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Showing posts with label <b>Lyn Hejinian</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>Lyn Hejinian</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>Monday, December 10, 2012</span></h2>

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<p class="MsoNormal" align="center" style="text-align:center"><a href="http://www.omnidawn.com/images/1000.jpg"><span style="font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline:none"><img border="0" height="399" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/iNNhvr-_npGzLoS1S0Uzwqmqz2msga9PQnMuIrH6NZvIfdd_cjbV_e_jq7X8TcFOivgAt6GMs6iofnI%3Ds0-d" width="267"></span></a><span style="font-family:&quot;Arial&quot;,&quot;sans-serif&quot;"><span style="mso-spacerun:yes">  </span></span><a href="http://www.shearsman.com/images/covers/shearsman/2012/lopezOMS300.jpg"><span style="font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;color:windowtext;mso-no-proof:yes; text-decoration:none;text-underline:none"><img border="0" height="400" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/0of-Uw1YaTJGwHGuG70wXNCLSo-mUQMm3suY0Up0zdIVjZ5JfC_TUMi7dPbwkPtW39PL_AcdRmcfal0P4CPTI_jS3Oh3_zMRh0uL0JIPMXjG3WLgSsjhJYM%3Ds0-d" width="259"></span></a><span style="font-family:&quot;Arial&quot;,&quot;sans-serif&quot;"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:10.0pt;line-height:115%;font-family: &quot;Arial&quot;,&quot;sans-serif&quot;;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">When, in 200 years, students are reading the poetry of Lyn Hejinian &#8211; as certainly they shall if humans are still about &#8211; those readers will undoubtedly begin with <i style="mso-bidi-font-style:normal">My Life </i>(hopefully in its initial Burning Deck version, not because the earlier edition is &#8220;better,&#8221; but because that is the volume that changed the lives of so many other poets). Those who go on to read Hejinian&#8217;s finest work, however, will then turn to </span><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;"><a href="http://www.omnidawn.com/hejinian2/index.htm"><i style="mso-bidi-font-style: normal"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">The Book of a Thousand Eyes</span></i></a><i style="mso-bidi-font-style:normal"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">, </span></i><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">which Omnidawn brought out earlier this year. <o:p></o:p></span></span></p><p class="MsoNormal"><span style="font-size:10.0pt;line-height:115%;font-family: &quot;Arial&quot;,&quot;sans-serif&quot;;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: &quot;lumm=95000 lumo=5000&quot;">Coming in at 333 pages, <i style="mso-bidi-font-style: normal">Eyes </i>is a project on which Hejinian has been working for decades and the concentration of effort yields remarkable insights. Although 95% of the volume is in verse, <i style="mso-bidi-font-style:normal">Eyes </i>is &#8211; alongside Tony Lopez&#8217; forensic masterpiece <i style="mso-bidi-font-style:normal"><a href="http://www.shearsman.com/pages/books/catalog/2012/lopezOMS.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:&quot;lumm=95000 lumo=5000&quot;">Only More So</span></a></i></span><i style="mso-bidi-font-style:normal"><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242"> </span></i><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">&#8211; the deepest thinking over the role, form, history &amp; future of the sentence I have encountered:<o:p></o:p></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:0in; margin-left:1.0in;margin-bottom:.0001pt;text-indent:-.5in"><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">Perhaps my dear family can profit from my story<o:p></o:p></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:0in; margin-left:1.0in;margin-bottom:.0001pt;text-indent:-.5in"><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">As it continues two pickpockets are denying a robust policeman&#8217;s suggestions that they are &#8216;suspiciously encumbered&#8217;<o:p></o:p></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:0in; margin-left:1.0in;margin-bottom:.0001pt;text-indent:-.5in"><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">If encumbered, they insist, they would resemble kids with a lot to say<o:p></o:p></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:0in; margin-left:1.0in;margin-bottom:.0001pt;text-indent:-.5in"><span style="font-size:10.0pt;line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">They would resemble unwanted sympathy<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:.5in"><span style="font-size:10.0pt; line-height:115%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;;color:#0D0D0D;mso-themecolor: text1;mso-themetint:242">They would not be like holes in a hallway<o:p></o:p></span></p>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Lyn%2520Hejinian' rel='tag'>Lyn Hejinian</a>,
