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Showing posts with label <b>Louis Althusser</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Friday, February 07, 2003</span></h2>

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<div class="MsoNormal">
<span style="font-family: Arial;">There is never a word nor
syllable nor the slightest scratch upon the paper in any of Rachel Blau
DuPlessis&#8217; <i style="mso-bidi-font-style: normal;"><a href="http://www.dartmouth.edu/~upne/0-8195-6485-0.html">Drafts</a></i> that
has not been thoroughly vetted through the mind &amp;imagination of the poet.
So when I find indeterminacy &amp; surplus in her texts, I know that they
haven&#8217;t gotten there by accident, that even when it appears &#8220;meaningless,&#8221; it
means something.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I was reading &#8220;<i style="mso-bidi-font-style: normal;">Draft</i> 2: She&#8221;<i style="mso-bidi-font-style: normal;"> </i>this morning, which is replete with such effects. A case in point:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Dabbles the <span class="SpellE">blankie</span>
down<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;">din</span></span><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;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">do</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> throw <span class="SpellE">foo</span> <span class="SpellE">foo</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="SpellE"><span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">noo</span></span></span><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;">
<span class="SpellE"><span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">dles</span></span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the <span class="SpellE">arror</span><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;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> eros
the error of arrows<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;">each</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> little
spoil and spill<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;">all</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> during
pieces fly apart</span><span style="font-family: Arial;">.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="SpellE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Splatting</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> crumb bits
there and there.<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;">Feed &#8216;n&#8217; wipe. Woo <span class="SpellE">woo</span> petunia<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;">pie</span></span><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;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Hard<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;">to</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> get
the fail of it<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;">large</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> small
specks each naming<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;">yellow</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
surface<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;">green</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> bites<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;">Red elbow kicks an </span><st1:city><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">oran</span></st1:place></st1:city><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">ge
tangerine.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If my HTML skills were up to
it &#8211; they aren&#8217;t &#8211; I might offer some even more extreme examples: there are <span class="SpellE">are</span> <span class="SpellE">twelves</span> places in this
eight-page poem in which DuPlessis offers alternative word choices typed almost
literally atop one another, as in &#8220;the mother/the monster&#8221; or &#8220;hurl/hole/hurt.&#8221;
<span class="GramE">But, as DuPlessis herself notes in the passage quoted above,
&#8220;large small specks each naming.&#8221;</span> Just because these uses of
alternatives &amp; of baby talk don&#8217;t resolve to traditional denotations does
not make them <span class="SpellE">unmeaningful</span>. Woo <span class="SpellE">woo</span>
petunia!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The question here is what.
At one level, &#8220;She&#8221; is about gendering the family &amp; the intricacies of
mother-daughter roles. At another, it&#8217;s about the acculturation of the child
into the world of adult roles &amp; values &amp; systems, language foremost
among them. It&#8217;s precisely in the use of language that cannot be resolved into
normative concepts of meaning that I most hear the world as it was viewed by <a href="http://www.marxists.org/reference/archive/althusser/">Louis <span class="SpellE">Althusser</span></a>, the late French political philosopher, at
least in his saner moments. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="SpellE"><span style="font-family: Arial;">Althusser&#8217;s</span></span><span style="font-family: Arial;"> observation was the world replicated itself through
two systems &#8211; <span class="SpellE">repressessive</span> state apparatuses (<span class="SpellE">RSAs</span>) and ideological state apparatuses (<span class="SpellE">ISAs</span>). We are, all of us, only too familiar with <span class="SpellE">RSAs</span>, which include everything from stop signs to the
Justice <span class="SpellE">Deparment</span> (even <span class="SpellE">when</span>
