidi-font-style:normal'>Complete Minimal Poems </i>for the William Carlos Williams award earlier this year, I noted that there were some 19 books entered into the Poetry Society of <span style='color:black'>America contest that were so good that I wanted to give them all awards. I have to date discussed 15 of those books here. One that I haven&#8217;t yet written about was also published by Saroyan&#8217;s own publisher, Ugly Duckling Presse&#185; of Brooklyn. This is Laura Solomon&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.uglyducklingpresse.org/page-blueandredthings.html"><span style='color:black'>Blue and Red Thing</span></a>s, </i>a slim book that would be thinner still if it did not reprint an earlier Solomon chapbook, <i style='mso-bidi-font-style:normal'>Letters by which Sisters Will Know Brothers. <o:p></o:p></i></span></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Solomon is a </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Philadelphia</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> poet, tho not somebody I&#8217;ve met. Her poetry reads like a current generation post-NY school aesthetic, valuing liveliness, spontaneity &amp; wit over the closed pattern work of received forms:<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;mso-bidi-font-family:Arial;color:black'>Boots Made of Steel<br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
<br>
Feet of little<br>
consequence.<br>
<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>I will stomp<br>
through the forest<br>
so that even the very<br>
tops of the trees can hear me.<br>
<br>
Snow will not<br>
bury my tracks.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Yet there is <span class=GramE>a seriousness</span> here that one doesn&#8217;t automatically associate with the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>New York</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'>, or at least only with very certain members thereof (e.g. David Shapiro) &amp; which can show up here in the most unexpected ways:<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;mso-bidi-font-family:Arial'>What the Buzzard Had to Say</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><br>
<br>
I am small and a weed<br>
but this does not discourage me<br>
with every circle I grow an acre with every road<br>
I feed a tiny god.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>There is a cognitive dissonance right at the juncture between <i style='mso-bidi-font-style:normal'>tiny </i>&amp; <i style='mso-bidi-font-style:normal'>god</i> that is quite remarkable. Imagine a 30-second piece of music, complete in &amp; of itself, that ends deliberately with a fingernail dragged along a blackboard. It&#8217;s an effect that only one composer I can imagine (Harry <span class=SpellE>Partch</span>) ever could have pulled off. Solomon makes it look effortless. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>This skill comes in especially handy in the book&#8217;s two longer sequences, a ten-page piece entitled &#8220;Notes to the Music&#8221; and the book&#8217;s final section, &#8220;Letters by which Sisters Will Know Brothers.&#8221; In both instances, it&#8217;s hard to demonstrate this piecemeal, a quote here or a quote there. Solomon is quite willing to construct one seeming imperfect page after another in a manner that adds up to a great deal of emotional &amp; intellectual power. The elegiac &#8220;Letters,&#8221; dedicated to two men who died too young at 22 &amp; 44, is that rarest of creatures, a work in the NY School mode that could actually move you to tears. That sense of the imperfect &#8211; you can see it in the first poem above which could seem too static, or even in the book&#8217;s title, in the vagueness of the word <i style='mso-bidi-font-style:normal'>Things</i> &#8211; is I think a powerful device, precisely because it&#8217;s difficult (if not impossible) <i style='mso-bidi-font-style:normal'>not </i>to read it as sincerity. Solomon uses these <span class=SpellE>imprecisions</span> with almost <span class=SpellE>zenlike</span> mastery, like the &#8220;perfect&#8221; circle of stones that doesn&#8217;t come into focus until you move one (and only one) a few inches out of place. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The result is a book toward which I have two distinct reactions. First, it&#8217;s serious in the way that life is also. Second, it makes me feel good about poetry, and about the future of poetry. So long as we have poets like Laura Solomon, we have hope. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial'>&#185; I find that terminal &#8220;e&#8221; unforgivably pretentious, like all the little boutiques that call themselves &#8220;<span class=SpellE>shoppes</span>&#8221; in every suburban mall in </span><st1:country-region><st1:place><span style='font-size:8.0pt;font-family:Arial'>America</span></st1:place></st1:country-region><span style='font-size:8.0pt;font-family:Arial'>.<o:p></o:p></span></p>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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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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