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<h2 class='date-header'><span>Thursday, October 03, 2002</span></h2>

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<i></i><br />
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<i><span style="color: black; font-family: Arial;">
O for Opacity: </span></i></div>
<span style="font-family: Arial;">I have been devouring the poetry of David Bromige with
interest ever since I first went to hear him read with Harvey Bialy in 1968 at
the Albany Public Library, a series <span class="SpellE">curated</span> by <i>Manroot
</i>editor Paul Mariah. Having gotten to know the man and his work reasonably
well in the ensuing 34 years, one might think I would not be surprised the
nature of any new book by the British-born, Canadian raised author. One would
be wrong.<o:p></o:p></span><br />
<i><span style="color: black; font-family: Arial;">As in T as in Tether</span></i><span style="color: black; font-family: Arial;"> (Chax, 2002) shows yet a new side to the bard of <span class="SpellE">Sebastapol</span>* as this master of erudition turns instead to
mount arguments so densely packed as to resist yielding beyond the surface
domains of the signifier. It's hardly accidental. The book, which I've thus far
only partly completed (and am reading most slowly because I don't want it to
ever end), is composed of four sections, the first subdivided into five
sections, the remaining three each containing 16. The poems in the last three
sections are numbered 1 through 15: each section contains one poem numbered
7.5. Of the 53 sections or pieces, only one (to which I have not yet gotten) is
in a format other than the centered stanzas that we have most recently come to
associate with the poetry of a very different Bay Area writer, Michael McClure.
<o:p></o:p></span><br />
<span style="color: black; font-family: Arial;">Bromige announces the language as signifier
theme in the first of the four sections, which the first piece proposes as an
alphabet, literally: <o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">A as
in alphabet<br />
B as in baffled <br />
C as in congress<br />
D as in delicate<br />
E as in elephant<br />
F as in fornicate<br />
G as in grass<br />
H as in hands-on<br />
I as in idiot<br />
J as in <span class="SpellE">jouissance</span><o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The arbitrariness of the logic of the
assignment of meaning is never more brutal than in the "obviousness"
of any children's alphabet book, and gradually the poems in the first section
turn up the heat:<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">P as
in <span class="SpellE">elocute</span><br />
O as in excitement<br />
N as in Z<br />
M as in breast<br />
L as in party<br />
K as in Whitman<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The second section,
"Initializing,"** is by far the <span class="GramE">most dense</span>,
reminiscent almost of Jeremy <span class="SpellE">Prynne's</span> work, as in
this excerpt from "To a Drawing Board (2)":<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">Slate
roof drive impel<br />
Hot brown register<br />
Clever-fingered want to fall<br />
Bird-nose valentine<br />
Seizes rainy day<br />
As long as you're there<br />
<span class="SpellE">Reclination</span> monkey<br />
So close as to shut<br />
The trap is studded<br />
Not this the lost access<br />
To a final run<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">Then, gradually, the text opens up again
almost as though it were a natural process that was being observed. Observe
how, in the final piece in the second section, "Stands the Pencil on its
Point," Bromige permits sound to gradually organize the ongoing text,
which in fact arrives at a moment of absolute lucidity:<o:p></o:p></span><br />
<div align="center" style="text-align: center;">
<span style="color: black; font-family: Arial;">Lists
supplicants<br />
Names the soul<br />
Whereon one stands<br />
Church clock at ten to three<br />
Mentions mellitus<br />
Orders weight be brought<br />
As if to tea or table<br />
Stranger amendment<br />
Checks off by fives<br />
Hot bodies in a hayloft<br />
Combustion baby<br />
Lists pains<br />
Plants punishments<br />
Options death or drunkenness<br />
Insists that choice<br />
Opens in the voice who<br />
Utters numbering<br />
<span class="SpellE">Halfdone</span> figured<br />
Criminal reform<br />
Grants immunity<br />
From mortal<br />
Upshot o love<br />
Pen is sans relation<br />
To its neighbor pencil<br />
Feathers and lead<br />
Islets of almost<br />
Life's no narration<br />
Mentions isolation<br />
Subordinates particulars<br />
Up against the insulation<br />
Poised on the links<br />
Hands touch the keys<br />
Print finish or begin<br />
Write meet again<o:p></o:p></span></div>
<span style="color: black; font-family: Arial;">The process begins almost inaudibly with
"Lists pains," that first <i>p</i> starting a run of three, the
latter two of which end on the same <span class="SpellE"><i>ts</i></span> as