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<h2 class='date-header'><span>Wednesday, August 15, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;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"'><span style='mso-spacerun:yes'>  </span></span><a href="http://www.omnidawn.com/hejinian2/index.htm"><span style='font-size:12.0pt; line-height:150%;font-family:"Arial","sans-serif";color:black;mso-themecolor: text1;mso-no-proof:yes;text-decoration:none;text-underline:none'><img border="0" height="437" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/iNNhvr-_npGzLoS1S0Uzwqmqz2msga9PQnMuIrH6NZvIfdd_cjbV_e_jq7X8TcFOivgAt6GMs6iofnI%3Ds0-d" width="292"></span></a><span style='font-size:12.0pt;line-height:150%;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.citylightspodcast.com/episodes/Lyn.Hejinian02.09.12.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"'>Lyn Hejinian</span></a><br> reads <i style='mso-bidi-font-style:normal'><a href="http://www.citylightspodcast.com/episodes/Lyn.Hejinian02.09.12.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"'>The Book of A Thousand Eyes</span></a></i><br> <span style='mso-spacerun:yes'> </span>at <a href="http://www.citylightspodcast.com/lyn-hejinian-reads-from-the-book-of-a-thousand-eyes/"><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"'>City Lights</span></a><br style='mso-special-character:line-break'> <!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'> <!--[endif]--><o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, October 17, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;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://www.poetryfoundation.org/bio/lyn-hejinian"><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"'>Lyn</span></a> <a href="http://www.poets.org/poet.php/prmPID/396"><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"'>Hejinian</span></a><br> reads from <i style='mso-bidi-font-style:normal'><br> <a href="http://poemtalkatkwh.blogspot.com/2009/03/hejinian-constant-change.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"'>The Book of a Thousand Eyes</span></a><br> </i>in <a href="http://vimeo.com/26984061"><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"'>Calgary</span></a>, March 2011<o:p></o:p></span></p>
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<h2 class='date-header'><span>Tuesday, August 02, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;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://en.wikipedia.org/wiki/Carla_Harryman"><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"'>Carla Harryman</span></a> &amp; <a href="http://en.wikipedia.org/wiki/Lyn_Hejinian"><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"'>Lyn Hejinian</span></a><br> read <i style='mso-bidi-font-style:normal'><a href="http://belladonnaseries.org/thewideroad.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"'>The Wide Road</span></a><br> </i>in <a href="http://vimeo.com/27025299"><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"'>Calgary</span></a></span><span style='font-size:12.0pt;line-height:150%'>, March 2011<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, July 28, 2011</span></h2>

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<h2 class='date-header'><span>Wednesday, July 27, 2011</span></h2>

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<h2 class='date-header'><span>Wednesday, October 13, 2010</span></h2>

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<h2 class='date-header'><span>Friday, January 03, 2003</span></h2>

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<span style="font-family: Arial;">Lyn Hejinian has offered the
readers of <i style="mso-bidi-font-style: normal;">My Life </i>a unique look into
the compositional strategies of the project by publishing two different
booklength versions. The first, published by Burning Deck in 1980, includes 37 paragraphs
of 37 sentences each. The second, published by Sun &amp; Moon in 1987, offers
45 paragraphs of 45 sentences each. Thus, in addition to adding eight new
paragraphs, one for each of the intervening years of the project, Hejinian also
added eight sentences to each of the existing paragraph of the first version.
Hejinian also appears to have made small additions to at least one existing
sentence within each paragraph. Here is the seventh paragraph of the 1987
version, known by its epigram &#8220;Like plump birds along the shore,&#8221; with material
new to this version printed in <b style="mso-bidi-font-weight: normal;">boldface</b>:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Summers
were spent in a fog that rains. <b style="mso-bidi-font-weight: normal;">They
were mirages, no different from those that camelback riders approach in the factual
accounts of voyages in which I persistently imagined myself, and those mirages
on the highway were for me both impalpable souvenirs and unmistakable evidence
of my own adventures, now slightly less vicarious than before. The person too
has </b></span><st1:state><st1:place><b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">fla</span></b></st1:place></st1:state><b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">red ears, like an infant&#8217;s reddened with
batting. </span></b><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I had claimed the radio nights for my own. There
were more storytellers than there were stories, so that everyone in the family
had a version of history and it was impossible to get close to the original, or
to know &#8220;what really happened.&#8221; The pair of ancient, stunted apricot trees <span class="GramE">yield</span> ancient, stunted apricots. What was the meaning hung
from that <span class="GramE">depend.</span> <span class="GramE">The sweet
aftertaste of artichokes.</span> <span class="GramE"><b style="mso-bidi-font-weight: normal;">The lobes of autobiography.</b></span><b style="mso-bidi-font-weight: normal;"> </b>Even a minor misadventure, a bumped fender or a newsstand without
newspapers, can &#8220;ruin the entire day,&#8221; but a child cries and laughs <b style="mso-bidi-font-weight: normal;">without rift. The sky droops straight down.
