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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>Lorine Niedecker</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>Lorine Niedecker</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>Friday, October 12, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><a href="http://farm9.staticflickr.com/8460/8060692123_622c556af4_o.jpg"><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:windowtext;mso-no-proof:yes; text-decoration:none;text-underline:none'><img border="0" height="480" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/3Q0Hi1XIWWBGPSF0wNBFGmmK8oVkquu0VilI1pQqgBx9IKFacCAjve5Bo7M6Q2H4-aiQ9EU9bg9ZdWs4WjnshytZ0CIgkm049PgdpAgPeT5DxQ%3Ds0-d" width="468"></span></b></a><b style='mso-bidi-font-weight: normal'><span style='font-size:20.0pt;line-height:115%;font-family:"Arial","sans-serif"'><o:p></o:p></span></b></p><p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><span style='font-size:20.0pt;line-height:115%;font-family:"Arial","sans-serif"; 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://epc.buffalo.edu/authors/niedecker/"><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"'>Lorine</span></a> <a href="http://www.lorineniedecker.org/"><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"'>Niedecker</span></a><br />
</span></b><span style='font-size:12.0pt;line-height:115%;font-family:"Arial","sans-serif"; 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"'><br />
<a href="http://www.poetryfoundation.org/features/audioitem/3350"><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"'>reading at home, 1970</span></a><o:p></o:p></span></p>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2012/10/blog-post_12.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2012-10-12T00:01:00-04:00'>Friday, October 12, 2012</abbr></a>
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<h2 class='date-header'><span>Sunday, December 29, 2002</span></h2>

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<span style="font-family: Arial;">It was a bad dream that we
were at war. I was involved with a company that held some support function, not
involved directly in the fighting. But then I was near the front lines at
night, crouching in a field of stones near barbed-wire. To our left were some
buildings. Behind me, &#8220;our side&#8221; sent missiles into the distance &#8211; explosions
briefly illumined the horizon. The &#8220;other side&#8221; sent their missiles in our
direction. We watched them sail overhead, some further, some closer. Then I
remember watching one the way, as a boy, I would watch a fly ball coming in my
own direction, aware of just how little time remained before it arrived,
realizing it would be very close, so close that I could not tell which way to
duck. Something struck me at the base of my neck. &#8220;I&#8217;m hit!&#8221; I shouted. But
there was no damage. I can still move. There&#8217;s no blood, no pain.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Then a large airplane
appeared overhead. &#8220;There they are,&#8221; someone shouted, as though we&#8217;d expected
this. The plane&#8217;s belly opened and a missile rocketed down into the complex of
buildings just on the far side of the barbed wire. An explosion went up on its
far side. In its windows now, I could see a young man in his twenties,
surrounded by small children. Their aspect looked &#8220;vaguely Asian.&#8221; He opened
the window to let some of the smoke billow out. &#8220;Get out&#8221; I yelled as did the
others I heard around me. &#8220;No,&#8221; he hollered in return. Then the fire reached a
flashpoint &amp; they all disappeared.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I woke, feeling ragged after
a night such as that, &amp; went down to my study. At first, I read through the
latest issue of </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Overland</span></i></st1:place></st1:city><span style="font-family: Arial;">, an Australian journal the likes of which we no
longer possess here in the U.S. of A. It&#8217;s a <span class="GramE">quarterly,</span>
devoted in large part to politics, but with a healthy dose of fiction, cultural
criticism and, in the brief period I&#8217;ve read it, poetry. The poetry editor is,
or has been, </span><st1:personname><span style="font-family: Arial;">Pam Brown</span></st1:personname><span style="font-family: Arial;">, a fine poet herself and a woman at ease with all
modes of post-avant writing. This is her last issue in this capacity &#8211; she has
a &#8220;farewell&#8221; note, as in fact does Ian <span class="SpellE">Syson</span>,
editor-in-chief, who is himself stepping down. <o:p></o:p></span></div>
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<span style="font-family: Arial;">What I read this early in
the morning is a &#8220;lecture&#8221; by Bob Ellis on &#8220;The Age of Spin,&#8221; focusing on
Australia&#8217;s culpability in the broader, US-led assault of Islamic peoples, on
the use of such terms as &#8220;weapons of mass destruction&#8221; and the convenient ways
in which we defined them, or &#8220;chemical weapons&#8221; &amp; the relationship of that
