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Showing posts with label <b>New York School</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>New York School</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>Wednesday, March 19, 2014</span></h2>

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<br />
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 20.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://en.wikipedia.org/wiki/Larry_Fagin"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Larry</span></a>
<a href="http://www.larryfagin.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Fagin</span></a></span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 20.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">:<br />
<br />
</span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 115%;"><a href="http://vimeo.com/27644784"><span style="color: red;">Portraits
&amp; Home Movies</span></a><br />
(1968 &#8211; 69)</span></i></b></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/03/photo-alan-bernheimer-14.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-03-19T00:00:00-04:00'>Wednesday, March 19, 2014</abbr></a>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Thursday, February 13, 2003</span></h2>

          <div class="date-posts">
        
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<span style="font-family: Arial;">&#8220;Job share archivists&#8221; </span><st1:personname><span style="font-family: Arial;">Susan M. Schultz</span></st1:personname><span style="font-family: Arial;"> &amp; </span><st1:personname><span style="font-family: Arial;">Pam Brown</span></st1:personname><span style="font-family: Arial;"> have
augmented the <i style="mso-bidi-font-style: normal;"><a href="http://www.icols.org./pages/PB&amp;SS/PB&amp;SS.html">Department of
Dislocated Memory</a></i> with a new installment of their collaboration
&#8221;Amnesiac recoveries.&#8221; It&#8217;s a project that raises all kinds of interesting
questions.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I have never seen a history
of poetic collaboration. A search in Google for all sites that use both
&#8220;poetry&#8221; &amp; &#8220;collaboration&#8221; yields 199,000 sites. A search for the exact
phrase &#8220;history of poetic collaboration&#8221; yields none &#8211; or will until the Google
crawler finds today&#8217;s blog. My sense &#8211; and it may be quite incomplete &#8211; is that
poetic collaboration arises truly with the surrealists.* <span class="GramE">It</span>
enters 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;"> largely through the writing of the one group most
heavily influenced by surrealism: the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;">. You will not find any <span class="GramE">collaborations</span> in the
Allen anthology. Indeed, the only ones you can actually spot** even in <span class="SpellE"><i style="mso-bidi-font-style: normal;">In</i></span><i style="mso-bidi-font-style: normal;"> the American Tree</i> are in the section of
critical statements, first a collaborative manifesto for the French journal <i style="mso-bidi-font-style: normal;">Change</i> &amp; later the famous list of
experiments that Bernadette Mayer &amp; several groups of students at her
Poetry Project workshops created. But if you look to Tom Clark&#8217;s anthology <i style="mso-bidi-font-style: normal;">All Stars</i> (Grossman Publishers/ Goliard
&#8211; Santa Fe, 1972), a combination of NY School &amp; beat writers that reflected
</span><st1:place><span style="font-family: Arial;">Clark</span></st1:place><span style="font-family: Arial;">&#8217;s view from the Bolinas mesa, Ron Padgett&#8217;s
selection consists of 17 collaborations &#8211; with Dick Gallup, Ted Berrigan, <span class="SpellE">Tessie</span> Mitchell, Michael Brownstein, Anne Waldman, Pat
Padgett, Bill Berkson, Larry Fagin, Jimmy Schuyler &amp; of course Tom Clark. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The absence of collaboration
among Beats &amp; Projectivists***, and for the most part from the San
Francisco Renaissance+, is worth noting. It suggests, I think, a stance toward
the author &amp; literal <i style="mso-bidi-font-style: normal;">author</i>ity
that is substantially different from that of other communities of writing.
Allen Ginsberg may well have been the <span class="SpellE"><i style="mso-bidi-font-style: normal;">Kral</i></span><i style="mso-bidi-font-style: normal;"> <span class="SpellE">Majales</span></i> or King of the May in 1965 </span><st1:city><st1:place><span style="font-family: Arial;">Prague</span></st1:place></st1:city><span style="font-family: Arial;">, but he also appears to have been a meticulous &amp;
careful warden of his own literary production. At the same time, Ginsberg took
no credit for the editing job that literally transformed the pages on William
Burroughs&#8217; floor into <i style="mso-bidi-font-style: normal;">Naked Lunch</i> &#8211; a
stance that parallels Ezra Pound&#8217;s similar editing of <i style="mso-bidi-font-style: normal;">The </i></span><st1:place><st1:placename><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Waste</span></i></st1:placename><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> </span></i><st1:placetype><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Land</span></i></st1:placetype></st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">.</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> had no such hang-ups with sharing credit. As with Surrealism,
boundaries existed only to be transgressed, albeit with more of a smile &amp;
wink than the </span><st1:place><span style="font-family: Arial;">Europe</span></st1:place><span style="font-family: Arial;">ans generally brought to the process. Boundaries are
precisely what are at stake in &#8220;Amnesiac recoveries.&#8221; Here, for example, is
&#8220;Shut-Lip&#8221;:<o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">The
investment banker sewed his lips shut. He'd arrived in a leaky ship, having
paid dues to the dark haired man who answered to no name he could pronounce.
