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Silliman's Blog
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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Linh Dinh</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>Linh Dinh</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, February 05, 2013</span></h2>

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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="266" mozallowfullscreen="mozallowfullscreen" src="https://www.youtube.com/embed/dV6Xc1Bjgfg?feature=player_embedded" webkitallowfullscreen="webkitallowfullscreen" width="320"></iframe> </div><div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;"><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 18.0pt; line-height: 150%; 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://www.poetryfoundation.org/bio/linh-dinh"><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;">Linh</span></a> <a href="http://en.wikipedia.org/wiki/Linh_Dinh"><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;">Dinh</span></a></span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%; 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="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 150%; 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;">in Richmond, VA <br>September 2010<o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, April 28, 2011</span></h2>

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<h2 class='date-header'><span>Thursday, April 26, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Readers of this space will recall that I have been an <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2005/10/csi-poetry-would-find-my-fingerprints.html"><span style='color:black'>advocate</span></a> of <a href="http://herecomeseverybody.blogspot.com/2004/12/linh-dinh-is-author-of-two-collections.html"><span style='color:black'>Linh</span></a> <a href="http://www.pewarts.org/93/Dinh/"><span style='color:black'>Dinh&#8217;s</span></a> <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2006/01/in-not-quite-four-decades-since.html"><span style='color:black'>work</span></a> for some time now, and this note will mark the third consecutive year that I&#8217;ve written positively about a book of his poetry. Indeed, some of what I will say could almost be lifted from my two previous notes, even tho <i style='mso-bidi-font-style:normal'><a href="http://www.chax.org/poets/dinh.htm#jam"><span style='color:black'>Jam Alerts</span></a>, </i>his new book from <a href="http://www.chax.org/index.html"><span style='color:black'>Chax</span></a>, is easily his finest, &#8220;most mature&#8221; volume to date. This is because Dinh is a writer with a vision, a very specific story to tell, and his books each are manifestations of this drive. <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'>Dinh&#8217;s tale is about our future, but <span class=GramE>he&#8217;s not a science fiction writer &#8211; at least not yet &#8211; so he tells it through our present</span>. I&#8217;ve compared him in the past, indeed even on the blurb on the back cover of this book, with William Burroughs, another writer operating out of very similar terms &amp; compulsions. In both cases, the tale is bleak, dystopic. What happens at the end of empire is not <span class=GramE>pretty,</span> it&#8217;s not a matter of genteel decay, but rather ongoing denial that becomes increasingly shrill &amp; delusional. <span class=GramE>With the potential for horrific violence always simmering just below the surface.</span> Dinh&#8217;s tradition, to call it that, includes the likes of Bosch, Brueghel, <span class=GramE>Blake</span> &amp; Lautréamont. <span style='mso-spacerun:yes'> </span><span style='mso-spacerun:yes'> </span><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'>Our time is past</span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>. That is the essence of Dinh&#8217;s poems, every one of which feels like a warning of some kind, some humorous, others ominous. That we don&#8217;t know this yet creates a gap between what we do and what we think we do. Our lives are carried out within this gap &amp; repeatedly Dinh finds the contradictions that we demand in order to keep going. <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 two works in <i style='mso-bidi-font-style:normal'>Jam Alerts </i>that use time as a structural element. One is a fake blog, in reality a suite of prose poems that go on for 14 pages, the longest sustained work in the book. The other, even closer to the volume&#8217;s end, is entitled &#8220;Recent <span class=SpellE>Archeo</span> News&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><st1:date Month="2" Day="20" Year="3006"><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>20 February 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Ancient toilet<br>
Discovered in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Boston</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>, lid missing.<br>
<br>
8 February 3006 &#8211; 30 billion scraps<br>
Of well-preserved, well-made plastic<br>
Accidentally unearthed in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Athens</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>.<br>
<br>
</span><st1:date Month="1" Day="30" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>30 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; 3-foot-long<br>
&#8221;COSMIC EXPANDING&#8221; toy sword<br>
Excavated in outskirts of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Beijing</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>.<br>
<br>
</span><st1:date Month="1" Day="24" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>24 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Large glass menagerie<br>
