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Showing posts with label <b>Laynie Browne</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Friday, April 25, 2008</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><img height="216" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/NVLUaro-XD4JigPCUWDCUkP1x9YQ1YXYN842TaGkpS-IktXzyjnnyNr6U2ZCDVspwUXfhC_bvAf4HNq0Mw%3Ds0-d" width="135"><span style='mso-spacerun:yes'> </span><img height="216" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/JsiAhX6sk3qmXkcv08Ba2AH92xEha7aFF-FZRlGKF0qYzE7j29sqs4y00qSAWBnufI5qp_szfIPXOlQXEnzdt1wSKEfKpw%3Ds0-d" width="153">&nbsp;<img height="216" id="_x0000_i1027" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/VBnFwpd64F347G8HULkhNyrKOalWg2YsW1kCWGINLX1cgLnmRavq5rUmv7nQpMbIJO57UiRsfobyoUMDgGAbQ5p6SHrsXJNlVw%3Ds0-d" width="147"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Of the 16 other books from Poetry Society of America entrants that I feel all deserve awards, hoopla, and great notice, three are books that I&#8217;ve already reviewed here on the blog: Jean Valentine&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2007/11/when-jean-valentines-dream-barker-won.html"><span style='color:black'>Little Boat</span></a>, </i>Jennifer Moxley&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2007/07/no-two-books-of-jennifer-moxleys-really.html"><span style='color:black'>The Line</span></a> </i>&amp; <span class=SpellE>Laynie</span> Browne&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2007/04/ive-arrived-at-that-stage-in-life-when.html"><span style='color:black'>Daily Sonnets</span></a></i>. It has now been five months, nine months &amp; a year respectively since I first read &amp; reviewed each of these volumes, and one of the substantial pleasures of judging the William Carlos Williams Award lies in seeing just how very well each stands up. It gives me great confidence that <i style='mso-bidi-font-style:normal'>when</i> (not <i style='mso-bidi-font-style:normal'>if</i>) I return to these books ten, maybe even twenty years from now, they will continue to shine just as brightly. <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&#8217;m not going to re-review <span class=GramE>these work</span> here &#8211; you can click on the links above &amp; go back to my original notes as well as get to further links through which each can be ordered. And you should &#8211; these are books that deserve to be in everybody&#8217;s library. But I want to note here one of the telling facets of this contest for me. Of the nineteen books that totally convinced me they deserve such kudos as these, 13 are by women. Just stacking the books from the next layer, the male pile is almost identical to the stack of books by women (I note however that more guys have &#8220;fat&#8221; books than gals). The implication is obvious: we have arrived at a moment when women have reached <i style='mso-bidi-font-style:normal'>at least parity </i>when it comes to the production of poetry &#8211; and at the highest levels it may be much more than just parity. Yet if I go back to the hoopla that surrounded the &#8220;numbers trouble&#8221; (<a href="http://humanities.uchicago.edu/orgs/review/CR_532_Spahr_Young.pdf"><span style='color:black'>PDF</span></a>) debate several months back, I recall that Juliana Spahr &amp; Stephanie Young had tracked reviews in this here blog o&#8217; mine and noted that I too skewed male, noticeably so, when it came to reviewing books of poetry. Yet even I&#8217;m willing to concede that of the 19 best books of last year, at least 13 are by female authors, a ratio of better than two to one. What gives?<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 think there are a couple of things going on here. The most significant I think is my age: 61. I first came into the world of writing when the Donald Allen anthology, <i style='mso-bidi-font-style:normal'>The New American Poetry, </i>was at its height at defining the New American canon &#8211; and that book had just four female contributors among its 44 poets. Also hot news there in the mid-1960s was the Totem / </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Corinth</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> mini-anthology, <i style='mso-bidi-font-style:normal'>Four Young Lady Poets, </i>edited by the notable feminist LeRoi Jones. The young ladies included Carol Bergé, Rochelle Owens, Barbara <span class=SpellE>Moraff</span> &amp; Diane Wakoski. Today, that title &#8211; and all the attitudes it projects &#8211; sounds as dated as an episode of the <i style='mso-bidi-font-style:normal'>Twilight Zone. </i><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'>My generation really came of age as poets in the early 1970s, and while women were starting to write in great numbers in that decade, what Judy Grahn has called the &#8220;strategic decision&#8221; of separatism on the part of many women poets actually reduced the number who were participating in scenes that included the likes of me. If nothing else, this had the short-term impact of reinforcing the maleness of some scenes. When, in 1981 &amp; &#8217;82, I