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Showing posts with label <b>Paul Blackburn</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>Tuesday, September 13, 2016</span></h2>

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<br />
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<b style="mso-bidi-font-weight: normal;">Paul Blackburn and Me&nbsp;</b></div>
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<br /></div>
<div class="MsoNormal">
<i><span style="mso-bidi-font-weight: normal;">Edie Jarolim</span></i></div>
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</div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">It&#8217;s been thirty years
since I finished editing the Collected Poems of Paul Blackburn. I still can&#8217;t
quit him.</i></div>
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<br /></div>
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Paul Blackburn died on September 13, 1971 &#8212; exactly
forty-five years ago today. He was forty-four. I never met him, but I spent
more than half a decade with him, writing my dissertation and editing his
collected and selected poems. When I started this three-pronged project, it
seemed to me that Blackburn had lived a reasonably long life. By the time I
finished, I thought he&#8217;d died tragically young.</div>
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<br /></div>
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As they say on Facebook, it&#8217;s complicated. Bear with me
here. I never wrote down this story before, so I&#8217;m relishing the details. <br />
<br style="mso-special-character: line-break;" /></div>
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***</div>
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<br /></div>
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I first encountered Blackburn in the late 1970s through M.L.
Rosenthal, whose Yeats seminar I had taken as a grad student at NYU. I&#8217;d been
contemplating writing a thesis about one of the confessional poets, Rosenthal&#8217;s
specialty, but when I went in to talk to him about possible dissertation subjects,
Rosenthal said, &#8220;What do you think about Paul Blackburn?&#8221;</div>
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<br /></div>
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I hadn&#8217;t thought about him at all. I&#8217;d never heard of him. Rosenthal
explained, &#8220;Blackburn&#8217;s widow asked me to edit his collected poems. I don&#8217;t
have the time but I told her I would pass the job along to a qualified graduate
student.&#8221; He added, &#8220;If you do the scholarly edition for your dissertation, you&#8217;ll
end up with a published book when you get your Ph.D.&#8221;</div>
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<br /></div>
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I got hold of <i style="mso-bidi-font-style: normal;">The
Cities</i>, the book Rosenthal had recommended as quintessential Blackburn. Many
of the poems were about the BMT subway line, which I&#8217;d grown up riding in
Brooklyn. I admired Blackburn&#8217;s technical skill, his musical score-like
notations of the works, his ability to make the writing look easy. I shoved down
my doubts about his attitudes towards women. A published book... Now there was
a shiny object for an aspiring academic. <span style="mso-spacerun: yes;">&nbsp;</span></div>
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<br /></div>
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The project turned out to be far more complex than I&#8217;d
anticipated. First, I had to come up with a criterion for inclusion in the
edition. I opted for poems that had been previously published. But what
constituted publication? A lot of Blackburn poems appeared only in mimeographed
editions. Should those be included? </div>
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<br /></div>
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I next had to decide on an organization. Should the poems
appear in the same groupings as the published volumes? There was too much overlap,
and many poems were published in poetry journals but not books. </div>
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<br /></div>
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My choice of a chronological arrangement led to other
questions: Should the date be based on the first draft of the poem or the
published version? And how would I determine the first draft date? And if
Blackburn revised the poem after it was published, which version should I use?</div>
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<br /></div>
<div class="MsoNormal">
I became a poetry detective, interviewing ex-wives and
friends, identifying typewriters, tracking down biographical clues in the poems
(luckily there were a lot of those). The process was fascinating, but time
consuming. It didn&#8217;t help my efficiency that I was commuting between New York
and San Diego, where Blackburn&#8217;s widow, Joan, had sold his papers to UCSD&#8217;s
Archive for New Poetry. </div>
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<br /></div>
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San Diego &#8211; now there was another shiny object. A typical
Easterner, I went there expecting to find a smaller version of Los Angles. The
freeways were there, and also some of the congestion, but so was a seascape of
surprisingly pristine beauty, and a string of coastal cities, each with their
own distinct character. USCD resided in the poshest &#8212;and probably most stunning
&#8212; of them all, La Jolla.</div>
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<br /></div>
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I was hired to catalogue Blackburn&#8217;s archive and thus was often
on the scene for the groundbreaking reading series created by poet Michael
Davidson, the Archive for New Poetry&#8217;s director. I became part of the inner
circle of the graduate students and young academics in the UCSD literature
department. I also got friendly with the local writers in town (Rae Armantrout
and Jerome Rothenberg, for example), as well as visiting writers like Lydia
Davis and Ron Silliman. By no means was this project all work and no play. </div>
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<br /></div>
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I never quite pinned down how I felt about Blackburn&#8217;s
poetry, but after a while it didn&#8217;t matter. The editing was an end in itself
and Paul Blackburn was part of my life, day and night. He haunted my dreams.