concept, say, to the cocktail </span><st1:personname><span style="font-family: Arial;">admin</span></st1:personname><span style="font-family: Arial;">istered to
prisoners at execution. &#8220;We live in Orwellian times,&#8221; Ellis concludes. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">His essay reminds me of my
dream, or of the sour way I characterized the Bush </span><st1:personname><span style="font-family: Arial;">admin</span></st1:personname><span style="font-family: Arial;">istration at a Christmas party the other day &#8211; &#8220;taking the neo- out of
neo-fascist.&#8221; My own sense of depression at the state of the American polis
seems limitless these days. Even as I&#8217;ve lived long enough to know that things
will eventually swing &#8220;back&#8221; again from the current reactionary state of
affairs, I have to recognize that each swing of the pendulum over the past 30
years has always been part of a larger rightward course. Bill Clinton was in
many respects a Nixon Republican when it came to domestic policy &#8211; and that was
the &#8220;progressive&#8221; portion of his platform. &#8220;When does it become </span><st1:country-region><st1:place><span style="font-family: Arial;">Germany</span></st1:place></st1:country-region><span style="font-family: Arial;">? Will we recognize when it&#8217;s 1933? When do we have
to choose exile?&#8221; a friend asked at dinner last night. She&#8217;s an official in the
Democratic Party, her husband a well-placed corporate lawyer. They have a son
about to graduate college &#8211; these are not &#8220;kids&#8221; posing such questions.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I thumb through the
remainder of </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Overland</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">. </span></i><span style="font-family: Arial;">It&#8217;s the &#8220;bumper summer&#8221; issue &#8211; but I have to
remember that it <i style="mso-bidi-font-style: normal;">is</i> summer there
right now. The issue is rich &amp; I only touch on a few pieces at the moment.
It has, for example, some fine poems by one Eric Beach, whose work I know not
at all, plus a good deal of other poetry. There are several reviews of poetry
and a large essay by John Kinsella &#8211; listed on the masthead as a correspondent
&#8211; on the shifting relations between the city and &#8220;the bush&#8221; that touches on the
relation of urban poetics to those of rural communities, citing everyone from
Wordsworth to Les Murray. <span class="SpellE">Kinsella&#8217;s</span> essay touches on
the work of Dorothy <span class="SpellE">Hewett</span>, an Australian poet,
playwright &amp; essayist who passed away earlier this year. That is her image
on the cover of </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Overland</span></i></st1:place></st1:city><span style="font-family: Arial;">, looking quite grand at the age of 79 &#8211; her life and
work <span class="GramE">are</span> the subject of three other pieces in the
issue. I make a mental note to look for her poems.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Overland</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> </span></i><span style="font-family: Arial;">makes me realize just how much we lack a magazine of its
obvious impact 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;">. The tendency toward weeklies in 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;"> bespeaks our restlessness &amp; the progressive
journals range between silent (<i style="mso-bidi-font-style: normal;">The
American Prospect</i>, to pick one) to reactionary (<i style="mso-bidi-font-style: normal;">The Nation</i>) when it comes to their general approaches to literature
&amp; the radical idea that it might be incorporated into the American
experience. The great irony of a weekly in the age of the <span class="GramE">internet,</span>
is that it will always be &#8220;out of date&#8221; whenever it arrives. Instead, what we
get are publications like <i style="mso-bidi-font-style: normal;">The Atlantic</i>,
so poorly conceived &amp; edited that they serve as their own parody, issue
after issue. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">So, looking for respite, I
pick up Niedecker&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2382269629">Collected
Works</a></i> &amp; find myself immediately at this juncture:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">J.F. Kennedy after the </span></i></b><st1:place><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Bay of
 Pigs</span></i></b></st1:place><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">To stand up<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">black-marked</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> tulip<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">not</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
snapped by the storm<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">&#8220;I&#8217;ve been duped by the
experts&#8221;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">&#8211; <span class="GramE">and</span>