Recovered just off-shore, near </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Key West</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>.<br> <br>
</span><st1:date Month="1" Day="22" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>22 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Post-modern poem<br>
Found in dog&#8217;s grave, tucked in anus.<br>
<br>
</span><st1:date Year="3006" Day="16" Month="1"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>16 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Tattoos, salacious<span class=GramE>,</span><br>
Shed light on 21<sup>st</sup> Century Tokyo.<br>
<br>
</span><st1:date Month="1" Day="14" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>14 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Plastic barrettes, polyester <span class=SpellE>scrunchies</span><br>
And rare titanium navel ring shaped like lovely butterfly<br>
Interred with disturbed skeleton of teen-aged girl.<br>
<br>
</span><st1:date Month="1" Day="13" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>13 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Chubby male mummy<br>
With lots of loose change, buried erect<br>
In well-preserved peep show cubicle.<br>
<br>
</span><st1:date Month="1" Day="9" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>9 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Miraculous city of </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Dubai</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> Discovered nearly intact in deserted desert.<br>
<br>
</span><st1:date Month="1" Day="1" Year="3006"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>1 January 3006</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Oxidized brass<br>
Trumpets and cornets found bobbing<br>
in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>New Orleans</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> waters.<br>
<br>
</span><st1:date Year="3005" Day="24" Month="12"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>24 December 3005</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Tire tracks, chewing gum<span class=GramE>,</span><br>
Bolts, pegs, screws, pins, nails and human hair<br>
Detected in ancient asphalt driveway.<br>
<br>
17 December 3005 &#8211; Plethora of megalomaniac<br>
And glib sculptures in corporate spaces offer<br>
Abundant proofs that 20<sup>th</sup> century man<br>
Was prone to lead poisoning.<br>
<br>
</span><st1:date Month="12" Day="15" Year="3005"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>15 December 3005</span></st1:date><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> &#8211; Nasty skull hookahs<br>
And dead head bongs excite experts.<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 don&#8217;t know of any other male poet today who has written about <span class=SpellE>scrunchies</span>, recognized them as integral to the texture of our lives. That is so typical of Dinh, who so often seems to be inventing poetry from scratch, as tho he didn&#8217;t know the form itself existed &amp; had a history before, just by looking intensely, noting what&#8217;s really there in front of him. The elements listed for the driveway reminded me of how ground up remnants of the Cypress Superstructure, the section of freeway that collapsed in the Loma <span class=SpellE>Prieta</span> quake in Oakland in 1989 were pulverized and turned into landfill for a roadside <span class=SpellE>berm</span> along highway 580 in San Leandro, and how quick grass grew over that rubble that had taken the lives of several dozen people, <span class=SpellE>pancaked</span> by the rotting infrastructure as it caved in. It reminded me of Michael Gottlieb&#8217;s great elegy for the dead of the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>World</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Trade</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Center</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, &#8220;The Dust,&#8221; which likewise notes the presence of human remains everywhere in the air &amp; on everything in the aftermath of that event. At the same time, this poem is full of little jokes, moments of tenderness. <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 work in some ways is &#8220;classic&#8221; Dinh in that it&#8217;s brilliant &amp; also partly doesn&#8217;t work. The reader gets the &#8220;gimmick,&#8221; the structural premise behind every entry pretty quickly. Some of them are, indeed, brilliant. But the one about New Orleans is a gesture to the topical that feels curiously out of place here, or at least does until you have read enough of Dinh to recognize that the &#8220;out of place&#8221; is a major issue in/for all his writing. <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'>Both &#8220;Recent <span class=SpellE>Archeo</span> News&#8221; and the false blog, &#8220;Fortunes,&#8221; use time in the same fashion &#8211; it appears in reverse, so as not to promise a future even as it gives us what sound like sound bites or headlines of a news page on the web a millennium from now. As mechanistic as each entry is, Dinh foregrounds the aesthetic by choosing to capitalize the left-hand margins. When he reads, he pauses more distinctly at linebreaks than any poet since Robert Creeley, really forcing the recognition that these are first of all aesthetic decisions being made. Unspoken in all this text is the premise that everything about our lives has been lost &amp; has to be recovered by specialists in a very different future, one in which  </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Dubai</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> sits in a desert. The cataclysm itself is everywhere precisely because it is silent &amp; assumed. <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'>We find time again at issue in the volume&#8217;s final work, &#8220;Beloved Alone&#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'>Standing in deep snow, don&#8217;t look forward to the late bus<br>