Sometimes the scenarios were sexual, sometimes as everyday as my kitchen
cabinets. Kind of like his poetry. </div>
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<br /></div>
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Finally, I had a scholarly edition of 623 poems. For each, I
detailed the decisions that went into the editing and dating. I added a
critical introduction of maybe 50 pages, discussing Blackburn&#8217;s biography and
his place in the poetry pantheon as well as the editing theory.</div>
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<br /></div>
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Seemed like a wrap to me. </div>
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<br /></div>
<div class="MsoNormal">
The powers that be at NYU disagreed. Now that his oeuvre had
been established &#8211; by me! &#8211; they argued that I had a basis for a <span style="mso-spacerun: yes;">&nbsp;</span>&#8220;real&#8221; dissertation, a 200-page critical introduction
about Blackburn himself, rather than about the editing process. Who says irony
is dead?</div>
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<br /></div>
<div class="MsoNormal">
When I finished this next Sisyphean task, I brought eight volumes
into the office of the recorder at NYU. She said, &#8220;You&#8217;re only supposed to
bring in two copies of your dissertation.&#8221;</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
&#8220;That <i style="mso-bidi-font-style: normal;">is</i> two
copies,&#8221; I said. </div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
I&#8217;d had it with academia by then. It wasn&#8217;t just the hoops
I&#8217;d had to jump through at NYU. By the time I took my qualifying exams, my prose
style had been pulverized; I had the sentence structure of Henry James and the
verbal clarity of Yogi Berra. A decade earlier, I was writing college papers
praised for their lucidity. Next thing I knew, I was submitting a proposal for
a dissertation titled &#8220;From Apocalypse to Entropy: An Eschatological Study of
the American Novel.&#8221; I switched thesis topics and advisors but didn&#8217;t kick the
jargon and passive construction habits.</div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
Which was a problem, because what I really wanted to be was
a writer, not a literary critic.<span style="mso-spacerun: yes;">&nbsp; </span></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
My not so-brilliant career plan had been to get tenure and
then, in my spare time, devote myself to my craft, in whatever genre that
turned out to be. <span style="mso-spacerun: yes;">&nbsp;</span>Being a teaching
assistant at NYU had cured me of any desire to teach, which I realized would be
the main part of my job description. And that published book that was going to
help me secure my place in academia? It wasn&#8217;t going to do the trick or even
come close. Paul Blackburn, I now understood, was a &#8220;dead white guy,&#8221;
academia-speak for someone representing the establishment. My untrendy
specialty would consign me to the boonies before I could&#8212;maybe, possibly, who
knows? &#8212; snag a job in a decent city. </div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
Nor did I want to give up my Greenwich Village apartment.</div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
I grew up in Brooklyn and had finally acquired what every
bridge-and-tunnel brat aspired to in the days before the boroughs became hip: a
rent-stabilized place in Manhattan. Call me crazy, but I didn&#8217;t want to move
someplace I didn&#8217;t want to live to do something I didn&#8217;t want to do.</div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
I helped with the publication of the <i style="mso-bidi-font-style: normal;">Collected Poems</i> by Persea Press in 1985. I tackled the <i style="mso-bidi-font-style: normal;">Selected Poems</i> next. Somewhere in
between there were small Blackburn books &#8211; <i style="mso-bidi-font-style: normal;">The
Parallel Voyages</i>, <i style="mso-bidi-font-style: normal;">The Lost Journals</i>
&#8211; and a few journal articles. </div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
Slowly but surely I opted out of my role as the keeper of
the Blackburn flame, handmaiden to his reputation &#8212; and as a potential academic.</div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
First, I happened into a job as a guidebook editor at the
travel division of Simon and Schuster. It took two more travel publishing jobs
and a move to Tucson in 1992 to finally jumpstart my long-delayed writing career.