Pronunciation is over-rated, he muttered to himself as he eased into the hold,
arms bound in fetal position. His middle passage was punctuated (never leave
metaphors of language behind, he added, pensively) by hunger pangs. No-name man
told him nothing of the end, though his origin had been clear (he remembered,
at least, his hard-earned MBA). He wanted to escape big words, like
globalization, like fraud. Crusoe's accountant had nothing on his, member of
the magic club in high school, artist of the extraordinary bottomless line. </span><span style="color: windowtext; font-family: Times; font-size: 10.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">In
the end, it was hard to collect his story, through teeth clenched like
broken-jawed Ali's. One had to assume consonants, or <span class="GramE">were</span>
they vowels, emerging as from some Afghan cave into the abortive syntax of a
bombing run. What we heard had something to do with sea, and ground, and
sickness. The south sea island that welcomed him (sic) has only years left
before the flood (lawsuits are pending). On its coral, the banker sits, quiet
as monk, though not so tranquil. He knows his days are numbered, so he counts
them in his throat. If he were a poet, one might say he'd found his voice.</span><span style="color: windowtext; font-family: Times; font-size: 10.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span class="SpellE"><span class="GramE"><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">memoricide</span></span></span><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;"> -<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>bombing the library.<br />
<span class="GramE">collective</span> memory,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>the treasures of manuscript,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span>the texts<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>history, natural sciences,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>philosophy, poetry, mathematics<br />
anthologies, dictionaries, treatises on everything,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>his story,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span>collected,<br />
the bombing filmed</span><span style="color: windowtext; font-size: 10.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span class="GramE"><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">in</span></span><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;"> the peace zone,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp; </span><i>Coca- Cola</i><br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>phones the film collector<br />
seeking footage<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>of "real
UFOs"</span><span style="color: windowtext; font-size: 10.0pt;"><o:p></o:p></span></div>
<span style="color: windowtext; font-family: Arial;">There is a political tone
here that one hardly ever sees even with Gen XXXVII of the NY School, and it&#8217;s
stronger even in several of the other pieces, which generally circle around the
topics of oil, corporate corruption &amp; </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;"> imperialism in the </span><st1:place><span style="color: windowtext; font-family: Arial;">Middle East</span></st1:place><span style="color: windowtext; font-family: Arial;">, always impacted by questions of
memory &#8211; &amp; of why memory fails to beget a seemingly appropriate political
response. Of course, neither Brown nor Schultz can by any remote stretch of the
imagination be characterized as part of the old St. Marks scene &#8211; Schultz is as
far removed from there as one can be physically &amp; still reside within the </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">United States</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;">, </span><st1:state><st1:place><span style="color: windowtext; font-family: Arial;">Hawai&#8217;i</span></st1:place></st1:state><span style="color: windowtext; font-family: Arial;">, while Brown is a well-known
Australian poet.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">Indeed, one of the most
interesting aspects of this as <span class="GramE">a collaboration</span> is how
it challenges &#8220;the political.&#8221; Typically &amp; traditionally, one key to the
political has been what might be thought of as &#8220;angle of positionality,&#8221; which
usually gets reduced to an idea of stance. This is visible at the surface in
identarian texts of all <span class="GramE">manner</span>: the poet writes from
his or her historical/ethnic/social/gendered position &amp; articulation of
that position is often what the resulting text is about.<span style="mso-spacerun: yes;">&nbsp; </span>But Schultz &amp; Brown come from different
nations with different roles in the oil = global domination scenario. Schultz
may be marginalized in her role as poet within the hegemon, but within it she
most certainly &amp; visibly is. Brown is at least doubly marginalized, living
in a country that the </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;"> has been known to treat as a branch
office. There are of course further complications: Schultz is a <i style="mso-bidi-font-style: normal;">haole,</i> an Anglo outsider functioning in
a role as authority by virtue of the teaching profession. The relationship of </span><st1:state><st1:place><span style="color: windowtext; font-family: Arial;">Hawai&#8217;i</span></st1:place></st1:state><span style="color: windowtext; font-family: Arial;"> to the mainland is exceptionally
problematic &amp; a separatist movement continues to percolate there. </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">Australia</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;">&#8217;s history vis-à-vis an imperial
center &amp; its aboriginal population is no less convoluted. Both of these
writers are perpetually aware of these conditions.<o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">Part of what makes
&#8220;Amnesiac recoveries&#8221; so interesting is that it&#8217;s <i style="mso-bidi-font-style: normal;">not</i> possible to tell who in the collaboration is writing at any
given moment, something that is so discernible, say, in a work like <i style="mso-bidi-font-style: normal;"><a href="http://www.aerialedge.com/sight.htm">Sight</a></i>
that its authors, Lyn Hejinian &amp; Leslie Scalapino, two fabulous poets who
grew up in the same town in the same country within a couple of years of one
another &amp; whose fathers both taught at the same school, actually <i style="mso-bidi-font-style: normal;">initial</i> their individual passages. <o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">But if we cannot tell who
is speaking, or at least <i style="mso-bidi-font-style: normal;">writing</i>, in
&#8221;Amnesiac recoveries,&#8221; how does the reader then position these </span><st1:state><st1:place><span style="color: windowtext; font-family: Arial;">tex</span></st1:place></st1:state><span style="color: windowtext; font-family: Arial;">ts with regards to the issues of
globalization that are raised? This is what strikes me as so remarkable:<span style="mso-spacerun: yes;">&nbsp; </span>Schultz &amp; Brown have arrived at what I
can only call a transnational voice, a position that steps quite clearly
outside of the role of states precisely as it address the problem of the rogue
hegemon. If there is a position of world citizen from which one might be able
to write, this is it. <o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">Brown &amp; Schultz do this
with wit, sharpness &amp; élan. The entire project &#8211; I have no idea if the two
sections that are up are all of the collaboration or only just the first
portion of it &#8211; is gutsy &amp; fun while being serious in the face of some
extraordinary challenges<span class="GramE">.+</span>+ In connecting the dots
north-south across the equator between their two homes, these poets are erasing
lines that we often forget are &#8220;always already&#8221; there. &amp; it&#8217;s fascinating
to see what now shows through.<o:p></o:p></span><br />
<br />
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<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* Some
writers characterize the relationship between William Wordsworth &amp; Samuel
Taylor Coleridge, especially during the <i style="mso-bidi-font-style: normal;">Lyrical
Ballads</i> period, as <span class="GramE">a collaboration</span>. An argument
can certainly be made for that, even though they didn&#8217;t publish poems as
composed by both.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** I
believe that the phrase that is used as the epigraph to the West section of the
book, &#8220;Instead of ant <span class="SpellE">wort</span> I saw brat guts,&#8221; was
itself composed during <span class="GramE">a collaboration</span>. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*** Thus
