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Showing posts with label <b>Lisa Jarnot</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>Lisa Jarnot</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, May 14, 2013</span></h2>

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<div style="text-align: center;"><a href="http://wesleying.org/wp-content/uploads/2012/10/jarnot-682x1024.jpg" imageanchor="1"><img border="0" height="400" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/8SnkxtQ7Rhr_Kfk8co1oB8jLj9RxuPshME7921alO0ExvnD7MGYGqh0UYNLSUIlJPhuKqnZfqksuun8PEuHlZf5oN9_X5ffGyvxvUyUxMRK0up2EjN3Q%3Ds0-d" width="266"></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"></div><div align="center" class="MsoNormal" style="line-height: 200%;"><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: black; mso-themecolor: black; mso-themetint: 242;"><span style="color: black;"><a href="http://www.lisajarnot.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Lisa</span></a> <a href="http://en.wikipedia.org/wiki/Lisa_Jarnot"><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;">Jarnot</span></a></span><br />
</span></b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%;"><a href="http://media.sas.upenn.edu/pennsound/authors/Jarnot/Jarnot-Lisa_Segue_NY_4-29-06.mp3"><span style="color: red;">reading</span></a></span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 200%; 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 />
at the <a href="http://writing.upenn.edu/pennsound/x/Jarnot.php"><span style="color: black; 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;">Bowery Poetry Club</span></a><br />
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<h2 class='date-header'><span>Friday, March 31, 2006</span></h2>

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<p class=MsoNormal><span style='color:black'><img height="304" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/Zbta7HaQeLaYmNl3NSTkf5hucH4hmmEYUXjz_hvdtfXsPLWN-yo61yWbWZ9uyVhCuglTA885NPKc9LdwcvIt-pENFyUrdLGA%3Ds0-d" width="297"><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 is a moment in <i style='mso-bidi-font-style:normal'>The Iliad </i>when the useless devastation of war suddenly comes into focus, when all its associated bravery &amp; implicit nobility is revealed as pointless &amp; stands for the catastrophe it invariably is. <i style='mso-bidi-font-style:normal'>The Iliad, </i>after all, is the song of  </span><st1:place><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Ilium</span></span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, or </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Troy</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, and there comes a moment when the destruction of </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Troy</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> is inevitable, when it is clear to all concerned that </span><st1:place><span class=SpellE><span  style='font-size:10.0pt;font-family:Arial;color:black'>Ilium</span></span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> has no future. <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'>That moment is the death of Hector, firstborn son of the king, at the hands of Achilles. Hector understands the futility of his fight going into the match &amp;, at his death, his father, Priam, bemoans the loss of his sons, Hector most of all, &amp; <span class=SpellE>Hector&#8217;s</span> widow cries out not only for her dead spouse, but for the future that awaits their son <span class=SpellE>Astyanax</span>, of whom Homer says:<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'>now his life is only filled<br>
with misery and a pathetic path<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 moment is the focal point of <i style='mso-bidi-font-style:normal'><a href="http://www.atticusfinch.org/jarnot.htm"><span style='color:black'>Iliad XXII</span></a>, </i>a stunning book &amp; terrific translation by <a href="http://www.angelfire.com/poetry/lisajarnot/blog/"><span style='color:black'>Lisa</span></a> <a href="http://epc.buffalo.edu/authors/jarnot/"><span style='color:black'>Jarnot</span></a>, just published by <a href="http://www.atticusfinch.org/"><span style='color:black'>Atticus Finch</span></a> books of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Buffalo</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. Of all the political acts against the current debacle in </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'>, this is surely the most elegant. Not simply because of the translation nor the production values (a new level of excellence for Michael Cross, who is rapidly joining the legendary fine press printers of Buffalo, NY, alongside <a href="http://www.handwritten.org/"><span style='color:black'>Kristen Gallagher</span></a> &amp; <a href="http://www.cuneiformpress.com/"><span style='color:black'>Kyle Schlesinger</span></a>), but because of the sly way this particular passage points out that Homer was clear 2800 years ago about some of the basic dynamics of history that so clearly elude W &amp; his <span class=SpellE>neocon</span> brain trust. <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'>Iliad XXII</span></i><span style='font-size:10.0pt;font-family:Arial;color:black'> is fascinating not simply as political gesture. Lisa Jarnot has already demonstrated herself to be one of our most resourceful &amp; talented poets. Her translation is doubly sly for the ways in which it calls up yet another bellicose <span class=SpellE>rightwinger</span>, one who in fact had more than a little interest in Homeric verse:<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'>So then the Trojans <br>
poured down through the city<br>
and fled there like deer<br>
that were brightened<br>
with sweat<span class=GramE>,</span><br>
and they drank<br>
and they cooled down<br>
their thirst,<br>
and they<br>
rested themselves<br>
in the city&#8217;s embankments<br>
<br>
and all of the troops of Achaeans<br>
with their shoulders to steady their shields<br>
<br>
and then there was Hector<br>
where fate made him stay<br>
in front of the city <br>
and alone at its gate.<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 first word of this passage is almost uniformly translated &#8220;Thus,&#8221; so that <span class=SpellE>Jarnot&#8217;s</span> insertion of a word favored by Ezra Pound &#8211; the two final words of <i style='mso-bidi-font-style:normal'>Canto I </i>are <i style='mso-bidi-font-style:normal'>So that &#8211; </i>hardly can be an accident.<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'>Iliad <span class=GramE>XXII <span style='font-style:normal'><span style='mso-spacerun:yes'> </span>is</span></span></span></i><span style='font-size:10.0pt;font-family:Arial;color:black'> not a Pound imitation. The style Jarnot adopts for the translation, however, falls clearly in a long line extending out from Pound, and which would include Charles Olson, Paul Blackburn&#8217;s great translation of <i style='mso-bidi-font-style:normal'><a href="http://oupress.com/bookdetail.asp?isbn=0-8061-3022-9"><span style='color:black'>The Poem of the Cid</span></a> </i>&#8211; one of the all-time major neglectorino texts &#8211; &amp; others whom Jarnot herself thanks in a brief acknowledgements note. It is true, and not that often acknowledged, that right at the front of the Pound- Williams-Zukofsky tradition &amp; that of the Projectivist poets who followed most closely in that same vein, right there in the very first <i style='mso-bidi-font-style:normal'>Canto,</i> <span class=GramE>lies</span> a version of Homer. <span class=GramE>Which may be why this literary vein, among all others, has stood up so well as a mode for epic translation &#8211; contrast </span></span><st1:place><span class=GramE><span  style='font-size:10.0pt;font-family:Arial;color:black'>Blackburn</span></span></st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s <i style='mso-bidi-font-style:normal'>Cid </i>with the <a href="http://tinyurl.com/hsbq2"><span style='color:black'>bloodless mess</span></a> put forth by Bill Merwin.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> Jarnot stays close to this Pound/post-Pound tradition, tho she is capable of sounding positively beat, as when Athena comes to Hector in the guise of his younger brother:<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'>&#8220;Sir<br> my elder brother,<br>
Achilles of the swift foot<br>
is working his bad shit on you,<br>
chasing you around the city of Priam<br>
in that sleek fast way that he has &#8211;<br>
but come indeed<br>
let&#8217;s stand here<br>
and fend off<br>
his next approaching.&#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'>So this is not a Lisa Jarnot poem, even if it is a Lisa Jarnot work. It is, however, a translation that is turned in more than one direction: at Homer, at Bush &amp; Co., at Pound, at an entire tradition of writing as a mode of literary transcription, at the questions of bravery &amp; fate, and of the consequences of war, that leveler of civilizations, destroyer of families. That&#8217;s a lot to get into just two signatures of paper sewn into perfect-bound boards. But hardly anyone sets the bar for their work as high as Lisa Jarnot, and this is no exception. <o:p></o:p></span></p>
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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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