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Showing posts with label <b>Patrick Herron</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Sunday, October 27, 2002</span></h2>

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<span style="font-family: Arial;">Patrick Herron almost always
has something interesting to say, viz this note to the <span class="SpellE">ImitaPo</span>
list:<o:p></o:p></span></div>
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<br /></div>
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The presence of the quotidian in verse seems to
remain an essential and perhaps even distinguishing characteristic of what is
commonly lumped and labeled as "American" poetry.<span style="mso-spacerun: yes;">&nbsp; </span>We can find it in Whitman, Pound, Eliot
("hurry up please it's time"), O'Hara (who expands it to regularly
include personal names), Ginsberg, and especially Ron all over your work
("Nissan stanza" or "The beer can on the sidewalk had been
crushed flat" as two of perhaps thousands of examples).<span style="mso-spacerun: yes;">&nbsp; </span>Alan too.<span style="mso-spacerun: yes;">&nbsp;
</span>I was just reading one of <span class="SpellE">Kasey's</span> poems on <span class="SpellE">VeRT</span> and it was laden with almost paranoiac quotidian
statements, statements that should be shocking but just aren't.<span style="mso-spacerun: yes;">&nbsp; </span>I find myself using the web for finding and
co-opting quotidian text from time to time (similar to what is in <span class="SpellE">Kasey's</span> poem I'd guess).<span style="mso-spacerun: yes;">&nbsp;
</span>But I don't understand why or what makes the quotidian <i style="mso-bidi-font-style: normal;">poetic</i>.<span style="mso-spacerun: yes;">&nbsp;
</span>Is it in the nominal grounding of the abstract, perhaps as some sort of
exalted discrepancy with a vast valley between the peaks of the particular and
the general?</div>
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<span style="font-family: Arial;">Shklovsky somewhere talks
about how the aesthetic &#8211; I&#8217;m not sure if that&#8217;s how he identifies the
category, but it is how I remember it &#8211; always moves to incorporate all that is
on its fringe, rather like <i style="mso-bidi-font-style: normal;">The Blob</i>.
Or imperialism. Put more positively: one of the duties of poetry is to
continually expand what poetry can include &amp; discuss. <o:p></o:p></span></div>
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<span style="font-family: Arial;">For me, at least, this isn&#8217;t
about theory. I&#8217;ve written before about the importance of William Carlos
Williams&#8217; poem, &#8220;<a href="http://www.poetry.org/issues/issue4/text/prose/silliman1.htm">The Desert
Music</a>,&#8221; in shaping my recognition that I was to be a poet. While, in
retrospect, this is the most traditionally narrative of Williams&#8217; poems, it was
precisely its other elements &#8211; especially the depiction of the person sleeping
on the bridge &#8211; that enabled me at the age of 16 to &#8220;get&#8221; how poetry was
uniquely able to incorporate what Williams would have characterized as despised
materials, but which I would have identified (then &amp; now) as the
&#8220;invisible,&#8221; the background, the details that in fact make up the surfaces and
textures of daily life. It was exactly this capacity for what Patrick calls the
quotidian that brought me to poetry.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I had been writing since the
age of 10 in order, I realize now &#8211; I couldn&#8217;t have articulated it then &#8211; to
bring order to my world. Like more than a few other poets, I was raised in a
classically dysfunctional family &#8211; the 500 pound gorilla in our living room
that went unseen &amp; undiscussed was my grandmother&#8217;s mental illness &#8211; and
writing gave me not only a place to escape (although it did that also), but
critical tools I could not have found any other way as a pre-teen. <o:p></o:p></span></div>
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<span style="font-family: Arial;">However, raised in a house
in which the only creative work around were four-to-a-volume <i style="mso-bidi-font-style: normal;">Readers Digest Condensed Novels</i>, the
idea of poetry, let alone all its possibilities, was outside my field of vision
until I picked up that volume by Williams in the Albany Public Library sometime
around 1962. At that time, I was writing dreadful teenage fiction. I was under
the impression &#8211; and I&#8217;ve seen some of the responses to Patrick&#8217;s post on <span class="SpellE">ImitaPo</span> that reflect this position &#8211; that one was
constrained to craft novels around characters and action in order to get to
this &#8220;real&#8221; material, the so-called background detail. From my perspective, the
so-called elements of the &#8220;narrative drive&#8221; of a novel were really just an
excuse for enabling the author to incorporate what mattered most: these tiny
elements at the margins. The idea of a literature that could raise the
invisible up to the field of vision, in &amp; of itself, was a revelation. <o:p></o:p></span></div>
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<span style="font-family: Arial;">So for me, the quotidian, to
call it that (I never think of it as such), is not about adding a layer of
texture for the sake of enhancing a reality effect. The invisible or marginal
is not adjunct to the work: <i style="mso-bidi-font-style: normal;">it is the
work itself</i>. I want you to understand that dust bunny in the corner under
your desk. The whole of human history can be found there. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But how that history is to
be discovered matters terribly. One of the primary objections I have to the
school of quietude is its grotesque sense of heroism, even when it&#8217;s a heroism
of everyday objects. A trowel is not a trope. This always seems to me a
fundamental dishonesty, a true violation of any pact with the reader, even with
the self. It&#8217;s a betrayal of the world of objects &amp; of the objective. Such
poetry is founded on precisely the dynamics that render the most critical
elements of the world invisible. So when I take exception to the writing of a
Robert Lowell or a Phil Levine or a Linda Gregg or an Alfred Corn, it&#8217;s really
an allegiance to that ten year old boy I once was to which I continue to stand
fast. I won&#8217;t betray him by creating a false world, a poetry of lies. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Against this I would pose
Francis Ponge&#8217;s uses of the object as exemplary. His use of soap, his
elaboration of fauna. His insistence on the thingness of things. To this I
would add the thingness of words, their literal immanence, which is what I get
out of Stein and so much of the best writing of the past thirty years. This has
very little to do with any grounding of the abstract. Rather, I see it as an
issue of being present in my own life. This is how poetry matters.<o:p></o:p></span></div>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<li><a href='http://www.poets.org/poet.php/prmPID/1544'>Academy of American Poets</a></li>
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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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