<span class="GramE">I lapse, hypnotized by the flux and reflux of the waves.</span>
</b>They had ruined the Danish pastry by frosting it with whipped butter. It
was simply a tunnel, a very short one. Now I remember worrying about lockjaw.
The cattle were beginning to move across the field pulled by the sun, which
proved them to be milk cows. There is so little public beauty. I found myself
depended on a pause, a rose, something on paper. It is a way of saying, I want
you, too, to have this experience, so that we are more alike, so that we are
closer, bound together, sharing a point of view &#8211; so that we are &#8220;coming from
the same place.&#8221; It is possible to be homesick in one&#8217;s own neighborhood. <span class="GramE">Afraid of the bears.</span> A string of eucalyptus pods was hung by
the window to discourage flies. So much of &#8220;the way things were&#8221; was the same
from one day to the next, that I can speak now of how we &#8220;always&#8221; had dinner,
all of us sitting at our usual places in front of the placemats of woven straw,
eating the salad first, with cottage cheese, which my father always referred to
as &#8220;cottage fromage,&#8221; that being one of many little jokes with which he
expressed his happiness at home. Twice he broke his baby toe, stubbing it at
night. As for we who &#8220;love to be astonished,&#8221; my heartbeats shook the bed. In
any case, I wanted to be both the farmer and his horse when I was a child, and
I tossed my head and stamped with one foot as if I were pawing the ground
before a long gallop. Across the school playground, an outing, a field trip,
passes in ragged order over the lines which mark the hopscotch patch. It made
for a sort of family mythology. The heroes kept clean, chasing dusty rustlers,
tonguing the air. They spent the afternoon building a dam across the gutter.
There was too much carpeting in the house, but the windows upstairs were left
open except on the very coldest or wettest of days. It was there that she met
the astonishing figure of herself when young. <b style="mso-bidi-font-weight: normal;">Are we likely to find ourselves later pondering such <span class="SpellE">suchness</span> amid all the bourgeois <span class="GramE">memorabilia.</span>
</b>Wherever I might find them, however unsuitable, I made them useful by a
simple shift. The obvious analogy is with music. Did you mean gutter or <span class="GramE">guitar.</span> Like cabbage or collage. The book was a sort of
protection because it had a better plot. <span class="GramE">If any can be spared
from the garden.</span> They hoped it would rain before somebody parked beside
that section of the curb. The fuchsia is a plant much like a person, happy in
the out-of-doors in the same sun and breeze that is most comfortable to a
person sitting nearby. We had to wash the windows in order to see them. Supper
was a different meal from dinner. <b style="mso-bidi-font-weight: normal;">Small
fork-stemmed boats propelled by wooden spoons wound in rubber bands <span class="GramE">cruised</span> the trough. Losing its balance on the low horizon
lay the vanishing vernal day.<o:p></o:p></b></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I know of no other poet of
my generation &#8211; &amp; perhaps only Jennifer Moxley from among younger writers &#8211;
who could write a phrase such as &#8220;vanishing vernal day.&#8221; This is just one of
dozens of small, almost intimate details in this paragraph alone that render
Hejinian unmistakable as a poet, &amp; which together account for the
passionate advocacy her poetry inspires. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">What interests me here, first,
is the absence of any formal system for the incorporation of new material into
the piece. Six of the eight new sentences in this seventh section are
introduced in pairs &#8211; in the book&#8217;s first paragraph, however, there was just
one pair, plus another group of three clustered together, while in the eighth
paragraph, all new sentences appear by themselves, singletons of new data &amp;
context. And of course, after the 37<sup>th</sup> paragraph, all additional
paragraphs can contain only new writing. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In the seventh paragraph,
the new material transforms the section&#8217;s beginning and end, but makes
relatively modest interventions during the main body of the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t. The most significant of these latter insertions is
a sentence (plus two words) positioned between two sentences that were built
around uses of the word &#8220;ruin.&#8221; Where in 1980, the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t made a sharp turn precisely at the point of the two
meanings assigned to &#8220;ruin,&#8221; in 1987 these meanings function far more softly,
echoing their common moment. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Three sentences can be read
as alluding to the phenomena of heat-based mirages rising up of the pavement:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 6.0pt; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">The explicit new
second sentence of the paragraph, which sets up the structure for the image
schema &#8211; the length &amp; detail of this sentence are necessary if the
paragraph is to intelligibly re-invoke this construct later with shorter, more
brief sentences <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 6.0pt; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">A sentence
one-quarter of the way through the paragraph that reverses the point-of-view,
focusing instead on how the narrator is &#8220;hypnotized&#8221; by the waves of the mirage<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 6.0pt; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">The final
sentence in the paragraph, a moment of closure radically different from the
1980 homily <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A fourth sentence is also
plausible if one incorporates &#8220;The sky droops straight down&#8221; into this same
image schema. Thus a point of reference that was not even hinted at in the 1980
version of the paragraph becomes the controlling image schema for its 1987
incarnation. This transformation is not insignificant. The nature of this
paragraph has not been &#8220;updated,&#8221; but completely re-envisioned by the process.