when Daphne <span class="SpellE">Marlatt</span> works collaboratively, as in the
book <i style="mso-bidi-font-style: normal;">Double Negative</i> with Betsy <span class="SpellE">Warland</span>, it&#8217;s because she&#8217;s moved away from the
Projectivism of her youth toward a political feminism. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">+ The
notable exception was <i style="mso-bidi-font-style: normal;">The <span class="SpellE">Carola</span> Letters</i> co-authored by Joanne Kyger &amp; George
Stanley. See <a href="http://jacketmagazine.com/11/kyger-killian.html">Kevin
Killian&#8217;s article</a> on the row it caused in the SF scene. Killian raises the
possibility that camp, the arch subgenre of gay culture, was a major thorn in
the side of Robert Duncan. Camp as a discourse erases boundaries not unlike the
ones that Schultz &amp; Brown are tackling.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">++ The web
site captures this beautifully with a photograph of the two poets in </span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Hawai&#8217;i</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;"> staring at the apotheosis of the
problem, a stretch limo in a setting in which no limousine should ever appear. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Tuesday, January 14, 2003</span></h2>

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<span style="font-family: Arial;">Insurance Books will publish
<i style="mso-bidi-font-style: normal;">Knowledge Follows</i>, a chapbook-length
poem by David Perry, later this year. If the excerpt that appears in the first
issue of <i style="mso-bidi-font-style: normal;">Monkey Puzzle</i> is any evidence,
it already promises to be one of the best books of the <span class="GramE">new
year</span>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">At first glance, <i style="mso-bidi-font-style: normal;">Knowledge Follows</i> is a series of linked
pieces, mostly (tho not entirely) in verse form. I wasn&#8217;t actually planning to
read it, I was just thumbing through the issue, trying to get a sense of who
&amp; what were there, particularly given the unhelpful table of contents that
lists contributors only by their first names, when I came across this:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<st1:city><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Rome</span></st1:place></st1:city><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> <span class="GramE">fell,</span> </span><st1:city><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Paris</span></st1:place></st1:city><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> fell &#8211;
that we can see<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">for</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
ourselves: shoe trees, the original<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">rack</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">,
truncheons, pestles, magazines<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">everywhere</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
reflection spreads<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">the</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> rumor
we were there &#8211; in the nave,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">shooting</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> up the
cemetery, cracking<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">on</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
plain, running<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">from</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
unpredicted ellipse . . . <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">as</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> if the
universe were the ultimate<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">word-picture</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
machine<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">with</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> direct
feeds to the head<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Perry instantly lets the
reader know that he&#8217;s in total control of his medium. The directness of address
&amp; level of detail invokes the genre of a top-notch page turner, even if the
details are not what one might anticipate. Or, more accurately, precisely <i style="mso-bidi-font-style: normal;">because</i> the details were not what one
might anticipate we are driven that much deeper into the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t itself. By the third line, I was completely hooked.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The ensuing section extends
this initial thread, but that&#8217;s the exception here, not the rule. Rather, <i style="mso-bidi-font-style: normal;">Knowledge Follows </i>ranges in several
directions, while pulling out themes, particularly around communication, <span class="GramE">that become</span> familiar because elements have appeared
previously:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">. . . <span class="GramE">as</span>
if children were understood<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">though</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
neither heard nor seen. </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Eureka</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">!<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Who&#8217;s to argue with not <span class="GramE">only</span><o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">communication</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> but
understanding?<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Our lifelong self-experiment
with perspective<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">found</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> itself
up against the wall. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">As the section above, quoted
in its entirety, suggests, Perry offers a wry, dry wit, but is ultimately more
serious in his approach than we are used to from poets associated with the NY
School&#8217;s Gen XXXIX. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Between these rather
well-architected fragments &amp; the question of the excerpt from the reader&#8217;s
perspective, it&#8217;s impossible to know just how much of the total book is
included in <i style="mso-bidi-font-style: normal;">Monkey Puzzle</i>. I can&#8217;t
tell from the six pages here if this might be half of the eventual chapbook or
if it, in fact, might simply be the first installment in something far larger &#8211;
certainly Perry&#8217;s control in these sections indicates that he&#8217;s capable of it. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">While there have been
projects associated with the NY School that have entered into that intermediary
book-length poem space, from Koch&#8217;s <i style="mso-bidi-font-style: normal;">When
the Sun Tries to Go On </i>to Ashbery&#8217;s <i style="mso-bidi-font-style: normal;">Three
Poems </i>&amp; <i style="mso-bidi-font-style: normal;">Flow Chart </i>&#8211; a deeply
underappreciated work &#8211; to longer projects from Bernadette Mayer, Anne Waldman,
Paul Violi &amp; even David Lehman, there never has been a longpoem from this
aesthetic tendency &#8211; not in the sense of taking at least a decade to compose
the poem. This taste of Perry&#8217;s work makes me hungry for someone to explore
that possibility.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One clue here may the degree
of finish in Perry&#8217;s sections or fragments. They are quite different than what,
say, Rachel Blau DuPlessis has characterized as the &#8220;debris&#8221; that she
incorporates into her own <i style="mso-bidi-font-style: normal;">Drafts</i>. The
result is that each section of <i style="mso-bidi-font-style: normal;">Knowledge
Follows</i> feels complete almost in the way of a lyric poem. One wonders how a
truly long poem of infinitely digestible bits could be accomplished &#8211; there&#8217;s </span><st1:state><st1:place><span style="font-family: Arial;">nev</span></st1:place></st1:state><span style="font-family: Arial;">er really been anything quite like that. Zukofsky&#8217;s <i style="mso-bidi-font-style: normal;">&#8220;A,&#8221;</i> in which many of the individual
sections approach that intermediate booklength poem range &#8211; is probably the
best precedent for a work with such clearly defined segments, but there is a
radical difference between even a short section like <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;-9</i> &amp; a work that contains two or three such sections on
every page. Imagine<span class="GramE">,</span> if you will, Creeley&#8217;s <i style="mso-bidi-font-style: normal;">Pieces</i> stretched out to 1,000 pages.