it&#8217;s not in the hands of a maniacal neo-fascist like John Ashcroft) to the
version our government is about to visit on the people of Iraq. <span class="SpellE">ISAs</span> are more numerous, more complex, more subtle &amp;
ultimately more powerful. The church, family, popular media, even poetry,
generally fall in the <span class="SpellE">Althusserian</span> scheme onto the
side of <span class="SpellE">ISAs</span>. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I should say something about
ideology here, which in the <span class="SpellE">Althusserian</span> model is
only incidentally about being a Republican, a Democrat, a Libertarian or a
Green, or even about being &#8220;for&#8221; or &#8220;against&#8221; capitalism. Rather, as <span class="SpellE">Althusser</span> saw it, ideology is that which calls your name
&amp; by which &amp; through which you recognize yourself. As such, it is
precisely a subconscious process, exactly the level on which the material
signifiers of language operate. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">For all of the
unquestionable pleasures of the Lacanian &amp; for the ways in which, say, a </span><st1:personname><span style="font-family: Arial;">Carla Harryman</span></st1:personname><span style="font-family: Arial;"> might make use of a <span class="SpellE">Kristeva</span>,
my sense has been that with the notable (&amp; almost sole) exception of </span><st1:personname><span style="font-family: Arial;">Nick Piombino</span></st1:personname><span style="font-family: Arial;">, the unconscious in writing has been given short
shrift at best by my own generation of poets. Most of the effects of a text
such as Clark Coolidge&#8217;s <i style="mso-bidi-font-style: normal;">The Maintains </i>or
<i style="mso-bidi-font-style: normal;">Polaroid</i> occur at the subconscious
level or else can be described in the matter-of-fact language of feature
analysis, a close reading of surface devices that never actually gets to what
occurs <i style="mso-bidi-font-style: normal;">elsewhere</i> when one reads. At one
level, I think one could much the same about Lee Ann Brown or Quincy Troupe or even
Billy Collins. But, at another, the absence of such critique seems especially galling
in the case of poets whose work actively eschews normative expository,
figurative or narrative frames. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">When I think of the poets of
the New American generation, three in particular seem to have made active
reference to, or use of, psychoanalysis in any form: Charles Olson, Robert
Duncan &amp; Robert Bly. </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">,
in good part because of H.D.&#8217;s influence, made active &amp;, I think,
relatively effective use of Freud, although now that I put those words to
screen, I realize that I cannot fully articulate what I mean by that. Olson
poured Jungian analysis into his vast grab-bag of intellectual discourses that
he might call upon, but, while the <span class="SpellE">spectre</span> of Jung
has sometimes been raised to suggest a reason &amp; underlying cohesion for the
great &amp; wonderful mess that is <i style="mso-bidi-font-style: normal;">Maximus</i>,
Olson&#8217;s own approach has always struck me as remarkably unsystematic, forever
opportunistic, &amp; as indebted as much to Mao as to the Vienna gang. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bly? Well, it rhymes with
sigh. Invoking Jung in a very different light &amp; yoking it first to bad
translations of the especially narrow swath he cut through the surrealists
&amp; later to the Iron John one-man comic philosopher shtick, Bly went a long
way toward making <span class="SpellE">psychoanlysis</span>, Jungian or Freudian,
off-limits to a younger generation of poets unable to suppress their
snickering. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bly was one of a generation
of poets who was raised initially within the framework of the old </span><st1:place><span style="font-family: Arial;">New England</span></st1:place><span style="font-family: Arial;"> formalist tradition, but who in the 1950s rebelled
against its even then moribund dynamics. Including W.S. <span class="SpellE">Merwin</span>,
James Wright &amp; Adrienne Rich in addition to Bly, these poets did not turn
automatically to the growing alternative of the New Americans*, but rather
struck off in a new direction, which for the male poets among them meant a
version of surrealism and, at least for Bly &amp; <span class="SpellE">Merwin</span>,
a turn toward European influences. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">For a brief moment in the
early 1960s, Bly in particular made an attempt to forge a synthesis with some
of the next generation of New Americans, most notably </span><st1:personname><span style="font-family: Arial;">Robert Kelly</span></st1:personname><span style="font-family: Arial;">, whose interest in all matters occult took him
through Jung, and Jerome Rothenberg, whose interest in ethnopoetics took him
far closer to native roots than the <span class="SpellE">pancho</span> that was <span class="SpellE">Bly&#8217;s</span> omnipresent clothing accessory during that decade. The
&#8220;deep image&#8221; movement didn&#8217;t last long. I&#8217;ve written <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_12_01_ronsilliman_archive.html">before</a>
of how Kelly&#8217;s interest in the alternative wisdom traditions helped to cut him
off from some of the younger &amp; more secular poets who would come up around langpo.
