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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Nico Vassilakis</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>Nico Vassilakis</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>Tuesday, January 28, 2003</span></h2>

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<span style="font-family: Arial;">Nico Vassilakis writes a
very clean line:<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;">The posture of an event is
directly<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Related to the posture of its
participants<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;">For instance, we are slaves to
our lawns<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Photosynthesis laughs at us <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;">If you adjust the rabbit ears
just right<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">You can receive your next door
neighbor better<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;">Meanness is allowed to fester<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">And it will ruin the spine<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;">The pilgrimage is made<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">To reassert the definition&#8217;s
truth<o:p></o:p></span></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;">Glorious water, but even it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Falls victim to gravity<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;">Winding its way down to the
feet<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The head ponders the
fascinations of light<o:p></o:p></span></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;">The birdsong of ancient
typewriters<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Chattering in the background<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Vassilakis&#8217; language is
quite direct, needing only two commas in these sixteen lines, taken from &#8220;Talk
is Parting of a Problem: first aspect,&#8221; in <i style="mso-bidi-font-style: normal;"><a href="http://www.birddogmagazine.com/index.htm">Bird Dog</a> </i>2. The line
itself is accentuated by the capital at the left margin, but only lightly so.
Look at how gently that first line is enjambed, remarkable in that it occurs
right in the middle of a verb phrase interrupted by an adverb. The mid-stanza
linebreak occurs on, or even in the middle of, the verb phrase four times &amp;
two other times at clear moment of syntactic gear shifts.*<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Part of the secret here is
the relationship of the line itself to the couplet ** &#8211; of the eight stanzas
here, at least six can be read as complete in themselves, although the
syntactic hinge between <i style="mso-bidi-font-style: normal;">gravity </i>&amp;
<i style="mso-bidi-font-style: normal;">Winding</i> is deliberately ambiguous
(that first line could as easily be read as attaching to the stanza above as to
the line below). But it would be a mistake, I think, to view these lines as
halved couplets &#8211; too many of them get their effect precisely through the way
one sets up the next: the bivalent <i style="mso-bidi-font-style: normal;">Winding</i>
is only the most pronounced example. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A clean line in poetry is a
rare thing. Only a few poets seem ever able to master it consistently &#8211; </span><st1:personname><span style="font-family: Arial;">Michael Palmer</span></st1:personname><span style="font-family: Arial;">, Alan Davies, Chris McCreary &#8211; it&#8217;s a short list<span class="GramE">.*</span>** One hardly ever finds it, for example, in Ginsberg,
Creeley or Ashbery. It&#8217;s not of great interest to Pound or Williams. H.D. could
do it, although I think it tends to be hidden by the very shortness of her
lines. Zukofsky &amp; Duncan could both write clean lines, although often
enough they choose not to. <span class="GramE">Ditto, more recently, George
Stanley.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are, of course, as
many reasons to <i style="mso-bidi-font-style: normal;">not </i>want a clean line
as there might be to desire one. Like rhyme or the tub-thumping metrics of
iambic pentameter, the form insinuates a vision of unmediated &amp; harmonious
existence that is patently a lie. Vassilakis does a superb job in the section
quoted above of using just such possibilities against themselves. Sort of an
anti-Moxley, Vassilakis&#8217; irony meter has arrived at a throbbing red maximum.
&#8220;Meanness is allowed to fester / <span class="GramE">And</span> it will ruin the
spine&#8221; is an absolutely fabulous moment in this regard. It is difficult to
imagine how an individual could ever hope to write much better than that.<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* At the
end of the dependent clause in the third stanza &amp; right before the
conjunction in the fourth. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Only the
opening line in this poem &#8211; or at least in this &#8220;aspect&#8221; of the poem (the title
suggesting that there might well be more) &#8211; is not part of a couplet. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*** Another
poet who has done so at times appears in this issue of <i style="mso-bidi-font-style: normal;">Bird Dog </i>&#8211; Spencer Selby &#8211; although his work here is not
particularly an example of that side of his writing<o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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