Would it work or would ennui eventually swallow up the project, regardless of
how well written it was?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Another thing that is
interesting here is that I come away with a strong sense of David Perry&#8217;s skill
as a writer, but not one particularly of who he is as a person. He could 25 or he
could be 55, at least based on these pages. All I really know about him is that
he&#8217;s around the </span><st1:state><st1:place><span style="font-family: Arial;">New
  York</span></st1:place></st1:state><span style="font-family: Arial;"> scene
&amp; Larry Fagin swears he could not be the same David Perry who studied
poetry with </span><st1:personname><span style="font-family: Arial;">Robert Kelly</span></st1:personname><span style="font-family: Arial;"> at Bard in the 1960s. Adventures in Poetry published
an earlier volume, <i style="mso-bidi-font-style: normal;">Range Finder.</i>
Based on this excerpt, I know already I have to read more.<o:p></o:p></span></div>
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          </div></div>
        

          <div class="date-outer">
        
<h2 class='date-header'><span>Monday, December 23, 2002</span></h2>

          <div class="date-posts">
        
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<div class="MsoNormal">
<span style="font-family: Arial;">How did <i style="mso-bidi-font-style: normal;">Shiny</i> get to be 16 years old already? Michael Friedman&#8217;s journal of
poetry, now a biennial, has pushed quiet excellence just about as far it can go
&amp; managed to do a marvelous job in making each issue an event. Number 12
arrived just in time for Christmas &amp; it&#8217;s hard not to simply throw out an
infinite number of Christmas present/stuffed stocking tropes to indicate my
pleasure at its arrival and all the great work inside.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">When I lived in Berkeley
&amp; San Francisco, I would never save a magazine unless some of my own work
was included in the issue &#8211; it wasn&#8217;t a question of desire, but of room. There
is a point, somewhere around 2,000 books, when the amount of space to
physically store a library becomes limited. I blew past 2,000 books years,
maybe decades ago. A secondary result was that, since I knew in advance that I
would not save the publication, I virtually never subscribed or bought copies
of mags. The downside of this, of course, is that there is a lot of work,
especially by newer writers who have not yet had a &#8220;big book&#8221; that you can&#8217;t
learn about in any other fashion.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But we had long since maxed
out of our book space in </span><st1:city><st1:place><span style="font-family: Arial;">Berkeley</span></st1:place></st1:city><span style="font-family: Arial;">,
even with built-in bookshelves and a fairly impressive bricks &amp; boards
system in several rooms. When I was first contemplating the job offer that
brought me to Pennsylvania, Krishna tells me that she could tell I was
seriously thinking about because I went &amp; got some cartons just to pick up
the books that were lying around in stacks on the floor in case I wanted to
invite a realtor over to talk about selling the house. It came to 13 cartons.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Now that I live in </span><st1:state><st1:place><span style="font-family: Arial;">Pennsylvania</span></st1:place></st1:state><span style="font-family: Arial;"> in a house close to three times the size of our home
in </span><st1:city><st1:place><span style="font-family: Arial;">Berkeley</span></st1:place></st1:city><span style="font-family: Arial;">, I still have stacks of books lying around
everywhere &#8211; even as we&#8217;ve added nine book cases. So I&#8217;m still pretty rigorous
about not getting or holding onto too many journals &#8211; my periodical collection
has only five shelves allotted to it. Yet I&#8217;ve noticed that there are some
magazine that are just too important to ever throw away &#8211; <i style="mso-bidi-font-style: normal;">Chain </i>is an obvious one, as is <i style="mso-bidi-font-style: normal;">Combo</i>
&#8211; and I realize now that I&#8217;ve been saving <i style="mso-bidi-font-style: normal;">Shiny
</i>for the past ten years. My only regret is that I didn&#8217;t get those early
editions way back when.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I think of <i style="mso-bidi-font-style: normal;">Shiny </i>as being one of the last truly
articulate manifestations of the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;">, the sort of generalization that is both true and not true at the same
time. The journal started, I believe, in </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> &amp; didn&#8217;t acquire a </span><st1:city><st1:place><span style="font-family: Arial;">Denver</span></st1:place></st1:city><span style="font-family: Arial;"> address until double issue 9/10 in 1999. Some
classic New York School figures show up in every issue: Ted Berrigan, John
Ashbery, Harry Mathews, Kenneth Koch, Alice Notely, Ron Padgett, Tom Clark,
Brad Gooch, Joe Brainard, Tim <span class="SpellE">Dlugos</span>, David Shapiro,
Larry Fagin, Paul Violi, Clark Coolidge, Michael Brownstein, Ed Friedman,
Charles North, Steve <span class="SpellE">Malmude</span>, Tony Towle, Eileen
Myles, Susie Timmons, David Trinidad, Elaine <span class="SpellE">Equi</span>,
Jerome <span class="SpellE">Sala</span>, Kim <span class="SpellE">Rosenfield</span>,
Lewis Warsh, Ted Greenwald, Michael Gizzi, Bernadette Mayer, Anne Waldman, Bill
Berkson, John Godfrey, David Lehman &amp; Clark Coolidge have all appeared in
these pages. Yet langpo has never been neglected &#8211; in the current issue alone,
I can find not only Greenwald &amp; Coolidge, but also Bruce Andrews, Rae
Armantrout, Alan Bernheimer, Stephen Rodefer &amp; Kit Robinson. There are also
a number of younger writers who resist any sort of grouping: Alan Gilbert, Lisa
Jarnot, </span><st1:personname><span style="font-family: Arial;">Kevin Davies</span></st1:personname><span style="font-family: Arial;"> &amp; <span class="SpellE">Dierde</span> <span class="SpellE">Kovac</span>, </span><st1:personname><span style="font-family: Arial;">Andrew Levy</span></st1:personname><span style="font-family: Arial;">
&amp; Mark Wallace, just to pick a few. Plus a few older folks likewise hard to
pin down: Steve Ratcliffe, Bill Corbett, </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;">, Terence Winch, <span class="GramE">Anselm</span>
Hollo. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">What makes <i style="mso-bidi-font-style: normal;">Shiny </i>a </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> magazine is Michael Friedman&#8217;s sense of active editorship &#8211; and here
the contrast with <i style="mso-bidi-font-style: normal;"><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381448405">Chain</a></i>
is fairly pronounced. In addition to the high design value and the inclusion,
in every issue, of recent visual art*, <i style="mso-bidi-font-style: normal;">Shiny
</i>uses positioning &#8211; Ted Greenwald leads off the current issue, Ted Berrigan
led off 9/10 with a 25-page selection from his journals<span style="mso-spacerun: yes;">&nbsp; </span>-- interviews (Brad Gooch, Harry Mathews) and
design to focus its aesthetic concerns. &amp; while <i style="mso-bidi-font-style: normal;">Shiny</i> is quite ecumenical with regards to current poetries, it has
generally shied away from non-NYS friendly poetries from the generation of the
New Americans, including only John Wieners (twice), David Meltzer &amp; some
Allen Ginsberg photographs over the years. The current issue is dedicated to
Kenneth Koch.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Running between 160 and 250
pages, each issue of <i style="mso-bidi-font-style: normal;">Shiny</i> has many,
many treasures. It&#8217;s rare &amp; wonderful to see four new Rae Armantrout poems
in a single journal. And it&#8217;s simply wonderful to come across the long (14
pages<span class="GramE">) &#8221;</span>A Burning Interior&#8221; by David Shapiro, Kenneth
Koch&#8217;s serial poem,<span style="mso-spacerun: yes;">&nbsp; </span>&#8220;The Man&#8221; &#8211;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Teeth<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Coldly the knife is </span><st1:state><st1:place><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Montana</span></st1:place></st1:state><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">&#8211; two pieces by Terence
Winch (a D.C. poet whose work I haven&#8217;t seen in far too long), two pieces by
Jacques Roubaud (my personal favorite of the Oulipo writers), 16 sections from
Mark Wallace&#8217;s &#8221;Belief is Impossible,&#8221; three poems by William Corbett, two by
Ashbery, excerpts from a collaboration<span style="mso-spacerun: yes;">&nbsp;
</span>by <span class="SpellE">Dierdre</span> <span class="SpellE">Kovac</span>