This time, I had fewer qualms about leaving New York.</div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
***</div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
My retreat from all things Blackburn continued until 9/11. My
niece had phoned from San Antonio to make sure I was okay; though I was living
in Tucson, I often visited New York and my old digs in lower Manhattan. </div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
Talk about wake up calls. Suppose I were to die suddenly &#8211;
and intestate? I was divorced, had no children, and my parents were no longer
alive. Everything would have gone by default to my older sister, from whom I
was estranged. I didn&#8217;t have much of an estate, except my literal estate. I
loved the swirled stucco home near the University of Arizona that I had bought for
a song &#8211; and I still loved literature. I decided to will my house to the UA&#8217;s
excellent Poetry Center, where it would be a residence for visiting writers. It
would be named for Paul Blackburn.</div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
More time passed. My writing career thrived, though it was
diffuse. I authored three guidebooks, published hundreds of travel articles, became
a restaurant reviewer, wrote a dog book, became a dog blogger, discovered that
my great uncle&#8217;s butcher shop in Vienna had been in the same building as
Sigmund Freud and became a genealogy blogger <span style="color: black; mso-themecolor: text1;">[<a href="https://www.blogger.com/www.freudsbutcher.com"><span style="color: black; mso-themecolor: text1;">www.freudsbutcher.com</span></a>]. </span></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
One day, maybe two years ago, a friend tagged me on
Facebook to join a poetry discussion about Paul Blackburn. It was like
attending my own funeral. One of the participants wondered what had happened to
me. Another chimed in, authoritatively, that I had &#8220;become a professional dog
person.&#8221; Clearly, my dog blog had better SEO than my genealogy blog. </div>
<div class="MsoNormal" style="mso-hyphenate: none; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal">
This public erasure of my career between the Blackburn years
and the publication of my dog book was one of the many things that inspired me
to finish a memoir that had been on the back burner for about a decade, called <i style="mso-bidi-font-style: normal;">Getting Naked for Money. </i>Traditional
publishing had by now hit the skids and I wanted more control over my work and,
especially, over my royalties. I started a Kickstarter campaign to raise money
to publish it myself.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It was through that campaign and reconnecting with old
friends from my poetry past that I discovered there had been a combined
celebration of the digitizing of Paul Blackburn&#8217;s archive at UCSD/surprise retirement
party for Michael Davidson&#8212;to which I hadn&#8217;t been invited. Well, fuck. Now even
that accomplishment had been erased. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I thought about my bequest to the UA. Why was I still holding
on to any connection to Paul Blackburn? Others around me had clearly moved on,
abnegating my role. I still wanted to will my house to the university as a
writer&#8217;s residence, but now, I decided, it would be reserved for women over 50
writing in any genre. Women that the world tended to ignore, in spite of the
good work they were doing. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I contacted the UA and said I&#8217;d like to change the terms of my
bequest.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This was about a month ago. Here&#8217;s where the story gets really
weird.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At around the same time, I had dinner with a woman whose
acquaintance I had made earlier this year at a Seder, another single ex-New
Yorker. I started telling her about changing my bequest to the UA. She
interrupted me mid-sentence. &#8220;Did you say Paul Blackburn?&#8221; she practically
shouted.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, I said, Paul Blackburn. I thought she was confused.