put together <i style='mso-bidi-font-style:normal'>In the American Tree </i>as an anthology of what had become known as language poetry, I had the opportunity to decide whether to stick to the historical record of who published what &amp; where, or of puffing the book up in the name of a better political balance. As I&#8217;ve noted here before, there were just three poets who fit the objective qualifications for the anthology who were not included. Two were male &#8211; Curtis Faville &amp; David Gitin &#8211; both of whom had at that point stopped publishing. But the omission of Abigail Child was, <span class=GramE>in<span style='mso-spacerun:yes'> </span>retrospect</span>, a flat out blunder on my part. Still, <i style='mso-bidi-font-style:normal'>In the American Tree </i>was 75 percent male &amp; Abby&#8217;s inclusion would not have radically revised those numbers. <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 you factor in the number of women on the scene who were obviously post-avant, but who consciously distanced themselves from langpo &#8211; the writers who would make up the core of <i style='mso-bidi-font-style:normal'>(HOW<span class=GramE>)ever</span>, </i>for example &#8211; you can see that the overall balance in the 1970s was clearly changing, but it was still a far cry from what we have today. <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'>To the degree that I am a creature of my generation, focusing on my own age cohort and those immediately older, say up to the age of my parents, the numbers you see here on the blog are, I think, pretty predictable. When I focus on writers who are older than I, the numbers will be a little worse, and on my own generation, a little better, tho still a far cry from parity. But to the degree that I focus on <i style='mso-bidi-font-style:normal'>what is going on in poetry right now</i>, recognizing that the real changes in contemporary writing are now being done by a group of writers all quite a bit younger than I, <span class=GramE>then</span> I think it&#8217;s apparent that these figures have to change. <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 isn&#8217;t easy. Of the poets of my parents&#8217; generation, the one who really took an interest in younger writers, reading them, promoting them, actively engaging their concerns, was Robert Creeley. Of the poets from the intervening generation, between my parents &amp; my own, the poets who have done this have been Jerry Rothenberg &amp; the <span class=SpellE>Waldrops</span>. That&#8217;s not exactly a long list. Most poets as they age tend to stay fixed right where they focused when they first matured as writers &amp; readers. And as the writers in whom they are interested die or go silent, most poets as readers find their world contracting, rather than shifting down to the next generation(s). <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 have an active interest in trying to get to that next generation (or three) of younger poets &#8211; I want to see how the story of poetry itself continues to evolve, even as I have an increasingly complicated relationship to the question of &#8220;now.&#8221; So here&#8217;s to the idea that, over time, the percentages here of male to female will have to change, just to reflect the real world. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, April 18, 2007</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><img height="252" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/2M22Ogdgcw2mO9mvzO-sVcsMsapwSGcP4fh8tV6KqH8tEXmes4WiHrnsD0FlQlCYVWkWUqClRWizoDvr2QH_5TDKGAFs0Qzrv7kR4A7h%3Ds0-d" width="336"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I&#8217;ve arrived at that stage in life when poets whom I think of as being clearly a generation younger than me &#8211; hence &#8220;youngsters&#8221; &#8211; are starting to come out with those major mid-life collections that tell you which ones are going to be the truly major poets of <i style='mso-bidi-font-style:normal'>their </i>generation. I was reminded of this the other day when I chose Allen Ginsberg&#8217;s 1964 passport photo to illustrate this page on the tenth anniversary of his death. He looks so very young in that photo &amp; indeed was just 38 that year. The following year, I first corresponded with him &amp; even found myself at a party in his &amp; Paul Goodman&#8217;s honor after Ginsberg&#8217;s reading at the Berkeley Poetry Conference. It was clear to me then that Ginsberg was one of the great elders of poetry, as was Robert Creeley whom I also began reading around that same time. Neither had yet turned 40.