The frame of late &#8216;40s radio dramas &#8211; which then models the role given over to
family stories in the 1980 version of the poem is far less of a master paradigm
for the paragraph, replaced in fact by the presence of mirages. While its own
juxtaposition to family narratives has not changed in the slightest, its
position overall within the paragraph redefines the meaning of that
juxtaposition.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are, of course,
several other things going on here, more or less at the same time. Two of the
eight new sentences &#8211; &#8220;lobes of autobiography&#8221; &amp; the question &#8220;Are we
likely to find ourselves&#8221; &#8211; function as metacommentary on the process of <i style="mso-bidi-font-style: normal;">My Life</i> itself. The sentence concerning
&#8220;small fork-stemmed boats&#8221; can be read &#8211; although I&#8217;m suspicious of this as the
scale seems wrong &#8211; as related to the narrative of childhood engineering,
damming the <span class="GramE">gutters, that is</span> constructed via several
sentences of the 1980 version of this paragraph. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Also of considerable
interest to me are the two words now added to the final phrase of what had originally
been the seventh sentence: &#8220;without <span class="GramE">rift.</span>&#8221; I think
that it is possible to interpret that sentence in just that way, so that these
words add relatively little to what has already been written. But it is also
possible, or at least was in 1980, to see in that image of the child the twin
masks of theater &#8211; comedy &amp; tragedy &#8211; which then allude back again to the
image of &#8220;radio nights.&#8221; Here again, Hejinian&#8217;s intervention mutes or thwarts
that reading &#8211; it&#8217;s a different </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t in 1987, with connotations distributed accordingly.
<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">Both versions of <i style="mso-bidi-font-style: normal;">My Life </i>are remarkable works, although I
have a personal bias toward the earlier version that is really an allegiance to
the intensity of my first full reading of it on an airplane. Potentially, a
project of this sort is infinite in the sense that it never need end so long as
the poet herself continues to live &amp; write. Hejinian did continue the
actual process for some time after the release of the Sun &amp; Moon edition,
although no later version has been published. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, January 02, 2003</span></h2>

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<span style="font-family: Arial;">Some works appear destined
to change one&#8217;s mind.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It took me several months to
get around to reading Lyn Hejinian&#8217;s <i style="mso-bidi-font-style: normal;">My
Life</i> when it was first published by Burning Deck in 1980 because my initial
reaction thumbing through the small volume was negative. It felt far too much
to me like gazing into a mirror &#8211; as though Hejinian had dutifully plagiarized
my own approach to the new sentence from <i style="mso-bidi-font-style: normal;">Ketjak,</i>
perhaps with less use of found materials, using <i style="mso-bidi-font-style: normal;">My Life&#8217;s </i>outer structural elements of one paragraph for every year
in this unusual autobiography &amp; one sentence for every paragraph &#8211; thus 37
paragraphs each containing 37 sentences &#8211; to construct a work that looked
different, but which really differed principally through an uncritical approach
to the question of autobiography. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This wasn&#8217;t the first time
I&#8217;d had a less-than-positive initial reaction to Hejinian&#8217;s writing only to
revise my opinion completely soon thereafter. When, sometime in the early
1970s, <i style="mso-bidi-font-style: normal;">Occurrence</i> editor John Wilson
first had Hejinian send me a packet of writing, I&#8217;d recognized instantly the
strong sense of style, but had felt that it sought out lushness for its own
sake &#8211; and I wrote her pretty bluntly to say so. When I got back a letter that
took my grumpy misreading seriously but didn&#8217;t back off from her aesthetic
commitments, I realized I was &#8220;<span class="SpellE">misunderestimating</span>&#8221;
her indeed. As I was aware that I had had similar responses at first to other
poets whose work later became exceptionally important to me &#8211; Clark Coolidge
would be a case in point &#8211; I decided to just hold off until I got a better
sense of things. This was true of both her work initially and later of <i style="mso-bidi-font-style: normal;">My Life. </i><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It was through the poetry of
another writer about whom I might make that same &#8220;lushness for its own sake&#8221;
charge that I came to reassess Hejinian&#8217;s approach to poetry generally &#8211; Ken