Blackburn had always been a poet&#8217;s poet. In my experience, the publication of
the <i style="mso-bidi-font-style: normal;">Collected Poems</i> and <i style="mso-bidi-font-style: normal;">Selected Poems </i>hadn&#8217;t done much to widen
his reputation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
She knew exactly whom I meant. Paul Blackburn had been her
first lover. She had been 17; he had been in his mid-thirties and married to
his second wife, Sara. They saw each other for about a year. She eventually left
New York and married someone else but always thought, somehow, that Paul would
turn up in her town, maybe to give a reading. She was shocked to learn that he
died, about a year after the fact.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
She sent me pictures that she and Paul had taken in a photo
booth, he preserved in amber with a little goatee, she in a fresh-faced
youthful incarnation that was equally mythical to me. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I wasn&#8217;t surprised at the revelation of the affair; his
poetry had always hinted at infidelities. I was saddened because I&#8217;d liked Sara
Blackburn the few brief times I&#8217;d met her, but I was hardly one to judge. Mostly,
I was appalled at the age &#8212; and power &#8212;difference. As my friend said, if it was
today, he might have been charged with statutory rape by her parents. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I felt like I was in a weird time loop, doomed to relive a
past that was no longer relevant to my present over and over.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But the incident sent me back to <i style="mso-bidi-font-style: normal;">The Collected Poems</i>. I looked at <span style="color: black; mso-themecolor: text1;">my <a href="http://epc.buffalo.edu/authors/blackburn/blackburn_jarolim_intro_collected.html"><span style="color: black; mso-themecolor: text1;">introduction</span></a>. </span>Apparently,
graduate school hadn&#8217;t robbed me of all lucidity after all, though I&#8217;d had to
work harder to achieve it. And I realized, again, that what I thought and think
about the poetry makes little difference. The collection exists, beautifully
presented by Persea, painstakingly edited by me.<span style="mso-spacerun: yes;">&nbsp; </span>It brought pleasure to Blackburn&#8217;s many
admirers. That&#8217;s no small accomplishment to claim. </div>
<div class="MsoNormal">
<br /></div>
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And, I figured, if you can&#8217;t escape your past, you can share
your version of it &#8211; with a little help from your friends.</div>
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Shameless self-promotion for Edie Jarolim: The Missing
Years. My memoir<span style="color: black; mso-themecolor: text1;">, <a href="http://www.ediejarolim.com/books/getting-naked-for-money/"><i style="mso-bidi-font-style: normal;"><span style="color: black; mso-themecolor: text1;">Getting Naked for Money: An Accidental
Travel Writer Reveals All</span></i></a> will be out in a couple of weeks.
Subscribe to my blog, <a href="http://www.ediejarolim.com/"><span style="color: black; mso-themecolor: text1;">http://www.ediejarolim.com/</span></a>
for updates &#8211; and </span>for outtakes, emailed only to subscribers. Some pretty
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Posted by
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at
<meta content='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2016/09/14.html' itemprop='url'/>
<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2016/09/14.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2016-09-13T03:00:00-04:00'>Tuesday, September 13, 2016</abbr></a>
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Labels:
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<h2 class='date-header'><span>Wednesday, December 05, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><iframe width="640" height="480" src="//www.youtube.com/embed/ix848GU0gNo" frameborder="0" allowfullscreen></iframe></p><p class=MsoNormal align=center style='text-align:center;line-height:150%'><b style='mso-bidi-font-weight:normal'><span style='font-size:14.0pt;line-height: 150%;font-family:"Arial","sans-serif";color:red'><a href="http://media.sas.upenn.edu/pennsound/podcasts/PoemTalk/PoemTalk-59-Blackburn-7th_Game_1960_Series.mp3"><span style='color:red'>Close-reading</span></a></span></b><span style='font-size: 14.0pt;line-height:150%;font-family:"Arial","sans-serif";color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><br />
<a href="https://jacket2.org/commentary/yankee-go-home-poemtalk-59"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Paul Blackburn&#8217;s</span></a><br />
<a href="http://media.sas.upenn.edu/pennsound/authors/Blackburn/Blackburn-Paul_7th-game-1960-series_1960.pdf"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>7<sup>th</sup> Game: 1960 Series</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, November 17, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><a href="http://epc.buffalo.edu/authors/blackburn/blackburn_interview_one.html"><span style='color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none'><img border="0" height="376" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OYguATGEh4a8vLcPGeODEnhoStbqYuUrmS1tNEbcLAjiKcO0Op6_oNHQerAiP9qPVR-by2EwGa94ChZT2-W8buC7w41E4zCRj-PxXbvlW4cnEKA%3Ds0-d" width="547"></span></a><br><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>(Paul with Lee Byrd, Memphis, 1967 &#8211; Photo by <a href="http://whitepantiesanddeadfriends.blogspot.com/2008_10_01_archive.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Bobby Byrd</span></a></span></i><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;line-height:115%'>)<o:p></o:p></span></i></p>