&amp; </span><st1:personname><span style="font-family: Arial;">Kevin Davies</span></st1:personname><span style="font-family: Arial;"> (&#8220;The cultural badger is hungry&#8221;), two poems in
tercets by Kit Robinson &amp; an excerpt from Bruce Andrews&#8217; &#8220;Dang Me,&#8221; part of
his turn to a new mellower tone (&#8220;Treat me as well as your pets&#8221;). <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are pieces to which I
want to direct closer attention. The first is Alan Bernheimer&#8217;s &#8220;My Blue
Hawaii,&#8221; The first stanza establishes the poem&#8217;s sense of style &amp; the kind
of world it projects:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Every queen loves a lobster<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">with</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
nerve to kill time<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">since</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> it&#8217;s
easy to be sure in a bistro<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">where</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> more
than dogs are turned away<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This is the kind of pop art
landscape that John Ashbery pioneered &amp; the second <span class="GramE">generation
</span></span><st1:place><st1:placename><span class="GramE"><span style="font-family: Arial;">New York</span></span></st1:placename><span class="GramE"><span style="font-family: Arial;"> </span></span><st1:placetype><span class="GramE"><span style="font-family: Arial;">School</span></span></st1:placetype></st1:place><span class="GramE"><span style="font-family: Arial;"> virtually patented &#8211; Ron Padgett,
Joe Ceravolo, Bill Berkson are</span></span><span style="font-family: Arial;">
all superb at this. Bernheimer uses the same devices not so much to focus on
style as such &#8211; this is why he&#8217;s not &#8220;really&#8221; a </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> poet &#8211; but on the language beneath:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Your mother had the particle<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">but</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> key
words are too brittle<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">to</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> warp the
probity of a lifetime<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">for</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> a <span class="SpellE">perp</span> walk through a wafer <span class="SpellE">fab</span> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">While &#8220;wafer <span class="SpellE">fab</span>,&#8221; a facility that manufactures silicon chips, turns up
more times in a Google search of the web than Anna Warner&#8217;s hymn, &#8220;Jesus Loves
Me,&#8221; none of the 48 occurrences on a page that also includes &#8220;poem,&#8221; &#8220;poetry&#8221;
or &#8220;poems&#8221; actually appears <i style="mso-bidi-font-style: normal;">in </i>a
poem.** What we have here is not merely a moment of marvelous prosody &#8211; let
those last two lines roll around on your tongue for awhile &#8211; but also an
instance of the culture coming into the language of a poem for the very first
time.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Lisa Jarnot&#8217;s two pastorals
also jump off the page &amp; into the ear. Here is &#8220;</span><st1:place><st1:city><span style="font-family: Arial;">Hound</span></st1:city><span style="font-family: Arial;"> </span><st1:state><span style="font-family: Arial;">Pa</span></st1:state></st1:place><span style="font-family: Arial;">storal&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Of the hay in the barn<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">and</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
hound in the field<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
bay in the sound, of the <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">sound</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> of the
hound in the field<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
back of the field of the <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">bay</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> and
the front of the field<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
back of the hound and the<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">front</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> of the
hound and the sound<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
hound when he bays at<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">the</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> sound
in the field<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">with</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
baying of hounds in the <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">baying</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> of
arms in the field<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
hound on the page in the <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">sound</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> of the
hound in the field<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
hay that unrests near<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">the</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> hound
in the barn in the field<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">of</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
bend in the barn in the <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">sound</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> of the
hound in the bay<o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">by</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> the
barn in the field.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Jarnot may have the best ear
of any poet under 40 &#8211; Lee Ann Brown is really the only other poet who comes
close &#8211; so it&#8217;s no accident that she is willing to take risks like this &#8211; the
actual climax of this poem comes with the word &#8220;bend&#8221; in the first line of the
last stanza, the introduction of a new sound that completely shapes everything
around it. <o:p></o:p></span></div>
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<span style="font-family: Arial;">At the age of 21, Jarnot
published a book entitled <i style="mso-bidi-font-style: normal;">Phonetic
Introductions</i>. The collage that serves as the frontispiece to her 1996
Burning Deck volume, <i style="mso-bidi-font-style: normal;">Some Other Kind of
Mission,</i> is built around a <span class="SpellE">Perec</span>-like phrase:
&#8220;there are no &#8216;<span class="SpellE">e&#8217;s</span>&#8217; in the other language.&#8221; <i style="mso-bidi-font-style: normal;">Ring of Fire</i>, published by the late,
lamented Zoland Books in 2001, is filled with works that no other poet in the
world could have written. I&#8217;d wondered at first why Jarnot, who seems so out of
place generationally, could have been selected to fill out the Curriculum of
the Soul series of critical pamphlets, but her volume, <i style="mso-bidi-font-style: normal;">One&#8217;s Own Language</i> may in fact be the strongest one in that entire
series. It&#8217;s one of those &#8220;knock you on your butt&#8221; kinds of books &#8211; reading it
reminded me of what reading <span class="SpellE"><i style="mso-bidi-font-style: normal;">Tristes</i></span><i style="mso-bidi-font-style: normal;"> <span class="SpellE">Tropique</span>, Proprioception </i>&amp; <i style="mso-bidi-font-style: normal;">The Mayan Letters</i> felt like when I was a youngster reading them for
the first time. It also made realize just how very long it has been since I
have had a reading experience like that.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I noted before that <i style="mso-bidi-font-style: normal;">Shiny</i> has generally steered clear of the
likes of projectivism &#8211; Robert Creeley seems never to have appeared in its
issues. Yet here is Jarnot, </span><st1:city><st1:place><span style="font-family: Arial;">Duncan</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s
biographer &amp; perhaps the closest thing in her age cohort to an extension of
that aesthetic. Her appearance in <i style="mso-bidi-font-style: normal;">Shiny</i>
12 is not her first, either.<o:p></o:p></span></div>
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<span style="font-family: Arial;">It has been <span class="SpellE"><i style="mso-bidi-font-style: normal;">Shiny&#8217;s</i></span><i style="mso-bidi-font-style: normal;"> </i>particular contribution to poetry to
show to us what has evolved out of the original (or at least second
generational) </span><st1:place><st1:placename><span style="font-family: Arial;">New
  York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> &#8211; it&#8217;s really the only publication now doing that.
