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Showing posts with label <b>Pattie McCarthy</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>Pattie McCarthy</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>Sunday, October 13, 2013</span></h2>

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&amp; <a href="http://www.temple.edu/creativewriting/faculty/osman/"><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;">Jena</span></a>
<a href="http://jenaosman.com/jenaosman.com/Home/Home.html"><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;">Osman</span></a><o:p></o:p></span></b></div>
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Writers House, 2013<o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; 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;">Intro by
<a href="http://media.sas.upenn.edu/pennsound/groups/Whenever-We-Feel-Like-It/1-23-13/McCarthy-Pattie_01_Whenever-We-Feel-Like-It_KWH-UPenn_1-23-2013.mp3"><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;">Michelle
Taransky</span></a><o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, December 18, 2002</span></h2>

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<span style="font-family: Arial;">Between the poem &amp; the
longpoem come several intermediate modes. One that interests me greatly,
because it&#8217;s one with which I have a lot of personal affinity, is the
booklength poem that might not (yet) be a longpoem in the true sense of taking
a decade or more to compose. It can be &#8211; although not always is &#8211; really the <i style="mso-bidi-font-style: normal;">poem as book</i> (which, conversely, almost
always means the <i style="mso-bidi-font-style: normal;">book as poem</i> also),
calling up that curious zone in which the transpersonal elements of a text
become deeply immersed with the qualities of embodiment that bookmaking
represents.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Jack Spicer was a master at
this level. <i style="mso-bidi-font-style: normal;">After Lorca, The Heads of the
Town Up to the Aether, Language </i>&amp; <i style="mso-bidi-font-style: normal;">Book
of Magazine Verse</i> were all composed as much as books as they were poems.
Gilbert <span class="SpellE">Sorrentino&#8217;s</span> <i style="mso-bidi-font-style: normal;">The <span class="SpellE">Orangery</span></i> is another volume that comes
immediately to mind as an exemplar of this mode &#8211; as are Charles Alexander&#8217;s <i style="mso-bidi-font-style: normal;">arc of light / dark matter,</i> Ted
Berrigan&#8217;s <i style="mso-bidi-font-style: normal;">The Sonnets</i>, John
Ashbery&#8217;s <i style="mso-bidi-font-style: normal;">Three Poems, </i>Lyn Hejinian&#8217;s
<i style="mso-bidi-font-style: normal;">My Life</i>, Robert Creeley&#8217;s <i style="mso-bidi-font-style: normal;">Pieces,</i> Barrett Watten&#8217;s <i style="mso-bidi-font-style: normal;">Progress, </i>David Melnick&#8217;s <i style="mso-bidi-font-style: normal;">Pcoet, </i></span><st1:personname><span style="font-family: Arial;">Tom Mandel</span></st1:personname><span style="font-family: Arial;">&#8217;s <i style="mso-bidi-font-style: normal;">Prospect of
Release</i>, &amp; more than a few books each by both Bernadette Mayer &amp;
Clark Coolidge.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">At the heart of the poem as
book is not just having a project that is sufficiently large enough to warrant
capturing as a whole between two covers, but rather one that understands itself
in precisely such terms, that takes its own free-standing nature as a given.