walk<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">the</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> South
Lawn<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Thirty-odd years later,
there is still debate as to whether or not Kennedy was, in fact, &#8220;duped by the
experts&#8221; &#8211; the implications concerning his hold on the executive branch are,
after all, damning &#8211; or merely used this explanation to distance himself from
the political fallout that attended the Bay of Pigs fiasco. So here is
Niedecker using a natural image &#8211; the tulip &#8211; as a metaphor for political
activity. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But I don&#8217;t think of
Niedecker as a &#8220;political poet,&#8221; and on the facing page starts one of her
longest poems, &#8220;Wintergreen Ridge,&#8221; which includes an account of a visit from
Basil Bunting:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>When visited<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">by</span> the
poet<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">From </span><st1:city><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Newcastle</span></st1:place></st1:city><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> on </span><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Tyne</span></st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>I neglected to ask<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">what</span> wild
plants<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">have</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> you there<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">how</span> dark<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">how</span>
inconsiderate<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>Well I see at this point<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">no</span> pelting
of police<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: .4in .8in 1.2in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">with</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> flowers<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is no escaping it.*
Even a poet as removed from the daily life of cities as Niedecker,
Objectivism&#8217;s one true &#8220;poet of the bush,&#8221; cannot get away from the politics of
the 1960s as they enveloped the nation. Any more than we can the misdeeds of
our own &#8220;elected&#8221; officials at the cusp of 2003. <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; font-size: 10.0pt;">* &#8220;What
Western peoples might find strange, Kawhlānī tribesmen taken for
granted, namely, that politics and poetics are inseparable.&#8221;<span style="mso-spacerun: yes;">&nbsp; </span>Stephen C. Caton, in <i style="mso-bidi-font-style: normal;"><a href="http://www.ucpress.edu/books/pages/5350.html">&#8220;Peaks of Yemen
I Summon&#8221;: Poetry as Cultural Practice in a North <span class="SpellE">Yemini</span>
Tribe</a> </i>(University of California Press, 1990): p. 155.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Sunday, September 29, 2002</span></h2>

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<span style="font-family: Arial;">In 1969, Jonathon Williams&#8217;
Jargon Society published a volume of Lorine Niedecker&#8217;s poetry entitled <i style="mso-bidi-font-style: normal;">T&amp;G</i>. The book&#8217;s subtitle was <i style="mso-bidi-font-style: normal;">The Collected Poems (1936-1966)</i>.
Unpaginated, the text ran all of 60 pages, a number of which were devoted to A.
Doyle Moore&#8217;s plant prints. Thirty-three years hence, it seems stunning that we
can now have a book entitled simply <i style="mso-bidi-font-style: normal;">Collected
Works</i> (University of California, 2002) whose gathering of Niedecker&#8217;s poems
and prose totals 362 pages, with over 100 additional pages of notes and indices
to lend the volume heft. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span style="font-family: Arial;">In
my mind, I had linked Niedecker with <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2382087760">Besmilr
Brigham</a>, connecting the pair to a larger <span class="SpellE">Dickinsonian</span>
tradition of women writing in isolation. But now I think that the parallel
feels forced. Brigham &amp; Niedecker share two important dimensions:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 75.0pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 75.0pt; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Each lived
precariously on the economic margins at a considerable geographic distance from
major literary centers<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 75.0pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 75.0pt; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Both held a
visible relation to the Pound/Williams tradition &#8211; more to Williams than to
Pound &#8211; and connected to the scene primarily through the mail.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">Beyond
that, though, they are profoundly different poets. Part of it may just be
generational &#8211; Niedecker was ten years older, having been born in 1903, with