"lists," the word called up again in the echo of "insists"
followed finally by that clearest of indicators, the rhyme betwixt
"choice" &amp; "voice." One can follow these details
through the sly exploitation of Latinate endings right to the end of the text
with its remarkable equation of "Write" with "meet," the
role of the poem that absolute confrontation with a reader (who might also be
oneself). <o:p></o:p></span><br />
<span style="color: black; font-family: Arial;">The use of centered lines mutes variations
in line length, since the longer ones literally "stick out" less by
moving out in both directions***. But what I think Bromige is ultimately after
here is maximizing the verticality of the language experience, the way in each
line does function as though it were a phrase flashing ever so briefly on an
LCD screen. Writing/Meeting is exactly what this book is about. <i>Tether</i>
is a thrilling, challenging &amp; occasionally sad work, the poet confronting
how the body, particularly one that has long battled diabetes, tethers the
soul. It's one of those books that <span class="GramE">lets</span> you see poetry
responding to its highest calling. We have far too few of these.<o:p></o:p></span><br />
<br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">* &amp; current poet
laureate of Sonoma Country, steering one hopes a solid middle course betwixt
the nonsense of Mr. Collins and that of Mr. <span class="SpellE">Baraka</span>. <o:p></o:p></span><br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">** The second, third and
fourth sections, "Initializing," "Establishing" and "<span class="SpellE">Authenticizing</span>" derive their names from the stages of
Bromige's computer's process of booting up.<o:p></o:p></span><br />
<span style="color: black; font-family: Arial; font-size: 10.0pt;">&nbsp;*** Bromige alludes to
the &#8220;spine&#8221; of the text, a <span class="SpellE">spatialization</span> of the left
margin (and one that suggests that a poem &#8220;faces forward&#8221; when centered, and is
viewed &#8220;in profile&#8221; when left as that normative left column).<o:p></o:p></span>
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<h2 class='date-header'><span>Monday, September 30, 2002</span></h2>

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<span style="font-family: Arial;">The
death of Darrell Gray ensured that Actualism could only meet a very different
fate than Objectivism. Death enters the equation as well with the disappearance
of another literary tendency of the past sixty years: the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer Circle</span></st1:address></st1:street><span style="font-family: Arial;">. If ever there was a phenomenon that cried out for a
large, well researched anthology, this is it. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The
</span><st1:street><st1:address><span style="font-family: Arial;">Spicer Circle</span></st1:address></st1:street><span style="font-family: Arial;"> had a significant impact on poetry, both 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;"> and </span><st1:country-region><st1:place><span style="font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="font-family: Arial;">, but characterizing or analyzing that impact is
difficult because so little is adequately understood about the phenomenon by
anybody other than those who were there. I wasn&#8217;t &#8211; I first heard of Spicer at
a memorial reading held at Shakespeare &amp; Company books (it may still have
called the <span class="SpellE">Rambam</span> in those days) in Berkeley that was
held, as best I can recall, around what must have been his birthday in early
1966. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Soon,
three key associates of Spicer&#8217;s &#8211; Robin Blaser, George Stanley &amp; Stan
Persky &#8211; would move to </span><st1:state><st1:place><span style="font-family: Arial;">British Columbia</span></st1:place></st1:state><span style="font-family: Arial;">. In the ten year hiatus between Spicer&#8217;s death and two events that were
to transform his place in literary history, the publication of his <i style="mso-bidi-font-style: normal;">Collected Books</i> by Black Sparrow press
and the special issue of Paul Mariah&#8217;s <i style="mso-bidi-font-style: normal;">Manroot</i>
magazine that was to place Spicer alongside Whitman &amp; a handful of others
as a founder of a gay aesthetic, only Clayton Eshleman&#8217;s <i style="mso-bidi-font-style: normal;">Caterpillar </i>12 was to focus in any serious fashion on the Spicer&#8217;s
work. While <i style="mso-bidi-font-style: normal;">Caterpillar</i> published
over 150 pages of Spicer&#8217;s early poems, correspondence, a chapter from his
detective novel and the first Vancouver lecture, it also positioned Blaser&#8217;s
own poetry first, with the sole other contribution a four page essay on the
pair from the issue&#8217;s guest editor, Persky. <o:p></o:p></span></div>
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<span style="font-family: Arial;">In