Swinging around the corner, at last, don&#8217;t look forward to Friday,<br>
5 o&#8217;clock or the end of your unjust sentence, don&#8217;t look forward<br>
To the landing of this numbing, trans-everything flight, thank you<br>
For your patience, don&#8217;t look forward to the return of your daddy,<br>
Because, for every second of each long day, you must remember<br>
What <span class=SpellE>DaVinci</span> said: &#8220;A man who looks forward to Spring<br>
Is looking forward to his own death.&#8221;<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'>Dinh was born in </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Saigon</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> in 1963 &amp; came to the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> in that hectic period after the fall of the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> colony in 1975. <span class=GramE>Which is to say that he was at an impressionable age right at the moment when the pretense that the South Vietnamese government was anything other than a hollow shell imploded.</span> He knows in some deep internal way just what the fall of empire looks &amp; smells &amp; sounds like. He hears it now, <i style='mso-bidi-font-style:normal'>feels it, </i>in instant messages &amp; on YouTube &amp; in the streets of </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'> &amp; </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>London</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Rome</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. Again like Burroughs, he is at heart a satirist, which means holding up a mirror for his readers. What we see there is ourselves, as unadorned as we have ever been. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, January 29, 2003</span></h2>

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<div class="MsoNormal">
<span style="font-family: Arial;">Another new-poet-to-me in <i style="mso-bidi-font-style: normal;"><a href="http://www.birddogmagazine.com/index.htm">Bird Dog</a></i> 2 whose work
catches my eye is Tsering Wangmo Dhompa, a Tibetan-American poet who grew up in
exile communities in </span><st1:country-region><st1:place><span style="font-family: Arial;">Nepal</span></st1:place></st1:country-region><span style="font-family: Arial;"> &amp; </span><st1:country-region><st1:place><span style="font-family: Arial;">India</span></st1:place></st1:country-region><span style="font-family: Arial;"> before coming to the </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> According to the contributor&#8217;s note, she also was
the focus of an issue of <i style="mso-bidi-font-style: normal;"><a href="http://www.potespoets.org/abacus.htm">A&#8226;Bacus</a>,</i> which the Potes
&amp; Poets website informs me appeared just three issues prior to the one by <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2003_01_01_ronsilliman_archive.html%2387894108">Richard
Deming</a> I looked at last Thursday. Her first poem, &#8220;Just the Tools&#8221; is brief
enough to quote in full:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">He writes a language still unknown to him. Looks up
each word<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">in the dictionary when he cannot use his hands to
show what he really means.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">He can lick the surface of her skin, taste its
tingle and wonders what good words<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">would make of the gesture. That he could want more is
impossible. He wants<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">more. In the end his words are more or less. In my
heart, he says, are many rivers.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">They all flow in the same direction. He sits at a
desk every night in case he is needed. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">This is his job. Still waiting to become happy &#8211;
night after night at the desk watching <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">TV. He does not wish for the good when so much else
is closer. Once after a cup<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">of chocolate, he pushes his tongue against hers to
show he is the greatest. He counts<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">the seconds. Imagines everybody climbing stairs
into their rooms to hide a secret.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The lines here are so long
that I have to think about whether or not this is a prose poem when I retype it
here. Because the first line is noticeably shorter than the others, I decide
that it most likely is verse. Long as they are, the lines are still shorter
than those I find in the review section at the back of <i style="mso-bidi-font-style: normal;">Bird Dog</i>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is a gentle surrealism
here, so quiet that it seems possible to miss it as such altogether. Its most
evident in the leaps this small fable takes &#8211; from using the dictionary to
licking &#8220;the surface of her skin,&#8221; from sitting at the desk to not wishing for
good, from counting the seconds to hiding secrets. All these little leaps are
very much in keeping with the ambiguity between prose &amp; verse. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">What is even more