her earliest poems have been written in the 1920s and her connection to
Zukofsky and the Objectivists dating from the early 1930s. Brigham may have
been a late starter by comparison &#8211; her first publication in <i style="mso-bidi-font-style: normal;">El <span class="SpellE">Corno</span> <span class="SpellE">Emplumado</span> </i>in 1966 occurs when she is 53 (although
apparently telling people that she was ten years younger). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">It&#8217;s
worth considering what the curious history of the Objectivists meant not just
to Niedecker but to all of the writers usually associated with that rubric &#8211;
active and working together in the early 1930s, but not quite jelling in terms
of public response, followed by an erasure from public view in the 1940s &amp;
&#8216;50s, only to return again, this time triumphant, in the 1960s. For one thing,
Niedecker&#8217;s own position vis-à-vis the participants in the famous February 1931
issue of <i style="mso-bidi-font-style: normal;">Poetry</i> &amp; subsequent anthology
had changed by the mid-1960s. Fully mature as a poet, she was in no way outside
the circle by the time of their collective re-emergence. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">Furthermore,
Niedecker had benefited from the long silence as did several of the
Objectivists as they became a far more disciplined and cohesive group of poets
than they had been in the early 1930s. Without any wider audience for so many
years, the Objectivists had only themselves and a few others as readers for
nearly 20 years.* The work that came out of the long silence was more spare
than that which had gone before. Consider the florid tone of this passage by
Carl Rakosi, which actually led off the Objectivist issue of <i style="mso-bidi-font-style: normal;">Poetry, </i>the first stanza from a piece
entitled &#8220;<span class="SpellE">Orphean</span> Lost&#8221; from a larger serial poem
called &#8220;Before You&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">The
<span class="SpellE">oakboughs</span> of the cottagers<br />
descend, my lover<span class="GramE">,</span><br />
with the bestial evening.<br />
The shadows of their swelled trunks<br />
crush the frugal herb.<br />
The heights lag<br />
and perish in a blue vacuum. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">This
overwrought text, which initiated a revolution, is not to be found in Rakosi&#8217;s <i style="mso-bidi-font-style: normal;">Collected Poems.</i>** If anything, the text
reflects a love-hate relationship with surrealism that shows up both in <i style="mso-bidi-font-style: normal;">Poetry,</i> which included two Rimbaud
translations by Emanuel <span class="SpellE">Carnevali</span> as well as a little
symposium on the &#8220;gratuitous and arbitrary&#8221; poetry of Parker Tyler and Charles
Henri Ford, and in the anthology where Zukofsky literally rearranged the lines
of a Kenneth Rexroth work in seemingly random order, to the latter&#8217;s
considerable vexation. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">All
that deliberate excess is gone by the 1960s. Thus we can identify a second
factor separating First and Third Phase Objectivism*** &#8211; a new emphasis on a
spare, unadorned style not always evident during the 1930s. This was reinforced
by the return to writing of George Oppen, who had had the most austere
aesthetic during that first decade<span class="GramE">.+</span> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">Niedecker
may have been isolated geographically, but she was integrally part of this
literary cabal and it is this community that created the foundation for her
broad acceptance, especially after her death in 1970. Brigham never had this &#8211;
the poets with whom she is said to have corresponded, Duncan &amp; Creeley, were already famous
by the 1960s. Older than either of them, Brigham never made the transition from
correspondent to peer. While the work of those two men was associated with </span><st1:place><st1:placename><span style="font-family: Arial;">Black</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Mountain</span></st1:placetype><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">College</span></st1:placetype></st1:place><span style="font-family: Arial;">, where each had taught, they had always been completely different poets
and, by the 1960s, each was evolving according to impulses and demands that had
little to do with one another, regardless of their mutual admiration. So it
turns out that it is Brigham far more than Niedecker who was truly the Outsider
poet.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">This
is true in other ways as well. Place is important to both of Niedecker &amp;
Brigham, but Niedecker inhabits the Wisconsin of her poems with a sense of its presence,
very nearly its omnipresence++<span style="mso-spacerun: yes;">&nbsp; </span>compared
with the far more tentative landscapes the peripatetic Brigham confronts in
Mississippi, Texas, Mexico &amp; Arkansas. I sense Niedecker truly in her
environment whereas Brigham carries the perspective of someone who appears to