Irby. The fourth issue of Hejinian&#8217;s chapbook series, the original Tuumba Press
project, was Irby&#8217;s <i style="mso-bidi-font-style: normal;">Archipelago</i>,
published (it says on its intensely blue cover) in November 1976. One month
earlier, however, I&#8217;d run into Hejinian operating a stall at a small press fair
at San Francisco&#8217;s Fort Mason, with this book front &amp; center on her table.
Irby is nothing if not a poet of the ear, perhaps the purest example of this of
this obvious possibility within Projectivist poetics, and he&#8217;s something of an
acquired taste. By 1976, I&#8217;d been a serious Irby aficionado for over a decade
&amp; felt at times (as I still do) as though I were a member of some secret
society: The Serious Readers of Kenneth Irby. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">On the spot, Hejinian &amp;
I got deeply into a wonderful conversation about Irby&#8217;s poetry &amp; realized
who each other was &#8211; I mumbled some sort of apology over my intemperate
response to her material (which, as I recall, she deflected, saying that it was
entirely unnecessary, a judgment more generous than true). Relatively soon
after, Hejinian &amp; her partner (now husband) Larry <span class="SpellE">Ochs</span>
moved south from Willits to Berkeley &amp; I got to know both them as two of
the most probing, inventive, talented &amp; imaginative people on the planet.
Each of her first four books &#8211; <i style="mso-bidi-font-style: normal;">A Thought
is the Bride of What Thinking; A Mask of Motion; <span class="SpellE">Gesualdo</span>;
</i>&amp; <i style="mso-bidi-font-style: normal;">Writing is an Aid to Memory </i>&#8211;
had been so utterly different that I believed I could not, in fact, prejudge
this one on a thumb-through. So when I didn&#8217;t immediately respond well to <i style="mso-bidi-font-style: normal;">My Life,</i> my reaction was to set aside
until some time when I could look at it again with fresh eyes.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">That opportunity came on a
transcontinental flight back from the East Coast to </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;"> early in 1981. I got into my seat, buckled up,
pulled the book from the Danish book bag that was my constant companion in
those years &amp; did not set the volume down again until I finished it,
literally as the plane was making its approach into SFO. Thus I read it for the
first time in a single sitting, something I never do with anything beyond a
20-page chapbook. That reading is still, to this day, the last book with which
I&#8217;ve done this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">My Life </span></i><span style="font-family: Arial;">was
not, in fact, the book I&#8217;d expected (or dreaded) at all. Where <i style="mso-bidi-font-style: normal;">Ketjak</i> is very much an outward facing
text, <i style="mso-bidi-font-style: normal;">My Life</i> operates by facing (as
would any memoir) backwards. This focus transforms the project entirely. Where <i style="mso-bidi-font-style: normal;">Ketjak </i>uses repetition to make &#8220;the new
sentence&#8221; possible, by literally breaking apart the residual narrative
instincts in my work, <i style="mso-bidi-font-style: normal;">My Life</i>
proceeds by simply assuming the new sentence as a given &amp; using repetition
thematically, both within the body of the text proper and in the epigrams that head
up every paragraph. Where the structure of <i style="mso-bidi-font-style: normal;">Ketjak</i>
is accumulative and essentially musical in its movements, <i style="mso-bidi-font-style: normal;">My Life</i> functions as a series of compositions all roughly equal in
size &#8211; there is <span class="GramE">a logic</span> (a narrative dimension that is
only half hidden) both within &amp; between paragraphs. The requirement of
composing such structural equivalents &#8211; their formalism is reminiscent of a
sonnet sequence, although, in the 1980 edition, of 37-sentence prose sonnets &#8211;
places enormous compositional demands on Hejinian, which she moves through with
a sweep &amp; grace that is stunning, one jaw-dropping, awe-inspiring turn
after another. Even for someone thoroughly knowledgeable as to the implications
of langpo in 1981, someone who had in fact read all of Hejinian&#8217;s earlier volumes,
<i style="mso-bidi-font-style: normal;">My Life</i> is one of those reading
experiences that very thoroughly <span class="GramE">cleaves</span> the world
into before &amp; after. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Friday, September 06, 2002</span></h2>

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<div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-family: Arial;">Two
books that surprise me with their similarity are Frank Stanford&#8217;s <i style="mso-bidi-font-style: normal;">The Battlefield Where the Moon Says I Love
You</i> and Lyn Hejinian&#8217;s A <i style="mso-bidi-font-style: normal;">Border
Comedy. </i>On the surface, two more dissimilar poems could hardly exist.
