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Showing posts with label <b>Marianne Shaneen</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>Marianne Shaneen</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, February 03, 2003</span></h2>

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<span style="font-family: Arial;">One poet who appears to be
doing something completely different from virtually anything I&#8217;ve written about
on this blog is Marianne Shaneen &#8211; that at least is my first impression on
reading &#8220;from THE PEEKABOO THEORY: object permanence&#8221; in <i style="mso-bidi-font-style: normal;">Snare </i>3, the first issue of I&#8217;ve actually seen of Drew Gardner&#8217;s
little magazine.<span style="mso-spacerun: yes;">&nbsp; </span>You can miss Shaneen&#8217;s
work &#8211; it leads off an issue filled with writers whose poetry I already know I
like: Bill Luoma, Mitch <span class="SpellE">Highfill</span>, Elizabeth Willis,
Gardner himself, </span><st1:personname><span style="font-family: Arial;">Rod
 Smith</span></st1:personname><span style="font-family: Arial;">, <span class="SpellE">Tod</span> Barron, Rodrigo Toscano, Bob Harrison, Edwin Torres,
Kim Lyons &amp; Allison Cobb. Indeed, the only other poet in the entire issue
whose work I&#8217;m not already familiar with is Jen Robinson, not to be confused
with Kit or Elizabeth. Marianne Shaneen is positioned first amidst all these
relatively well-known poets &amp;, at ten <span class="GramE">pages,</span> her
contribution represents nearly 20 percent of the entire issue. As an editor, </span><st1:city><st1:place><span style="font-family: Arial;">Gardner</span></st1:place></st1:city><span style="font-family: Arial;"> is definitely making a statement. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Visually, it takes a
nanosecond to see that Shaneen is doing something different. Her text fills the
page as though it were prose &amp; the long lines tend more toward the logic of
the paragraph than that of verse, even within the broad range of post-avant
varieties.<span style="mso-spacerun: yes;">&nbsp; </span>Here are the first two
passages &#8211; I started to type &#8220;stanzas&#8221; then stopped myself; they don&#8217;t come
across with the feel of a stanza:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">1825: </span><st1:country-region><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> postal
service creates a dead letter office<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">1825: Persistence of vision
shown with the pre-cinematic <span class="SpellE">Thaumatrope</span>, a disk with
an image on each side: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">bird, wings up on one side and
down on the other. eye, lid open on one side and closed on the other.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">when rotated rapidly, the
observer perceives<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">an eye opening and closing or,
a bird in flight<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I saw my breath today:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">your absence has weathered its
first change of the season<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">buzzer range I rushed down the
stairs <i style="mso-bidi-font-style: normal;">it must be you</i> but only
mailman. drops of sweat on my forehead betrayed my hopes while simultaneously
becoming sign of hope&#8217;s betrayal: skin weeping or, I was wept.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">By my count, that is eight
lines of type: four, then one after a single-line break, then, after a
noticeably longer break, three others in the second stanza-thingy. That I&#8217;m
having to calculate this out &amp; ponder the issue &#8211; I could be wrong in this,
I realize &#8211; tells you a lot about how Shaneen attacks questions of form. The
next line of the next passage includes both <i style="mso-bidi-font-style: normal;">italics
</i>&amp; <b style="mso-bidi-font-weight: normal;">boldface. </b>When I said that
her lines tend toward the logic of prose, it was not merely the length or prosody
I had in mind, the relative absence of signs of compression that are so
characteristically the graphemic signals of verse (but note the missing article
in front of <i style="mso-bidi-font-style: normal;">mailman</i>), but that when
lines &#8220;run over&#8221; the relative space of the page, they come back flush against
the left-hand margin. No verselike hanging indents here. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">What I don&#8217;t get, either in
the snippet above or elsewhere in the ten-page excerpt in <i style="mso-bidi-font-style: normal;">Snare</i>, is a sense of Shaneen&#8217;s ear. She simply appears to have no
interest in that dimension of the text. This seems important, if only because
it will help to contextualize this piece for me, away from, for example, the
information-junky aspect of Olson&#8217;s Projectivism, toward something that falls
somewhere between the fiction of ideas &amp; an enlightened notebook &#8211;
philosophy in the literal sense of that word, rather than in the normative or
even traditional senses of it. Rather, this work seems to seed concepts &#8211; the
mail, cameras, blindness, shadow, writing, the game of peek-a-boo &#8211; into a
field of action (I is present, you is missing in action, though also the
addressee), permitting a maximum of consequences. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A writing of this type
demands a high tolerance for ambiguity. An eventual volume of this text is,
like a book length prose poem such as <a href="http://writing.upenn.edu/epc/authors/hejinian/">Lyn Hejinian&#8217;s</a> <i style="mso-bidi-font-style: normal;"><a href="http://www.greeninteger.com/catbook.cfm?CFID=489303&amp;CFTOKEN=57311033&amp;BookID=63">My
Life</a>,</i> certain to befuddle the beleaguered bookstore employee who has to
figure out not only where to stock the item, but also where prospective
customers are going to seek it out.* As a verse novel, it has less in common
with Hejinian&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://www.durationpress.com/thefigures/oxota.htm"><span class="SpellE">Oxota</span></a></i>
than with, perhaps, James Merrill&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://www.centerforbookculture.org/dalkey/backlist/merrill.html">The (<span class="SpellE">Diblos</span>) Notebook</a>. </i>The questions it asks of a reader
are ultimately no <span class="GramE">less complex</span> &#8211; for example, how to
judge the question of figuration, or of character, terms seldom invoked these
days with regard to the poem. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Arial;">Another section of &#8220;THE
PEEKABOOK THEORY&#8221; can be found in <i style="mso-bidi-font-style: normal;"><a href="http://beehive.temporalimage.com/content_apps52/app_e.html">Beehive</a>.</i>
Like what I find in <i style="mso-bidi-font-style: normal;">Spare</i>, it&#8217;s
complex, often brilliant, but utterly unconcerned with the ear. It may
ultimately turn out that the work of this Brooklyn-based performer,
photographer, novelist &amp; poet gets characterized as poetry, but I suspect
that will be because this is what we have come to call things we don&#8217;t quite
know what to call. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Just
watching how poorly bookstores handle a genre like the graphic novel should
give some sense of how hard this is for them, especially in an age when many bookstores
don&#8217;t pay well enough to attract serious readers for employees. <o:p></o:p></span></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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