interesting, from my perspective, is that a surrealist impulse should show up
here at all. In my own mind, I can never fully dissociate surrealism from its </span><st1:place><span style="font-family: Arial;">Europe</span></st1:place><span style="font-family: Arial;">an &#8211; and especially French &#8211; roots. Even today, 69 year&#8217;s after <a href="http://pers-www.wlv.ac.uk/~fa1871/whatsurr.html">Breton&#8217;s &#8220;What is
Surrealism?</a>&#8221; there remain strong Francophile aspects to the surrealism
tradition in America, felicitous when they encourage a <a href="http://www.frenchculture.org/books/texts/padgett/padgett.html">Ron
Padgett</a> to translate work from a Duchamp or Apollinaire, less so in the
hands of the <a href="http://www.surrealism-usa.org/pages/black.html">Chicago
Surrealists, such as Franklin &amp; Penelope Rosemont or Paul Garon</a> who
mostly seem determined to bludgeon nuance into submission. Europeanism also
appears to have been an important aspect of the attraction of the prose poem as
a form to Japanese poets such as Miyoshi Tatsuji &amp; Anzai Fuyue in the
period immediately prior to </span><st1:place><st1:city><span style="font-family: Arial;">World</span></st1:city><span style="font-family: Arial;"> </span><st1:state><span style="font-family: Arial;">Wa</span></st1:state></st1:place><span style="font-family: Arial;">r 2.*<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Arriving in the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;"> as boy at the end of the Vietnam War, <a href="http://www.pewarts.org/93/Dinh/bio.html">Linh Dinh</a> &#8211; who in recent
years has lived both in his native </span><st1:country-region><st1:place><span style="font-family: Arial;">Vietnam</span></st1:place></st1:country-region><span style="font-family: Arial;"> &amp; more recently in </span><st1:country-region><st1:place><span style="font-family: Arial;">Italy</span></st1:place></st1:country-region><span style="font-family: Arial;"> &#8211; employs a far harsher mode of surrealism, visible
in &#8220;A Reactionary Tale&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">I was a caring husband. I bought socks for my
family.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">My swarthy wife liked to wear these thick woolen
socks that came up to her milky thighs.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">I had a lover also. People could see me walking
around each evening carrying a walking stick.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">My most vivid memory, looking back, is of a pink
froth bubbling out of my infant&#8217;s mouth.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Not everything was going so well: one morning,
malnourished soldiers marched down our tiny street, bringing good news.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">When good news arrives by mail, the cuckoo sang,
tear up the envelope. When good news arrives by email, destroy the computer.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">When an old friend came by to reclaim an old wound,
I said to my oldest son: Go dump daddy&#8217;s ammo boxes into the fragrant river.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">To reduce drag, some of my neighbors were diving
headfirst into a shallow lake.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">We were rich and then we were poor. A small dog or
maybe a cat now pulls our family wagon.**<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Here surrealism invokes
precisely the colonial tone &amp; history of </span><st1:place><span style="font-family: Arial;">Indochina</span></st1:place><span style="font-family: Arial;">. It also negotiates marvelously between the contexts of oral history,
folk wisdom &amp; the contemporary post-Stalinist culture that became embedded
in a regime shaped by decades of war. But the sardonic wit is as </span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;">n as apple pie. For a poet who once edited a journal
entitled <i style="mso-bidi-font-style: normal;">Drunken Boat,</i> Dinh evidences
virtually no Euro-nostalgia.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Nor does Dhompa.*** Hunting
around for more of her work on the web, I came across a piece in <i style="mso-bidi-font-style: normal;"><a href="http://www.litvert.com/dhompa.html">Vert</a>
</i>that excites me even more than the two pieces in <i style="mso-bidi-font-style: normal;">Bird Dog. </i>It&#8217;s entitled &#8220;City of </span><st1:city><st1:place><span style="font-family: Arial;">Tin</span></st1:place></st1:city><span style="font-family: Arial;">&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">Politeness prohibits saying what I really think. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">Viaduct: a code for a feeling. Like mauve,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">over the street of tarmac: a grave summer day<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">offering clean streets and a leg longer by
perspiration.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">Or gannets in sight. That women are said to speak
so much <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">of feelings; as though to clarify would mean its
end. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">It never is. Clarification I mean. To indicate
trust I tell you <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">the fish is who I look at most these days. For
love, for love. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">Endings happen. Words I use because I like who I
become. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">Summer resolved of mysteries. Give me nothing.