That it can also show us how this vision of poetry ties into everything from
langpo to this multigenerational gumbo of mavericks is a test of what a great
journal can (&amp; maybe even should) be. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Duncan
Hannah has been <span class="SpellE"><i style="mso-bidi-font-style: normal;">Shiny&#8217;s</i></span><i style="mso-bidi-font-style: normal;"> </i>art editor since the move to </span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Colorado</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;">, and this has shifted the art
included to figurative works mostly in neo-Pop post-post-impressionist modes,
somewhat away from the more conceptual work of its earlier issues. Every artist
in the last two issues has been represented by a </span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">New York</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;"> gallery. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** I&#8217;m not
certain how encouraged I am to discover that the editor of <i style="mso-bidi-font-style: normal;">Chip Scale Review </i>has penned editorials in verse, however. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, October 28, 2002</span></h2>

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<span style="font-family: Arial;">It was summer 1985, the week
after the </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> poetry conference of that year, and I was still in </span><st1:country-region><st1:place><span style="font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="font-family: Arial;">, having a conversation with </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> poet &amp; film maker Colin Browne. Specifically, I
interrogating Browne about what the implications might be considering how few
U.S. poets appeared ever to have read the work of Louis Dudek, a writer I had
heard characterized as the &#8220;Pound&#8221; of Canadian poetry, though I think I may
have told Colin I&#8217;d found Dudek more to be the Edwin <span class="SpellE">Denby</span>
or F.T. Prince, if one were to yoke together those sorts of analogies.* Who else
was out there that I didn&#8217;t yet know about? Which poets did the Canadians worry
about? &#8220;Our monsters are your monsters,&#8221; Browne replied.<o:p></o:p></span></div>
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<span style="font-family: Arial;">But not really, as it turns
out. For the past month </span><st1:personname><span style="font-family: Arial;">Louis
 Cabri</span></st1:personname><span style="font-family: Arial;"> and I have been
trading emails over the absence, as a Canadian influence, of the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;">. I had mentioned Louis&#8217; superb <i style="mso-bidi-font-style: normal;">The
Mood Embosser </i>in a piece I&#8217;d written on the blog about Ted Berrigan&#8217;s poem <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_22_ronsilliman_archive.html%2381947753"><span style="mso-ansi-font-size: 12.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: Arial;">&#8220;Bean Spasms,&#8221;</span></a>
given how deeply simpatico the two poets strike me as being. I had simply
presumed that Berrigan was a Yankee influence that had been internalized by
Cabri, since he and I had never discussed him during Louis&#8217; time here in
Philadelphia<span class="GramE">.*</span>* But, as it turned out, Louis hadn&#8217;t
read as much of Berrigan as I&#8217;d imagined. In a note that Cabri sent to a list
of </span><st1:city><st1:place><span style="font-family: Arial;">Calgary</span></st1:place></st1:city><span style="font-family: Arial;"> poets for a reading group he&#8217;s summoning together
there, he spells out his thinking in response at greater length:<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;">
<span style="color: black;">But, here are
my motivations, guiding at least this email, in case you're curious. I could
see reading some poetry from the 3+ generations of the so-called "</span><st1:place><st1:placename><span style="color: black;">New York</span></st1:placename><span style="color: black;">
 </span><st1:placetype><span style="color: black;">School</span></st1:placetype></st1:place><span style="color: black;">": John Ashbery to Ted Berrigan to Bernadette Mayer to
maybe Lee Ann Brown or others. My interest in this partly stems from an email I
sent </span><st1:personname><span style="color: black;">Ron Silliman</span></st1:personname><span style="color: black;">, who has recently posted some thoughts on his blog about
Berrigan. I wanted to give Ron my sense of how Berrigan and the </span><st1:place><st1:placename><span style="color: black;">New York</span></st1:placename><span style="color: black;">
 </span><st1:placetype><span style="color: black;">School</span></st1:placetype></st1:place><span style="color: black;"> generally <span class="GramE">has</span> been received in </span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;">: hardly at all. Why? That&#8217;s the question that would
interest me most of all. A New York School influence in Canadian poetry can be
detected in the work of some poets associated with the founding of Coach House
Press (e.g. Coleman), and CH did publish Lewis <span class="SpellE">Warsh</span>
(<i style="mso-bidi-font-style: normal;">Part of My History</i>, 1972),
co-founder of Angel Hair Books, a mainstay press of the second generation NYS.