have been an observer more than a participant, regardless of the context&#8230;just
passing through, taking notes. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">My
impression of this is heightened by the fact that Brigham is a poet of the eye,
whereas Niedecker thinks and proceeds by ear. A distinction like that is simply
a part of one&#8217;s human chemistry &#8211; it&#8217;s not a question of right or wrong
decisions &#8211; but the distinction plays out in important ways for poetry.<span style="mso-spacerun: yes;">&nbsp; </span>There is a tonal logic in Niedecker&#8217;s work,
as there is, say, in the poetry of Larry Eigner, which is extraordinary to
read. The poetry as a result possesses a cohesion that communicates as total
life prosody &#8211; you are never in doubt that you&#8217;re in the presence of a major
poet with Niedecker. Brigham&#8217;s poems are no less intense or intelligent, but
tonally they&#8217;re more diverse &#8211; the range is from straightforward narrative,
rather like the piece I quoted on September 25, to highly enjambed. You can see
&amp; feel all of her directions, but never quite sense that presence of an overwhelming
unifying force. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial;">On
the other hand, a true <i style="mso-bidi-font-style: normal;">Collected Poems of
Besmilr Brigham</i> might tell as different a story as Niedecker&#8217;s <i style="mso-bidi-font-style: normal;">Collected Works</i> does from <i style="mso-bidi-font-style: normal;">T&amp;G: The Collected Poems (1936-66).</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial; font-size: 10.0pt;">* &amp; even this overstates the case. Oppen had dropped out
almost entirely, working as a political organizer, fight in the Second World
War, then choosing exile in </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Mexico</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> during the McCarthy era. Bunting,
more of a sporadic than a prolific poet, was off in the </span><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Middle East</span></st1:place><span style="font-family: Arial; font-size: 10.0pt;"> occupied with espionage. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: black; font-family: Arial; font-size: 10.0pt;">**
Two of the four sections of &#8220;Before You,&#8221; have been preserved: &#8220;<span class="SpellE"><span class="spelle">Fluteplayers</span></span> from <span class="SpellE"><span class="spelle">Finmarken</span></span>&#8221; and &#8220;Unswerving
Marine,&#8221; both of which show up in the section of the <i style="mso-bidi-font-style: normal;">Collected</i> entitled &#8220;Amulet,&#8221; albeit not in the order they appeared
in 1931.<o:p></o:p> All four sections can be found as separate poems in <i style="mso-bidi-font-style: normal;">Poems 1923-1941</i>, Andrew <span class="SpellE">Crozier&#8217;s</span> admirable excavation of Rakosi&#8217;s work from
Objectivism&#8217;s First Phase. </span><span style="color: black;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .25in; margin-right: 0in; margin-top: 0in; tab-stops: .25in .5in; text-indent: -.25in;">
<span style="font-family: Arial; font-size: 10.0pt;">*** See &#8220;Third Phase Objectivism,&#8221; <i style="mso-bidi-font-style: normal;">Paideuma</i>, Vol. 10, No. 1, &#8220;George Oppen
Issue,&#8221; <span class="GramE">Spring</span>, 1981, National Poetry Foundation, </span><st1:place><st1:city><span style="font-family: Arial; font-size: 10.0pt;">Orono</span></st1:city><span style="font-family: Arial; font-size: 10.0pt;">, </span><st1:state><span style="font-family: Arial; font-size: 10.0pt;">ME</span></st1:state></st1:place><span style="font-family: Arial; font-size: 10.0pt;">, pp. 85-89.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial; font-size: 10.0pt;">+ The noteworthy exception to the austere style is Zukofsky.
To a significant degree, the commitment to <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;
</i>pushed his own poetry in different directions than the rest of the
Objectivists, although his shorter pieces often reflect the stripped-down
aesthetic of his cohort.<span style="mso-spacerun: yes;">&nbsp; </span>A test of my
thesis about the impact of &#8220;disappearance&#8221; of Objectivism in the 1940s can be
seen in the work of the two younger poets from that issue of <i style="mso-bidi-font-style: normal;">Poetry </i>who continued to write and
publish: Rexroth and Ted Hecht. Their poetry evolved in ways different from the
core Objectivist group as well as different from one another &#8211; neither adopted
anything like a spare style. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial; font-size: 10.0pt;">++ Interestingly, when Niedecker turns to place as Other, in
the four-part poem &#8220;</span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Florida</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;">,&#8221; she too emphasizes the eye &#8211; both
opening and closing sections focus on the visual aspects of the state &#8211; the
birds, the older women wearing slacks. <o:p></o:p></span></div>
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