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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>Lisa Robertson</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 Robertson</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>Wednesday, March 27, 2013</span></h2>

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<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;"><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;"><a href="http://www.writing.upenn.edu/pennsound/x/Robertson.php"><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_Robertson"><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;">Robertson</span></a> &amp; <a href="http://www.bookthug.ca/samples/PREVIEW-Gimme-Yr-Little-Quiet-John.pdf"><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;">Aisha</span></a> <a href="http://www.dearsir.org/sites_current_issue_writers_3/sasha_john.html"><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;">Sasha</span></a> <a href="http://www.openbooktoronto.com/news/diaspora_dialogues_with_aisha_sasha_john"><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;">John</span></a><br />
in <a href="http://www.bookthug.ca/video-robertson-john.php"><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;">conversation</span></a></span><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%;"><br />
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2013/03/blog-post_27.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2013-03-27T00:00:00-04:00'>Wednesday, March 27, 2013</abbr></a>
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Labels:
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Aisha%2520Sasha%2520John' rel='tag'>Aisha Sasha John</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Lisa%2520Robertson' rel='tag'>Lisa Robertson</a>,
<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Talks' rel='tag'>Talks</a>
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<h2 class='date-header'><span>Sunday, March 13, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://writing.upenn.edu/pennsound/x/Robertson.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Lisa</span></a> <a href="http://media.sas.upenn.edu/pennsound/groups/North-Of-Invention/Robertson-Lisa_North-of-Invention_KWH-Upenn_1-20-2011.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Robertson</span></a><br> introduced by Julia Bloch<o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, March 24, 2008</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'>Finally, I got hear <a href="http://en.wikipedia.org/wiki/Lisa_Robertson_(poet)"><span style='color:black'>Lisa Robertson</span></a> read for the very first time the other evening. It was one of those events that make perfectly clear just why Robertson has <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2006/09/for-second-time-in-three-years-lisa.html"><span style='color:black'>twice finished first</span></a> &#8211; in 2004 &amp; 2006 &#8211; as the writer most often cited in Steve Evans&#8217; annual list of writers whose books people are thinking about. Or why the <i style='mso-bidi-font-style:normal'>Chicago Review </i>would think to devote <a href="http://tinyurl.com/33oqvo"><span style='color:black'>a major feature</span></a> to her work. Not that this was a surprise, really. You can see it in the books plainly enough, such as <i style='mso-bidi-font-style:normal'>The Men</i>,<i style='mso-bidi-font-style:normal'> </i>which I reviewed <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2006/06/sometime-toward-end-of-previous.html"><span style='color:black'>here</span></a>, or <i  style='mso-bidi-font-style:normal'>Rousseau&#8217;s Boat </i>which I <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2005/09/for-years-people-have-been-telling-me.html"><span style='color:black'>reviewed</span></a> nine months earlier. Or <i style='mso-bidi-font-style:normal'>Debbie: An Epic, </i>great scandalous title that that was a decade ago. <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'>Not surprisingly, Robertson is a writer who takes a long time constructing a text. In the Q&amp;A session that followed &#8211; one of the best I&#8217;ve heard, tho it was short, just because of the depth &amp; candidness of her responses to questions &#8211; she indicated that <i style='mso-bidi-font-style:normal'>The Men </i>entailed going through work that was already six-years-old and editing out apparently massive amounts of text. She read the very opening &amp; closing passages of this at </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Temple</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, sandwiching a &#8220;new&#8221; work, <i style='mso-bidi-font-style:normal'>A Cuff </i>or <i style='mso-bidi-font-style:normal'>The Cuff, </i>in between. In the newer work Robertson is using the last lines from pages of notebooks that are perhaps 20-years-old. These are the sort of tactics I find myself using in my own work &#8211; it&#8217;s not unusual for any poem of mine to take several years to see the light of day &#8211; so my ears perked right up.<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 helped to explain to me the discursive tone that Robertson reaches in her work. She loves, as any reader would soon <span class=GramE>guess,</span> the language of philosophy and her nouns tend to be, as she puts it, &#8220;indexical&#8221; more than referential:<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'>They elaborate <span class=GramE>a cogitation</span>. In this way I arrive at the thought of them. Increasingly their oxygen is my own and I in my little <span class=SpellE>coloured</span> shoes to please them. Their <span class=GramE>revolution is permanent and mine</span> a decoration. When the trees smear their sky, when their poems are the periphery of the West, when they swim from their silver docks, I swim too and we communicate in water. This was September, there were three of us, and one was a man. I feel passionately about their gardens.<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 passage, from <i style='mso-bidi-font-style:normal'>The Men: A Lyric Book</i>, is not atypical. It&#8217;s constructed rather than expressive, although you can sense the politics &amp; bitterness of Robertson&#8217;s irony in a sentence like <i style='mso-bidi-font-style:normal'>Their revolution was permanent and <span class=GramE>mine</span> a decoration. </i>Yet it is never clear just how much we should ever take &#8220;I&#8221; to mean &#8220;I&#8221; in her work in any literal way. Instead, she likes to accentuate the degree to which things refer to their categories, rather than to a specific instance, by setting them as plurals: <i style='mso-bidi-font-style:normal'>their poems, their silver docks. </i>Thus the most referential of sentences &#8211; <i style='mso-bidi-font-style:normal'>This was September, there were three of us, and one was a man </i>&#8211; functions not to clarify the tale so much as to measure just how far from the referential the rest of the language here really is. <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 mode of discourse creates an air of distance &amp; Robertson is masterful at controlling just how much &amp; to what ends she chooses to direct it. I imagine that someone might someday spell out a spectrum, not unlike Zukofsky&#8217;s &#8220;integral&#8221; of upper limit song, lower limit speech, only more horizontal, extending from the most aesthetic philosophical discursive mode, say Michael Palmer (or even John Ashbery), to the most social or political, say Barrett Watten. It would be easy enough to place Robertson on that spectrum, much closer to Watten than to Palmer, save that she frames everything in ways that are uniquely feminist from the inside and also distinctly Canadian. <span class=GramE>Which is to say that her work proposes other axes quite at different angles from this one.</span> To an American ear (and a male one at that), each of these Others can feel like a critique. It&#8217;s not that there aren&#8217;t American women involved in just this same critique &#8211; Carla Harryman, Lyn Hejinian, Bev Dahlen, Rachel Blau DuPlessis, Rae Armantrout, Jean Day all immediately jump to mind. Nor that they don&#8217;t employ some of the same devices. <span class=GramE>Or that there aren&#8217;t other Canadian poets who don&#8217;t likewise explore this territory, such as Jeff Derksen.</span> But there really is only one Lisa Robertson, and we&#8217;re very lucky that the number is that high. <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'>PennSound has recordings of three readings by Lisa Robertson <a href="http://writing.upenn.edu/pennsound/x/Robertson.html"><span style='color:black'>here</span></a>, and A Voice Box has another <a href="http://andrewkenower.typepad.com/a_voice_box/2007/11/lisa-robertson-.html"><span style='color:black'>here</span></a>. <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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<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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