addition to that long silence &amp; Spicer&#8217;s own dogged reluctance to permit
his work and that of his friends out of the immediate physical confines of San
Francisco (refusing, for example, to send his short-lived magazine <i style="mso-bidi-font-style: normal;">J</i> by mail), the period between 1965 and
&#8217;75 was one of extraordinary transformations in American culture and politics
could not help but to reverberate throughout poetry. Spicer, who wrote about
the war in </span><st1:country-region><st1:place><span style="font-family: Arial;">Vietnam</span></st1:place></st1:country-region><span style="font-family: Arial;"> and the Beatles, was actually one of the first to
sense these changes. But others that were to come soon, from Stonewall to
Watergate, might have proven more difficult for him to digest and it is not
hard to envision a later Spicer in the sort of reactionary alcoholic stupor
that befuddled Kerouac before his death just a few years hence. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But
the Spicer Circle was something more than just the poetry of Jack Spicer &amp;
something other than a Mattachine Society of verse*. Poets as diverse as Joanne
Kyger, Larry Fagin and Jack Gilbert actively participated in events that were
central to the Spice <i style="mso-bidi-font-style: normal;">kreis</i>. Poets who
were not primarily San Franciscan, including Steve Jonas &amp; John Wieners,
could also be said to have played roles as well. An anthology such as the one I
imagine would have to develop a serious &amp; critically defensible definition
of what the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer
  Circle</span></st1:address></st1:street><span style="font-family: Arial;"> actually
was before it could go about the task to tracking down and collecting the
poetry. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The
<i style="mso-bidi-font-style: normal;">Manroot</i> issue remains the only hint
of what such an anthology might look like**, containing as it does work by
Harold Dull, Lew Ellingham, James Herndon, Jonas, Persky, Stanley, Wieners
&amp; Spicer, as well as a collaboration by Spicer &amp; Stanley with Ronnie <span class="SpellE">Primack</span> and Bruce Boyd.*** <o:p></o:p></span></div>
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<span style="font-family: Arial;">Dull
is a good example of what we are missing in not having a far better sense of
the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer
  Circle</span></st1:address></st1:street><span style="font-family: Arial;">. He published
several small books in the 1950s and &#8216;60s, including <i style="mso-bidi-font-style: normal;">The Star Year</i>, <i style="mso-bidi-font-style: normal;">The Door</i>, <i style="mso-bidi-font-style: normal;">Bird Poems</i>, and <span class="GramE"><i style="mso-bidi-font-style: normal;">The</i></span><i style="mso-bidi-font-style: normal;"> Wood Climb Down Out Of. </i>Then in 1975 he published <i style="mso-bidi-font-style: normal;">A Selection of Poems for Jack Spicer on the
Tenth Anniversary of His Death</i>. Since then, Dull has only published texts
about <span class="SpellE">Watsu</span>, his aquatic bodywork practice that
evolved out of Zen shiatsu. Herndon, <span class="SpellE">Primack</span>, James
Alexander and Joe Dunn are other members of the Circle whose writing is even
more difficult to find. <o:p></o:p></span></div>
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<span style="font-family: Arial;">In
1967, I heard Jack Gilbert introduce George Stanley as &#8220;the finest poet now
writing.&#8221; Today, their work seems worlds apart. A good anthology would in fact
demonstrate a world in which that contradiction might not occur. It would have
to sort through some infinitely thorny issues, including Robert Duncan&#8217;s
relationship to the circle (not to mention Blaser&#8217;s). I&#8217;m not the person to
mount that effort, although perhaps someone like Kevin Killian, who helped to
shape Lew Ellingham&#8217;s drafts into the masterful biography that is <i style="mso-bidi-font-style: normal;">Poet Be Like God, </i>is.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* The Mattachine Society was an early gay rights
organization, contemporary with Spicer &amp; likewise headquartered in </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;">. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">***<a href="http://www.abebooks.com/">Abebooks</a>, the rare
books network, lists at least dozen copies of the Spicer issue of <i style="mso-bidi-font-style: normal;">Manroot</i> as well as a couple of complete
runs of the journal available for sale.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** Boyd is himself noteworthy as the participant in the </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">ald Allen anthology, <i style="mso-bidi-font-style: normal;">The New American Poetry,</i> who disappeared
from the scene completely. <o:p></o:p></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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