Book design, of course, allows for a lot of fudging &#8211; the 64-page volume that
was my own </span><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Paradise</span></i></st1:place><span style="font-family: Arial;"> was a 35-page manuscript. Whatever its integrity as
a poem or project might be, it was <span class="SpellE">Rosmarie</span> Waldrop
who had the formal sense to see that work as book. Thus, not every poem (or
poetic series) of size carries this sense of itself as a condition of the
writing. Of the volumes listed in the previous paragraph, the one I sometimes
wonder about in these terms is Berrigan&#8217;s <i style="mso-bidi-font-style: normal;">Sonnets.</i>
As wonderful as they are &#8211; and they hold up to rereading after rereading over
the decades, as rich &amp; glittering as ever &#8211; Berrigan was such a young
writer when he composed that sequence that it&#8217;s not clear to me that he was yet
even thinking in terms of books at all. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">What calls this to mind is a
volume entitled <i style="mso-bidi-font-style: normal;"><a href="http://www.apogeepress.com/books_bkhrs.html"><span class="SpellE">bk</span>
of (h<span class="GramE">)<span class="SpellE">rs</span></span></a></i> by Pattie
McCarthy. It&#8217;s a dense, rich, sometimes dark (&amp; sometimes playful) volume
clearly conceived &amp; written precisely as a book. For a relatively young
poet &#8211; I believe this is only her second volume &#8211; it&#8217;s a project of stunning
ambition &amp; self confidence. And, as readers of this blog will have figured
out by now, these are qualities in poetry that I completely endorse. The title
alone announces that this will not be an &#8220;easy&#8221; read &#8211; although, because this
work is so well written, there are constant &amp; continuing pleasures in doing
so, making <span class="SpellE"><i style="mso-bidi-font-style: normal;">bk</i></span>,
if not an &#8220;easy&#8221; read, at the very least a delightful one. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">McCarthy&#8217;s model of course
is the medieval book of hours, which between the 13<sup>th</sup> &amp; 15<sup>th</sup>
centuries was the most popular of all book forms, but which today is remembered
principally for the detailed illustrations that decorated these favored objects
of the rich. As her use of abbreviations makes evident (&amp; the Apogee Press
design reinforces, especially in the dense prose of the third section),
McCarthy is interested primarily in the intellectual / social / spiritual
elements of the form, not its role in a history of design. The first section of
the book does indeed follow the &#8220;hours&#8221; of medieval practice &#8211; matins, lauds,
prime, <span class="SpellE">terce</span>, <span class="SpellE">sext</span>, none,
vespers &amp; <span class="SpellE">compline</span> &#8211; actually set times of day
for traditional sets of prayer. The second section is, as one would expect in
this form, is called &#8220;(p<span class="GramE">)<span class="SpellE">salter</span></span>,&#8221;
&amp; while the psalms or songs that follow are less <span class="SpellE">polyvocalic</span>
that either the first or third sections of this book, one would be hard put to
characterize them as lyrical.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I suspect that a reader who
was more of a Christian than I would see more levels &amp; depths of reference
here than do </span><st1:place><span style="font-family: Arial;">I.</span></st1:place><span style="font-family: Arial;"> It&#8217;s one thing for me to recognize the use of Julian
dating in &#8220;(p<span class="GramE">)<span class="SpellE">salter</span></span>,&#8221; but
quite another for me to understand quite what to do with it. At that level, I
have to ask myself just how much I trust where the author is going,
particularly one who, like McCarthy, actively invokes a broad a range of
reference, especially in the 21 prose paragraphs of the volume&#8217;s third &amp;
final section, where the sense of density is accentuated by McCarthy&#8217;s
resistance to upper case. Since at no point where I <i style="mso-bidi-font-style: normal;">can </i>follow does she ever once misstep, my gut feel is to trust
completely the places where I simply have to acknowledge my own limits as a
reader. A passage like the following demonstrates absolute ability in total
control:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">the</span></span><span style="font-family: Arial;">
second letters of the original seven<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">antiphons</span></span><span style="font-family: Arial;">
read backwards yield the acrostic :<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I
shall be with you tomorrow.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">divinations</span></span><span style="font-family: Arial;"> to undertake &#8211; times<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">&amp; purposes to be determined regionally.</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I&#8217;m
not one for a public shrove.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">a</span></span><span style="font-family: Arial;"> green
winter makes for a fat churchyard.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">a</span></span><span style="font-family: Arial;"> long
winter makes for a full ear. <span class="GramE">poke</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">holes</span> in
eggshells to keep<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">witches</span>
from going to sea. <span class="GramE">we</span> look down into it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="SpellE"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">bk</span></i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> of (h)<span class="SpellE">rs</span></span></i><span style="font-family: Arial;"> will probably look like early work one day to
McCarthy, precisely because she demonstrates herself taking on such a range
&amp; such steep challenges that you can almost palpably feel her growth as an
artist in these pages &#8211; the literary equivalent of, say, a Beatles album like <i style="mso-bidi-font-style: normal;">Rubber Soul</i>, where the <span class="SpellE">Fab</span> Four just start to make the move from best-in-class of
the genre they&#8217;ve inherited toward working on some whole other level that will
transform not merely their own work, but that of everyone else around them. I
don&#8217;t want to overstate the case here, but <span class="SpellE"><i style="mso-bidi-font-style: normal;">bk</i></span><i style="mso-bidi-font-style: normal;"> of (h<span class="GramE">)<span class="SpellE">rs</span></span> </i>is a
fascinating view of an artist right at the inflection point of her career. <o:p></o:p></span></div>
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<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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<h2 class='title'>Ketjak</h2>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<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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