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Showing posts with label <b>Multitudes</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>Wednesday, February 06, 2019</span></h2>

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<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<b><span style="font-size: 24.0pt; line-height: 200%;">Multitudes</span></b></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Walt Whitman often
is characterized as an apotheosis of the American cult of individualism with <i style="mso-bidi-font-style: normal;">Song of Myself </i>presented as exhibit A &#8211;
Stephen Mitchell, for example, writes<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: .8in; margin-right: .8in; margin-top: 0in;">
Certainly the poem embodies an outrageous
egotism, an &#8220;I&#8221; so shamelessly naked that even a bodhisattva can admire it<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%;">[i]</span></span><!--[endif]--></span></span></a>,<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
but I hear something different. It
may be because I have been teaching Gertrude Stein&#8217;s <i style="mso-bidi-font-style: normal;">Tender Buttons </i>at the same time that I have been rereading <i style="mso-bidi-font-style: normal;">Song, </i>in Mitchell&#8217;s faux version of the
1855 first publication in<i style="mso-bidi-font-style: normal;"> Leaves of Grass
</i>that presented the text as a single unbroken long poem, in a truer version
of the first edition<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%;">[ii]</span></span><!--[endif]--></span></span></a>, <span style="mso-spacerun: yes;">&nbsp;</span>and in the 1891 &#8220;deathbed&#8221; edition that
replicates the 1881 final variant, broken now into a suggestive 52 sections and
using a title that did not settle on the text until 1876. <i style="mso-bidi-font-style: normal;">Song </i>was published in six different compositional stages during
Whitman&#8217;s life, with Mitchell&#8217;s 1993 edition representing what he himself
characterizes as a &#8220;conflated version&#8221;. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Preparing my notes
on Stein&#8217;s prose poems, I&#8217;m reminded that while Whitman was dying in Camden, an
event reported on by the US press on a daily basis, the 17-year-old Stein<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%;">[iii]</span></span><!--[endif]--></span></span></a>
was in Baltimore preparing to attend Radcliffe and certainly was aware of
America&#8217;s most famous and thoroughly out gay poet. Matt Miller has written of
Whitman&#8217;s influence, for example, on <i style="mso-bidi-font-style: normal;">The
Making of Americans<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%;">[iv]</span></b></span><!--[endif]--></span></span></a>,
</i>a title that fairly screams it out and whose scope recalls the ambition of <i style="mso-bidi-font-style: normal;">Song </i>if not the whole of <i style="mso-bidi-font-style: normal;">Leaves of Grass. </i>43 years ago, G. Thomas
Couser observed that:<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: .8in; margin-right: .8in; margin-top: 0in;">
two of our most eccentric writers and
autobiographers &#8211; Walt Whitman and Gertrude Stein &#8211; seem to share many
intriguing similarities.<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%;">[v]</span></span><!--[endif]--></span></span></a><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
True that. But where Couser locates
these similarities in time and identity, what I hear instead is a tic in number,
very nearly a drumbeat of the plural. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
In the original
1855 edition, it jumps right out in the sixth line: <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
Houses and roof perfumes
. . . . the shelves are crowded with perfumes <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
By the deathbed version,<span style="mso-spacerun: yes;">&nbsp; </span>two additional stanzas had been inserted into<span style="mso-spacerun: yes;">&nbsp; </span>the poem, pushing this line into the second
section while converting Whitman&#8217;s four-period ellipsis into a comma, and
trading in <i style="mso-bidi-font-style: normal;">roof </i>for the rhyme of <i style="mso-bidi-font-style: normal;">rooms, </i>a revision that spells out the
primacy of sound in this text:<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
Houses and rooms are full
of perfumes, the shelves are crowded with perfumes<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;">Rooms </i>also has the advantage of being
plural. The number of multiples in just the first few pages of the poem are
stunning:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: &quot;symbol&quot;; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]-->Echoes, ripples, and buzzed whispers<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: &quot;symbol&quot;; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]-->green leaves and dry leaves <o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: &quot;symbol&quot;; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]-->darkcolored sea-rocks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: &quot;symbol&quot;; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]-->belched words . . . . words<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: &quot;symbol&quot;; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]-->A few light kisses . . . . a few embraces . . .