<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 here is a big fat beautiful new book from <span class=SpellE>Laynie</span> Browne called <i style='mso-bidi-font-style:normal'><a href="http://www.counterpathpress.org/aupgs/browne.html"><span style='color:black'>Daily Sonnets</span></a>, </i>published by <a href="http://www.counterpathpress.org/"><span style='color:black'>Counterpath Press</span></a> of Denver. It&#8217;s a stunner &amp; a delight, a heady dose of pure oxygen. Almost as amazing is the list of Browne&#8217;s <i style='mso-bidi-font-style:normal'>15 previous books</i> (plus one volume of fiction) dating back to 1993. During this same period, Browne has also been an integral part of the collectives that put on readings at the Ear Inn in New York (the series continues to this day at the Bowery Poetry Club) and with the Subtext Collective in Seattle. Now she&#8217;s living in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Oakland</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, always a hot bed of poetry. From what I hear, she&#8217;s been an important part of every scene she&#8217;s been around. <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 seems like an awful lot  of accomplishment for somebody who wasn&#8217;t even born when the Berkeley Poetry Conference took place in 1965 &#8211; and frankly it is. But it&#8217;s the poems in <i style='mso-bidi-font-style:normal'>Daily Sonnets </i>&amp; Browne&#8217;s other books that is going to make her an icon for the generation of poets who are about to show up, poets who are, say, still ten years younger than Tim Peterson. Here&#8217;s one example, &#8220;Love Sonnet To Light&#8221;:<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;mso-bidi-font-family:Arial;color:black'>I write myself this nightly<br>
Gesture of the turning<br>
This should remind me to blink<br>
And waken to your proximity<br>
Which is continually present to the<br>
Extent that nothing is not of you<br>
Inhale a curve of dark foliage<br>
Look to your shadow made by the moon<br>
Drink a preposition<br>
Which brings me nearer<br>
To my present location<br>
If words were put to that <br>
Sentiment the sentence<br>
Would read &#8212;<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'>Or &#8220;Two-Fourteenths Sonnet&#8221;:<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;mso-bidi-font-family:Arial;color:black'>This undressing at security checkpoints<br>
Would never have gone over with the Victorians<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'>Or <span class=GramE>this,</span> numbered simply &#8220;67&#8221;:<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;mso-bidi-font-family:Arial;color:black'>If the noise doesn&#8217;t stop when you turn on the light<br>
You are of how many winters?<br>
For readers of three and up<br>
The mind sometimes a terrible souvenir<br>
unlike his four-year-old face<br>
in nest of night<br>
whose test<br>
of solitude<br>
repeats the motion<br>
Holding his hand to my face<br>
I walk out of the bedroom<br>
of again whose<br>
forgotten impatience<br>
Remembered the opposite of rushing<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'>Or one of the poems identified as &#8220;After-Shower Sonnet&#8221;:<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;mso-bidi-font-family:Arial;color:black'>Before dressing don&#8217;t<br>
cheat on me in my dreams<br>
especially from a distance<br>
Below I hear four boys<br>
breaking mountains into breeze<br>
Before we go to the happiest place<br>
on earth I must remember my<br>
own special paradox<br>
While dressings are everything here<br>
Undressing is everything any other place<br>
we go so let&#8217;s go there<br>
not fruitfully, but secretly<br>
and hide from the plastic pots<br>
and smoke of their diagramming snores<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'>There are, especially in the last two pieces, some complex emotions being registered in very compact ways. Browne often makes use of the surface features of the abstract lyric, but &#8211; as these four poems make pretty clear &#8211; she is seldom abstract herself, focusing instead on a space that has some resonance with the New York School but even more perhaps with the current wave of post-feminists who take the gains of feminism if not exactly for granted, at least as the platform from which to investigate the world anew, including a very serious &amp; intense focus on parenting. <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'>The key to Browne&#8217;s sonnets, whether they&#8217;re homophonic translations of Rilke or works that take off from a line or phrase from another poet &#8211; two of her most prominent sources, Lee Ann Brown &amp; Bernadette Mayer, are themselves serious sonneteers &#8211; is her sense of the line, almost always informal, typically with between three &amp; five stresses. Browne may be at her very best with long sentences spread out over multiple lines &#8211; the first three lines in the last sonnet above, for example, or the six-liner in the middle of &#8220;67&#8221; &#8211; but she&#8217;s also very good with the zing-zing-zing of lines that appear to change the topic with every linebreak, postmodern staple that it is. This is the sonnet as descended from Ted Berrigan rather than Ben <span class=SpellE>Jonson</span>, and Browne is, I think, a good index of the strength of this approach to the genre going forward. <span class=GramE>For while Browne is not an inventor of new forms, as such, she&#8217;s as good as anyone around with this one.</span> <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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