Hejinian&#8217;s exegesis on the comic is such a compendium of her reading that each
section has its own bibliography. Stanford&#8217;s surreal memoir was written when he
was a teenager and barely admits to its literacy, let alone the encyclopedic
reading that one suspects lurks below the deep swamp facade.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-family: Arial;">What
these two projects share, however, is their conception of the line. In each, the
line is highly flexible: basically long, but with great variety in length;
basically discursive, a monologue that readily admits other voices; close to
speech and yet not tied to it in the strict sense of the projectivist uses of
enjambment. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-family: Arial;">Stanford:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">who</span></span><span style="font-family: Arial;"> is that Sylvester<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">why</span></span><span style="font-family: Arial;"> that&#8217;s my cousin McGillicutty<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">what&#8217;s</span></span><span style="font-family: Arial;"> he doing with them boards<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">he&#8217;s</span></span><span style="font-family: Arial;"> mending the fence son<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">why&#8217;s</span></span><span style="font-family: Arial;"> he doing that<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">cause</span></span><span style="font-family: Arial;"> I got him the job<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">what&#8217;s</span></span><span style="font-family: Arial;"> he doing with the bootlegger&#8217;s lumber<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">he&#8217;ll</span></span><span style="font-family: Arial;"> never miss it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">what&#8217;s</span></span><span style="font-family: Arial;"> he making<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">that&#8217;s</span></span><span style="font-family: Arial;"> his trade he has to make them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">McGillicutty you say why he&#8217;s the undertaker<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">like</span></span><span style="font-family: Arial;"> I say somebody got to<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">I don&#8217;t care what he is you tell him to quit
hammering on that coffin <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Jesus was a carpenter<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">he</span></span><span style="font-family: Arial;"> wasn&#8217;t no undertaker and he didn&#8217;t build no caskets
though<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">I say McGillicutty he said you spooking this boy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">how</span></span><span style="font-family: Arial;"> bout fixing me that swinging board so I can get my
whiskey<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">will</span></span><span style="font-family: Arial;"> do brother<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">McGillicutty limped over to where we were he said I
through anyway<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">who</span></span><span style="font-family: Arial;"> passed Sylvester said<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">boy</span></span><span style="font-family: Arial;"> child drowned in the <span class="SpellE">barr</span>
pit<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">what</span></span><span style="font-family: Arial;"> your first name I said<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="SpellE"><span style="font-family: Arial;">Mulciber</span></span><span style="font-family: Arial;"> he said<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">what</span></span><span style="font-family: Arial;"> happened to your leg<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">mule</span></span><span style="font-family: Arial;"> fell on it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">don&#8217;t</span></span><span style="font-family: Arial;"> you know no better than to be nailing coffins when
it&#8217;s dark<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">I like to work at night<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">take</span></span><span style="font-family: Arial;"> your work someplace else then<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="SpellE"><span class="GramE"><span style="font-family: Arial;">yassuh</span></span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">you</span></span><span style="font-family: Arial;"> ain&#8217;t got to leave you can stay with us but the
casket give me the <span class="SpellE">heebie</span> <span class="SpellE">jeeies</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">I see<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Sylvester said cousin you got the dimensions right<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">well</span></span><span style="font-family: Arial;"> now I don&#8217;t know<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">I knew the two <span class="GramE">negroes</span> was
jiving me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">look</span></span><span style="font-family: Arial;"> here at this boy reckon he&#8217;s about the right size<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="SpellE"><span style="font-family: Arial;">Sadday</span></span><span style="font-family: Arial;"> night if he ain&#8217;t<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">they</span></span><span style="font-family: Arial;"> got <span class="SpellE">ahold</span> of my arms and