. a reaching around of arms<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
That is a page-and-a-half from the
Mitchell. In addition to having composed a 50-page poem that favors exposition
over narrative,<span style="mso-spacerun: yes;">&nbsp; </span>Whitman has written one
in love with the plural:<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
Do I<span style="mso-spacerun: yes;">&nbsp; </span>contradict myself?<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
Very well then I
contradict myself,<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
(I am large, I
contain<span style="mso-spacerun: yes;">&nbsp; </span>multitudes.)<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
I concentrate toward them
that are nigh, <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
The conversion of <i style="mso-bidi-font-style: normal;">roof </i>to <i style="mso-bidi-font-style: normal;">rooms </i>is fortuitous, as <i style="mso-bidi-font-style: normal;">Rooms
</i>is the title of the third and final section of <i style="mso-bidi-font-style: normal;">Tender Buttons, </i>the chapter of Stein&#8217;s book that is not a series of
short, witty prose poems but very nearly an<span style="mso-spacerun: yes;">&nbsp;
</span>essay (in Stein&#8217;s unique manner) on method. <i style="mso-bidi-font-style: normal;">Buttons </i>likewise concentrates &#8220;toward them that are nigh&#8221; as the
world it conveys is very much that of bourgeois women of pre-First World War
Paris, poem titles filled with hats, coats, umbrellas, and &#8220;a long dress,&#8221; with
relatively few references to men beyond soldiers and that &#8220;white hunter.&#8221; <span style="mso-spacerun: yes;">&nbsp;</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Plurals categorize
right where creative writing workshops argue that one should focus on the
specific. In theory the singular is concrete, the plural general. It&#8217;s not an
accident that we target in on the wheelbarrow, sensing a softer, almost fuzzy
focus on the chickens. Yet as that shipwreck of the singular, George Oppen,
reminds us at the start of <i style="mso-bidi-font-style: normal;">Of Being
Numerous,<o:p></o:p></i></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
There are things<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
We live among &#8216;and to see
them<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.3in; margin-right: .8in; margin-top: 0in; text-indent: -.5in;">
Is to know ourselves&#8217;.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
That is very much what Stein is
getting at with her invocation of familiars throughout <i style="mso-bidi-font-style: normal;">Tender Buttons. </i>And it is also what I hear throughout <i style="mso-bidi-font-style: normal;">Song of Myself. <o:p></o:p></i></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Whitman&#8217;s language
in this sense is the antithesis of Pound&#8217;s, whose preference is for specifics
drenched in historical &amp; sometimes mythological connotation. Which also was
what Williams heard in <i style="mso-bidi-font-style: normal;">The Waste Land</i>:<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: .8in; margin-right: .8in; margin-top: 0in;">
Eliot returned us to the classroom just at
the moment when I felt we were on a point to escape to matters much closer to
the essence of a new art form itself &#8211; rooted in the locality which should give
it fruit<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%;">[vi]</span></span><!--[endif]--></span></span></a><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 10.0pt; margin-left: 1.5in; margin-right: .3in; margin-top: 0in; text-indent: .5in;">
O stars of heaven, <br />
O suns . . . . O grass of graves . . . . O perpetual transfers and promotions<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
Lists like this from the 49<sup>th</sup>
canto of the deathbed <i style="mso-bidi-font-style: normal;">Song </i>lack
Stein&#8217;s percussive alliteration, but, once stripped of the romantic &#8220;O,&#8221; the major
difference is between Stein&#8217;s invocation of an interior world, household
objects and food, over Whitman&#8217;s wider ranging, often more abstract or
&#8220;transcendental&#8221; categories. Whitman&#8217;s plurals can be concrete, as with the
twenty-eight young men observed splashing in the water in the 11<sup>th</sup>
section or the <o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: 10.0pt; margin-left: .8in; margin-right: -.8in; margin-top: 0in; vertical-align: baseline;">
Blacksmiths
with grimed and hairy chests [&#8230;]<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: 10.0pt; margin-left: .8in; margin-right: -.8in; margin-top: 0in; vertical-align: baseline;">
The
lithe sheer of their waists plays even with their massive arms<br />