Tiny, tiny<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">pebbles used as prop. Tilted and tinted glasses.
City<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">of my desires has lines rigged at the waist. One
minute<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">of sleep at a desk might bring it all down. Words
you find <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .75in; text-indent: -.25in;">
<span style="font-family: Verdana;">under my nail. (S)wallow. Some night owl effusion.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I love the rapid changes in
this piece, the way in the last line <i style="mso-bidi-font-style: normal;">wallow
</i>emerges from <i style="mso-bidi-font-style: normal;">swallow</i>, &#8220;s,&#8221; &#8220;w,&#8221;
&#8220;o,&#8221; &amp; &#8220;l&#8221; all reappearing in &#8220;some night owl,&#8221; perfectly setting up that
final word. The Creeley allusion (<i style="mso-bidi-font-style: normal;">For
love, for love</i>) leads not to the literary, but to set up the later use of
reiteration: <i style="mso-bidi-font-style: normal;">Tiny, tiny.</i> One can
still see the evidence of a surrealist impulse here (<i style="mso-bidi-font-style: normal;">the fish is who I look at most</i> or <i style="mso-bidi-font-style: normal;">Words you find / under my nail</i>), but it&#8217;s just one layer here among
many. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">More than a few poets of my
own age cohort have demonstrated a considerable interest in (influence by) the
surrealists: </span><st1:personname><span style="font-family: Arial;">Barrett
 Watten</span></st1:personname><span style="font-family: Arial;">, Ray Di Palma,
Alan Davies, Lynn Dreyer, Alan Bernheimer &amp; &#8211; perhaps the master in this
regard &#8211; the late, great Jerry Estrin, all come readily to mind. While it&#8217;s
easy enough to see that these poets have stayed free of the Euro-fetishism that
entangled earlier generations of Yankee surrealism, it&#8217;s harder for me to
discern if there is something deeper these writers share in common in their
relationship to that heritage. And it both intrigues &amp; delights me to see
the surrealist impulse showing up again among younger poets, coming now
literally from a completely different direction.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">* Tatsuji&#8217;s classicist
approach led to a poetry that was at once surreal &amp; yet completely devoid
of European allusions. The relationship of </span><st1:place><span style="font-family: Arial;">Europe</span></st1:place><span style="font-family: Arial;"> to the history of </span><st1:country-region><st1:place><span style="font-family: Arial;">Japan</span></st1:place></st1:country-region><span style="font-family: Arial;"> is of course particularly complex. Miyoshi Tatsuji
would go on to become one of the six poets involved in the 1942 &#8220;<a href="http://www.nanzan-u.ac.jp/SHUBUNKEN/publications/nlarc/pdf/Rude%20awakenings/Minamoto.pdf">Overcoming
Modernity</a>&#8221; symposium. [NB: that link opens an </span><st1:city><st1:place><span style="font-family: Arial;">Ado</span></st1:place></st1:city><span style="font-family: Arial;">be Acrobat PDF file.]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">** This poem comes from the
exquisitely designed chapbook <i style="mso-bidi-font-style: normal;"><a href="http://www.durationpress.com/leroy/smalltriumph.htm">a small triumph over
lassitude</a>. </i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">*** &amp; yet Dhompa has
been criticized by in the <i style="mso-bidi-font-style: normal;"><a href="http://www.nepalnews.com.np/contents/englishdaily/ktmpost/2002/nov/nov09/features1.htm">Kathmandu
Post</a></i> for a desire &#8220;to forsake the local for the sake of pleasing the
global communities of the world.&#8221; <o:p></o:p></span></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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