legs like I was a dead man<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">leave</span></span><span style="font-family: Arial;"> me lone I said<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">but</span></span><span style="font-family: Arial;"> they dropped me in the coffin<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">it</span></span><span style="font-family: Arial;"> was shored up on two saw horses like a boat<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">the</span></span><span style="font-family: Arial;"> shavings of wood inside were like a nest of dead
wasps<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">it</span></span><span style="font-family: Arial;"> felt so good real tight like new clothes that fit<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">like</span></span><span style="font-family: Arial;"> a muscle man T-shirt <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .25in; text-indent: -.25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in; text-indent: -.25in;">
<span style="font-family: Arial;">Hejinian:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">A comedian is a foreigner at border<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Or comedienne &#8211; antinomian<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Performing the comedy known as barbarism<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">This<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">An encounter<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">(Encounters, after all, are the </span><st1:city><st1:place><span style="font-family: Arial;">essen</span></st1:place></st1:city><span style="font-family: Arial;">ce of comedy)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">With forge and link<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Which doppelgangers (perfect matchers) match<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">With whistling in the left ear<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">And symptoms of melancholy &#8211; gloomy dreams,
twitching, jerking, itching, and swift changes of mood<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">With the capacity to transform an inaccessible object
into something we long voluptuously to embrace<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">And <span class="GramE">ourselves</span> into an unquiet
subject &#8211; at last! Baffled!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">After all, it&#8217;s a rare miracle (called
&#8220;omnipresence&#8221;) when one can appear in many places at once<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Change, then, is the exemplary connection<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Between romance and improvement<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">The press of the curling tree in the pink of the shadowy
snow<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Out of nowhere &#8211; uncanny<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">And falling under a squirrel&#8217;s frenzy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">The color <span class="GramE">of<span style="mso-spacerun: yes;">&nbsp; </span>the</span> sky is cast in territory belonging
to &#8220;the public&#8221;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Under spell part globe, part departure of a vessel <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Passing speech through law<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Turning south<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Where we&#8217;re the oddballs and peppercorns<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Picking pace<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Like other comic poets<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">I should point out here<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span class="GramE"><span style="font-family: Arial;">That tragic writers</span></span><span style="font-family: Arial;"> have merely to let their characters announce who
they are for the audience instantly to know everything<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">Whereas comic writers use original plots<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<span style="font-family: Arial;">And start from scratch <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.25in; text-indent: -.25in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I&#8217;ve seen <i style="mso-bidi-font-style: normal;">Battlefield</i> characterized as a novel, as
has Hejinian&#8217;s <i style="mso-bidi-font-style: normal;">My Life</i> &#8211; it is
evident that the 19<sup>th</sup> century <span class="GramE">novel, as well as
the great personal narratives of that era, continue</span> as influences on her
writing. <i style="mso-bidi-font-style: normal;">A Border Comedy</i> and <i style="mso-bidi-font-style: normal;">Battlefield</i> are both booklength poems
deeply involved with the telling of stories. The diversity of characters &#8211;
voices &#8211; that shows up in each is extraordinary (and accounts in part for the
richness one feels reading either work). Yet the differences between Stanford&#8217;s
backwoods </span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;"> and Hejinian&#8217;s internationalized urban one could not
be more pronounced. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The fundamental neutrality
of the device has seldom been <span class="GramE">more clear</span>. The writer
who understands its potential can put any formal dimension to almost any
purpose imaginable. In each poem here, the line governs the reader&#8217;s
experience. Line breaks are almost always perceptible, but largely deadpan in
affect, not eroticized the way one finds in works of high enjambment (even as
the erotic enters into both poems). The variety in line length controls tempo
and can make the process of absorbing long passages far less difficult &#8211; though
Stanford at times stretches the line out for just the opposite effect. The
result is two irresolvable visions of </span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;">n life. <o:p></o:p></span></div>
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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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