But, the various spokespersons and their ideological filters that brought
continental theory to the Canadian poetry scenes (and to the academy) in the
80s left a poetics such as Berrigan's off the redrawn map. The story on
Berrigan the way it got told me, for instance, was that he was "off
limits." <b style="mso-bidi-font-weight: normal;">One might even say that leaving
Berrigan off "the map" was key to opening new lines of influence</b>
for the poetic word, particularly the influence of "Language Writing"
as understood in </span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;"> via </span><st1:personname><span style="color: black;">Steve
 <span class="SpellE">McCaffery</span></span></st1:personname><span class="SpellE"><span style="color: black;">'s</span></span><span style="color: black;"> famous mid 80s
essay in <i style="mso-bidi-font-style: normal;">North of Intention</i>. Clint
Burnham rehabilitated Berrigan's name as a general contemporary influence, in a
short essay Rob <span class="SpellE">Manery</span> and I published in <span class="GramE"><i style="mso-bidi-font-style: normal;">hole</i></span> 5, in the mid
90s.</span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I&#8217;ve put that one phrase in <b style="mso-bidi-font-weight: normal;">boldface</b> because I find it so
intriguing. What it proposes, at least implicitly, is that what New American
Poetry might have looked like without the active influence of the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> is something not too dramatically unlike what Canadian poetry became. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It does seem, at least at
the distance from which I get to observe things***, that the two primary
sources of influence were, first, the migration north to Vancouver in the
mid-1960s of people around Jack Spicer and his circle &#8211; Robin Blaser, George
Stanley, Stan Persky &#8211; and then somewhat later the presence of Olson &amp;
Creeley in Buffalo, in close enough proximity to Toronto (and with some
Canadians actually trekking to the eastern shores of Lake Erie). With the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer Circle</span></st1:address></st1:street><span style="font-family: Arial;"> to the west and Projectivism to the east, it does
seem harder to see where exactly either the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> or, for that matter, the Beats, might fit in.<o:p></o:p></span></div>
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<span style="font-family: Arial;">In an email, Cabri expands
on this take:<o:p></o:p></span></div>
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<span style="color: black;">The absence
of NYS is to me precisely how "</span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;">" differs from the "</span><st1:country-region><st1:place><span style="color: black;">US</span></st1:place></st1:country-region><span style="color: black;">," and by an unconscious social logic of mutual
exclusion based on divergent histories.<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;">
<span class="GramE"><span style="color: black;">Some for instances.</span></span><span style="color: black;">
American abstract expressionism hit French Quebec before the rest of </span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;"> (around 1948 with Emile <span class="SpellE">Borduas</span>
and the highly politicized "<span class="SpellE">Refus</span> global"
manifesto for secular independence for art and culture in </span><st1:state><st1:place><span style="color: black;">Quebec</span></st1:place></st1:state><span style="color: black;">) and 1st <span class="SpellE">gen</span> NYS was not to my
knowledge ever translated then (ever in </span><st1:state><st1:place><span style="color: black;">Quebec</span></st1:place></st1:state><span style="color: black;">? I doubt it) -- and, besides, the poetry would not
necessarily have served the self-interests of political autonomy that the <span class="SpellE">Refus</span> global artists translated out of US abstract
expressionism. </span><st1:state><st1:place><span style="color: black;">Quebec</span></st1:place></st1:state><span style="color: black;"> poets nurtured surrealism, what with its anti-religious
furor and suggestive connection to the idea of a repressed unconscious, long
after Breton visited the eastern coast.<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="color: black;">NYS is
culturally sophisticated, urbane, American, and, with the 2nd gen., decadent,
in a way that, say, Olson/projective verse never was, appealing as it did to
those who had such as <span class="SpellE">Davey</span>, <span class="SpellE">Wah</span>
et al rural working class backgrounds and a sense of the
"autochthonous." NYS was literally urban in a way that Canadian city
living could not understand in the 50s/even in the 60s and 70s (look at Ray <span class="SpellE">Souster's</span> squeaky clean city -- poetry of the individual,
of pitiless "loneliness" and observation). And Berrigan et al
flourished in the 70s when Canadian cultural nationalism and a <span class="SpellE">befuddlingly</span> stupor-inducing "regionalism" <span class="GramE">was</span> at its heralded peak.<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="color: black;">2nd <span class="SpellE">gen</span> NYS seemed to be of interest to some of the poets first
associated with Coach House -- Dewdney, Coleman. But these poets were sidelined
by both the kind of rustic theory that Nichol invoked in a straight-forward but
entertaining way (<span class="SpellE">pataphysical</span> invention, concrete)
and the highly abstract kind that McCaffery distilled from continental
philosophy and art (in Steve's version, as you know, a conceptual <span class="SpellE">artlike</span> approach to language never gives language back to
the five senses).<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">
<span style="font-family: Arial;">When I asked Louis yesterday
if I could quote from his emails, he expanded even further:<o:p></o:p></span></div>
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Hi Ron,</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; mso-layout-grid-align: none; text-autospace: none;">
Sure. Thanks for asking. A "second-order commodification" role
that I perceive formally innovative Canadian poetics playing in its contribution
to US/Canadian poetic tendencies -- from projective verse (the Vancouver 63
conference) to Language poetry (the 85 conference) -- connects to my sense of <span class="SpellE">NYS's</span> absence in Canada.</div>
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<br /></div>
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By "second-order commodification" (a term modified from <span class="SpellE">Barthes's</span> 1957 theory of the ideology of myth as a
second-order semiotic system) I mean the following scenario. I'm quoting from
an essay on <span class="GramE">hole</span> magazine at <a href="http://www.english.upenn.edu/~wh/phillytalks/extensions/hole.shtml"><u><span style="color: blue; mso-ansi-font-size: 12.0pt; mso-ascii-font-family: &quot;Times New Roman&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: &quot;Times New Roman&quot;;">http://www.english.upenn.edu/~wh/phillytalks/extensions/hole.shtml</span></u></a>:</div>
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"Second-order commodification" is a condition of reception of
the cultural "new" (a relative matter) where the emergence (of the
new, from "here") and the arrival (of the new, from
"elsewhere") intersect in a contested site-as-dialogue. That
condition existed for us [i.e. as hole magazine eds.] in employing the term
"language-<span class="SpellE">centred</span>." Second-order