The figuration given to the unconscious in the work of some of the poets around
first <i style="mso-bidi-font-style: normal;">Caterpillar</i> &amp; later <i style="mso-bidi-font-style: normal;">Sulfur,</i> especially that offered by
Clayton Eshleman, only furthered to steer the next generation of poets, already
deeply suspicious of figuration itself, in the opposite direction. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One of the great ironies in
this is that the unconscious is to analysis what birds are to ornithology, and
it&#8217;s the unconscious processing of poetry that&#8217;s of interest here more than the
extrapolation of intellectual systems. It has long seemed to me that the New
American who most directly raised the issue of the unconscious in his poetry
was not Olson or Duncan, who tended more to talk about it, but Jack Spicer.
Spicer&#8217;s use of contradiction &amp; <span class="SpellE">overdetermination</span>
is unparalleled in his generation &amp; tugs continually at the ways in which
we utilize &amp; experience just such phenomena, not merely mentally but in
day-to-day life. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It&#8217;s interesting in this
regard that there really was no such thing as a second generation </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;"> renaissance. Spicer&#8217;s early death in 1965, preceded
by the decline of his health due to drinking, set his own circle adrift, with
significant portions ending up in </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> &amp; even, in the presence of Larry Fagin, in </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;">. The poets who most deeply reflected </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s influence &#8211; David Bromige, </span><st1:personname><span style="font-family: Arial;">Michael Palmer</span></st1:personname><span style="font-family: Arial;">, </span><st1:personname><span style="font-family: Arial;">Aaron Shurin</span></st1:personname><span style="font-family: Arial;">, <span class="GramE">David</span> Melnick &#8211; seem to have worked with him serially. </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s imperiousness &amp; his public battles with Spicer
in their later years made it even less likely that anything cohesive might arise
out of such a problematic context. <span style="mso-spacerun: yes;">&nbsp;</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">So when Rachel Blau
DuPlessis roars out &#8220;Woo <span class="SpellE">woo</span> petunia,&#8221; I sense her
taking up something that has lain untouched for some time in writing &#8211; not that
it isn&#8217;t present, say, in the work of Frank O&#8217;Hara or any of another 100 poets
you could name, but rather that it exists there unaddressed, not unlike the
alcoholic uncle at the end of the couch nobody quite mentions. And I wonder if
poets such as Coolidge (or even, for that matter, myself) have felt safer
precisely because a discussion of the unconscious has been off the table for so
many decades, as if we could venture into this territory knowing that no
critical frames existed that could be usefully employed, precisely because they
had been blocked by the use of the discourses (Freud, Jung, but as read by Bly
or Duncan) that had been there previously. Like Grenier&#8217;s use of the literally
subliminal in his scrawl works, DuPlessis gives us <span class="GramE">a writing</span>
in places &#8211; it&#8217;s not the only thing she&#8217;s up to here, just the one that I&#8217;m
intrigued with today &#8211; that can only be forever <i style="mso-bidi-font-style: normal;">beyond</i> the rational. At one level, it&#8217;s a demand, a demand that we
come to understand exactly what it means.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Woo <span class="SpellE">woo</span>
petunia<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="GramE"><span style="font-family: Arial;">pie</span></span><span style="font-family: Arial;">.<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">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* Although
Rich&#8217;s pivotal poem &#8220;Diving into the Wreck,&#8221; made its first appearance in
Clayton Eshleman&#8217;s <i style="mso-bidi-font-style: normal;">Caterpillar.<o:p></o:p></i></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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<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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