Overhand the hammers swing, overhand so slow, overhand so sure,<br />
They do not hasten, each man hits in his place<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; vertical-align: baseline;">
He&#8217;s closer here to Williams than Stein, employing the plural to set
up a close-up. Looking at the following famous stanza, you will see that even
the singular nouns other than &#8220;I,&#8221; categorize. They may be singulars but
they&#8217;re plurals at heart. <o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
Patriarchs sit at supper with sons
and grandsons and great-grandsons around them,<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
In walls of adobie, in canvas tents,
rest hunters and trappers after their day&#8217;s sport,<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
The city sleeps and the country
sleeps,<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
The living sleep for their time, the
dead sleep for their time,<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
The old husband sleeps by his wife
and the young husband sleeps by his wife;<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
And these tend inward to me, and tend
outward to them,<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
And such as it is to be of these more
or less I am,<o:p></o:p></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-left: 1.3in; text-indent: -.5in; vertical-align: baseline;">
And of these and all I weave the song
of myself. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<o:p><br /></o:p></div>
<div style="mso-element: endnote-list;">
<!--[if !supportEndnotes]--><span style="font-size: x-small;">First presented at the Five Up on Walt pre-birthday celebration at Kelly Writers House, Feb. 5, 2019<br clear="all" />

</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->

<br />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[i]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> &#8220;Editor&#8217;s Preface,&#8221; <i style="mso-bidi-font-style: normal;">Song of Myself, </i>edited by Stephen Mitchell, Shambhala, Boulder,
2018, p. xi.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="color: #0d0d0d; font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: #0d0d0d; font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[ii]</span></span><!--[endif]--></span></span></span></a><span style="color: #0d0d0d; font-size: 8.0pt;">
Online in a Roslings Ditgital Publications PDF available from the Western
Illinois University website: </span><a href="http://faculty.wiu.edu/M-Cole/WaltWhitmanLeavesofGrass1855.pdf"><span style="color: #0d0d0d; font-size: 8.0pt;">http://faculty.wiu.edu/M-Cole/WaltWhitmanLeavesofGrass1855.pdf</span></a><span style="color: #0d0d0d; font-size: 8.0pt;"><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[iii]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> The same age I was when William Carlos Williams died
in 1963. It was Williams who opened the door of poetry to me through his poem
&#8220;The Desert Music.&#8221;<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[iv]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> Miller, &#8220;Making of Americans: Whitman and Stein&#8217;s
Poetics of Inclusion,&#8221; <i style="mso-bidi-font-style: normal;">Arizona Quarterly,
</i>Vol. 65, No. 3, Autumn 2009<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[v]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> Couser, &#8220;Of Time and Identity: Walt Whitman and
Gertrude Stein as Autobiographers,&#8221; <i style="mso-bidi-font-style: normal;">Texas
Studies in Literature and Language, </i>vol. 17, no. 4, Winter 1976<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Multitudes%20R4.docx#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[vi]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> Unsigned biographical essay on <span style="color: black; mso-themecolor: text1;">Williams on the <i style="mso-bidi-font-style: normal;">Poetry
Foundation </i></span></span><a href="https://www.poetryfoundation.org/poets/william-carlos-williams"><span style="color: black; font-size: 8.0pt;">website</span></a><span style="color: black; font-size: 8.0pt;">. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
</div>
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<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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<h2 class='title'>Ketjak</h2>
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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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<h2 class='title'>Other Books in Print</h2>
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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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