commodification refers to a myth-inducing condition in which there is
simultaneously (a) the emergence ("here") and arrival (from
"there") of primary writing only later to be identified as
"new" (for instance, as "language-<span class="SpellE">centred</span>")
with (b) the emergence/arrival of a metalanguage (in this case, conveyed by the
term "language-<span class="SpellE">centred</span>") identifying the
work as new. Second-order commodification results from a cultural context in
which primary language without a name, and its metalanguage that brings a name,
temporally co-exist. One reception-effect of second-order commodification,
particularly in Canada, is to have poetics stances appear clearly staked,
already amplified, distinctly audible, a critical lexicon already worked out
and available to draw from in identifying aesthetic tendencies in possibly
opposing, even reductive, ways.</div>
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Further in the essay, I consider three kinds of responses to this
predicament of Canadian culture: resolute intransigence (Deanna Ferguson),
resolute participation (Lisa Robertson), the resolute itself -- squared (Alan
Davies). <span class="GramE">(Alan Davies is never considered in this
inter-border context, but, originally from Canada, some of his first work is
published in the anthology <i style="mso-bidi-font-style: normal;">Now We Are Six</i>
[Coach House, 1976].)</span></div>
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Perhaps, then, the absence of NYS in <st1:country-region><st1:place>Canada</st1:place></st1:country-region>
is due to an absence of a NYS metalanguage?</div>
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The role of absence is a traditional motif of Canadian literary cultural
history. In its more interesting variants, "absence" is paradoxically
<span class="SpellE">ontologized</span> and <span class="SpellE">centred</span> in
an author's body of work -- for instance, Robert <span class="SpellE">Kroetsch&#8217;s</span>.
But absence has never been discussed as a term in relation to poetic lineage,
the back-and-forth of influence across the southern border (let alone in
relation to <span class="SpellE">KSW's</span> and <span class="SpellE">TRG's</span>
'erasing-something [i.e. NYS]-that-is-in-fact-absent').</div>
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But the absence of NYS in Canadian poetry is to me <i style="mso-bidi-font-style: normal;">precisely</i> how "Canada" differs from the "US,"
and by an unconscious social logic of mutual exclusion based on divergent
histories -- a difference that in these terms ("NYS") has never
previously been articulated, to my knowledge, in all the efforts -- from the
70s on -- to identify "the difference" between "Canada" and
"US" poetic cultures.</div>
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Louis</div>
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<span style="font-family: Arial;">Cabri here entertains the
possibility that the lack of a New York School metalanguage may have
contributed to its inability to move north &#8211; it may even explain why the sudden
disruption in the mid-1980s that the 2<sup>nd</sup> &amp; 3<sup>rd</sup>
generation New York School poets themselves <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382734255"><span style="mso-ansi-font-size: 12.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: Arial;">experienced</span></a>,
wasn&#8217;t more immediately &amp; easily overcome directly by those poets
themselves. &#8220;<span class="SpellE">Personism</span>,&#8221; Frank O&#8217;Hara&#8217;s one serious
statement of his poetics, does more to point up the absence of a metalanguage
than it ever did to constitute one<span class="GramE">.+</span> <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Part of
the &#8220;problem&#8221; of Dudek to us Yanks, when one tries to place him alongside the
history of </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> poetry is that he comes along right
during that fallow period of the Second World War &#8211; that is, after the
Objectivists but really before the New Americans. Robert Duncan, the one major
poet to have emerged from that same period south of the border during that same
period, was cagey enough to avoid by aligning himself with the mostly younger
poets of the NAP. Several of the other poets of interest who emerged during the
war decade &#8211; May Sarton, Muriel Rukeyser &#8211; have remained more or less
permanently in limbo, never really adopted by either of the major traditions of
</span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> verse. To make any sort of simple analogy (Dudek =
X) thus really isn&#8217;t possible, because X itself doesn&#8217;t exist.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">Or, another approach, one might argue that Dudek = the </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> of <i style="mso-bidi-font-style: normal;">The Years as Catches, </i>and most especially &#8220;African Elegies,&#8221; but
without the later impact of the New American Poetry. What poet would </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> have become without the push-pull
influences of Olson, Creeley, Ginsberg, et al? It might have been something
much closer to the Dudek captured in <i style="mso-bidi-font-style: normal;">Infinite
Worlds </i>(Montréal: <span class="SpellE">Véhicule</span> Press, 1988), edited
not coincidentally by one man who knew both quite well, Robin Blaser. Dudek was
born one year ahead of </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;">, closer in age than either Olson or
Creeley.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** Cabri&#8217;s
contribution to the poetics of </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Philadelphia</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> is worth a blog or two in itself.
He proved to be the single most influential spark to the various elements
working more or less independently around the region, at least in the seven
years I&#8217;ve lived here. The scene as he left it had many times the power
(precisely of interactivity) as the scene as he originally found it. It left us
all asking ourselves, &#8220;Who was that masked man?&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** More
distantly than it might have been. In 1962, my grandfather actively explored
moving to </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Calgary</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> as he helped to set up a paper recycling plant there. My
grandmother&#8217;s mental illness finally functioned as the veto to that impulse. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ Kerouac
&amp; Ginsberg gave the Beats a rough, but very </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">usa</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;">ble metalanguage. In addition to his
various notes on spontaneous prose, Kerouac&#8217;s ideas about writing creep into
his prose on several occasions. Ginsberg&#8217;s many public statements served a
similar purpose. Of the primary New American formations, only the </span><st1:place><st1:placename><span style="font-family: Arial; font-size: 10.0pt;">New York</span></st1:placename><span style="font-family: Arial; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: Arial; font-size: 10.0pt;">School</span></st1:placetype></st1:place><span style="font-family: Arial; font-size: 10.0pt;"> actively avoided discussions of
their own practice.<span style="mso-spacerun: yes;">&nbsp; </span><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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<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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