<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://en.wikipedia.org/wiki/Paul_Blackburn_%28U.S._poet%29"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Paul</span></a> <a href="http://epc.buffalo.edu/authors/blackburn/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Blackburn</span></a><span class=GramE>:</span><br> <a href="http://www.english.illinois.edu/maps/poets/a_f/blackburn/blackburn.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>2</span></a> <a href="http://jacketmagazine.com/12/index.shtml"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>readings</span></a><o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>SUNY Cortland, April 1, 1971<br> (<a href="http://media.sas.upenn.edu/pennsound/authors/Blackburn/Blackburn-Paul_01_SUNY-Cortland_4-1-71.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>part 1</span></a>) (<a href="http://media.sas.upenn.edu/pennsound/authors/Blackburn/Blackburn-Paul_02_SUNY-Cortland_4-1-71.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>part 2</span></a>)<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span style='font-size:12.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://media.sas.upenn.edu/pennsound/authors/Blackburn/Creeley-Tape-71/Blackburn-Paul_Complete-Reading_Creeley-Tape-71_1971.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Mills College</span></a>, Oakland, July 1971</span><span style='font-size:12.0pt; line-height:115%'><br style='mso-special-character:line-break'> <!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'> <!--[endif]--><o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, May 15, 2008</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><a href="http://epc.buffalo.edu/authors/blackburn/"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="344" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/h35peoJxAHjsVo0XmDbPpU6UKKX0pBZHOcfiU0rmzYvanbqAt99tWzbWXneU7tYCDnPzKLGmdFx7rKxDHrvKYJKLm8MusqCkubPEbCHh1JNTYKaaUZpuUBPbqw%3Ds0-d" width="336"></span></a><br> <i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial'>Paul Blackburn, </span></i><span style='font-size:8.0pt;font-family:Arial'>by R.B. Kitaj<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The <a href="http://epc.buffalo.edu/authors/blackburn/"><span style='color:black'>Paul Blackburn</span></a> page at the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>Electronic</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Poetry</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Center</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> has gone live. Jack <span class=SpellE>Krick&#8217;s</span> months of effort have finally born fruit. I&#8217;m here to tell you it&#8217;s a major event. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The first serious critical article I ever wrote, outside of a couple of theater reviews &amp; a report of a Cid Corman reading for the <i style='mso-bidi-font-style:normal'>Daily Californian </i>during my days at UC Berkeley, was a review of Paul Blackburn&#8217;s <i style='mso-bidi-font-style:normal'>The Cities </i>for Meg Randall &amp; Sergio <span class=SpellE>Mondragon&#8217;s</span> <i style='mso-bidi-font-style:normal'>El <span class=SpellE>Corno</span> Emplumado, </i>which was still being published in those days in Mexico City. I&#8217;ve long since lost my copy of the issue, but the journal didn&#8217;t survive much longer as its editors&#8217; political activism in the run-up to the 1968 summer Olympics (and the police massacres that &#8220;cleaned up&#8221; the city for the event) turned them into targets. The police kidnapped their kids &amp; Meg as I recall had the hardest time getting them back before deciding that safety required a hasty move to </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Havana</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> himself didn&#8217;t survive all that much longer either. Four years after Grove Press made his poetry widely available in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>United States</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> for the first time, he was dead of esophageal cancer, passing away the same day as the ill-fated </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Attica</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> prison rebellion in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>. I only got to meet  </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> once, at a 1969 poetry conference at </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>Mills</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>College</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'>. I was surprised &#8211; shocked actually &#8211; at how short he was, having I guess a sense that my heroes all must be outsized human beings, rather in the way that 6&#8217;9&#8221; Charles Olson appeared to echo Pecos Bill. Dressed in a cowboy hat &amp; vest, with goatee &amp; moustache very much as shown in the <span class=GramE>R.B..</span> Kitaj portrait at the head of this note, </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'> seemed to be continually juggling four objects at once: a beer, something from a flask he kept in his vest pocket, a cigarette &amp; a doobie. It was quite a performance, actually, but it also put a screen of motion between himself &amp; anyone to whom he was speaking.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Because Blackburn died at the age of 44 &#8211; and because, with the sole exception of one translation reissued by a university press, he has not had a book of any sort now in 19 (!) years, both the <i style='mso-bidi-font-style:normal'>Collected </i>and <i style='mso-bidi-font-style:normal'>Selected Poems </i>coming from the relatively modest <span class=SpellE>Persea</span> in New York &#8211; his importance as one of the defining poets of the 1960s has receded in the public consciousness. In a way, his narrative is not so different from that of Joe Ceravolo and Ceravolo&#8217;s relationship to the New York School, 2<sup>nd</sup> generation, at least before Coffee House Press put out <i style='mso-bidi-font-style:normal'>The Green Lake is Awake </i>in 1994, in that demonstrating knowledge of Blackburn/Ceravolo&#8217;s work is a way of letting people know you&#8217;re seriously engaged in the relevant literary context. In </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'>&#8217;s case, that context was the projectivist vision of </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>Black</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>Mountain</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'> poetry. In the 1960s, it was always interesting to see who people would list as the 4<sup>th</sup> major projectivist figure after the triumvirate of Olson, Creeley &amp; Duncan. Of the candidates who were mentioned &#8211; </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'>, Dorn, Baraka &amp; Levertov &#8211; Paul&#8217;s name came up most often, at least in the circles in which I traveled. There were I think three reasons for this. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>First, </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'> was the most important translator of poetry born in the 1920s. He&#8217;s the only poet in the entire Allen anthology for <span class=GramE>whom</span> this is a major mode, Ashbery being a rather distant second. Of the four major translators who turn up in the next decade &#8211; Clayton Eshleman, Rosmarie Waldrop, <span class=GramE>Anselm</span> Hollo &amp; Jerry Rothenberg &#8211; the three males have at least some pretty direct connection to </span><st1:place><span  style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'>&#8217;s work. Blackburn was an early translator &amp; advocate for Julio Cortázar, his translations from the Provençal are the standard for that literature, and his translation of <i style='mso-bidi-font-style:normal'>El Cid </i>is by far the best ever done of that text. (Read it alongside Dorn&#8217;s <i style='mso-bidi-font-style:normal'>&#8216;Slinger </i>some day.)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Second, no poet came close to </span><st1:place><span  style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'>&#8217;s dedication to the idea of poetry&#8217;s relationship to speech &amp; the byways of spoken language. Many of </span><st1:place><span  style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'>&#8217;s poems seem to be entirely about the language employed, such as &#8220;<span class=SpellE>Ya</span> Lift a Cold One (That&#8217;s the Commercial),&#8221; a 1964 piece that is all about the &#8220;missing&#8221; preposition in its final line:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&#8220;<span class=SpellE>Schultzie</span>?&#8221;</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8211;</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> Yeah.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&#8220;The game&#8217;s over?&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8211;</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> Yeah.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&#8220;The Yankees lost?&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in;text-indent:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8211;</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> Yeah,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&#8220;Good <span style='color:black'>&#8211;</span> you got any melons up your house?&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Notice the acceleration the poem gets moving toward that long last line because the third <i style='mso-bidi-font-style:normal'>Yeah </i>is punctuated with a comma rather than a period. This concept of poetry as linguistic documentation, something </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'> shares with the late Jonathan Williams &amp; Phil Whalen, is all but a lost art. The only poet I can think of right now who still seems capable of this would be Anselm Hollo, all of 74 years young. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Third &#8211; and definitely related to the other two &#8211; </span><st1:place><span  style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'> is the unquestioned master of using the visual page as a score for dialect and tone. Anything a typewriter could do was fair game, with a diligence not unlike how Cecil Taylor treats a piano or <span class=SpellE>Jimi</span> Hendrix handled a guitar. CAPITALIZATION, s p a c e d letters, variant leading between lines, punctuation that sometimes wandered some distance from the nearest word, and of course spelling. Thus you can get a line such as this first one from &#8220;Shoeshine Boy&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>S U B W A Y<span style='mso-spacerun:yes'> &nbsp; </span>S T O P<span style='mso-spacerun:yes'> &nbsp; </span><span style='mso-spacerun:yes'> &nbsp; </span>at Wall Street,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>which captures the sign as well as sets the scene for what follows.</span></span><span style='font-size:10.0pt;font-family:Arial'> Or the first line of &#8220;Two Flowers,&#8221; the very next poem in the <i style='mso-bidi-font-style:normal'>Collected:</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>T h e<span style='mso-spacerun:yes'> &nbsp;  </span>g o d<span style='mso-spacerun:yes'>   &nbsp; &nbsp; </span>sits staring helplessly<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>In the former example, spacing the letters lends almost a collage kind of concreteness to the image, but in the second it helps to make the subject feel more ethereal, precisely the opposite effect derived from the same device. I can read </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'>&#8217;s poems repeatedly, just for the utter pleasure in watching / hearing a master at work. I can&#8217;t imagine any poet who wouldn&#8217;t benefit from doing the same.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I can imagine some poets who might not always enjoy that experience, however. </span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial'> is very much a man of the 1950s when it comes to some of his attitudes toward women &#8211; not that dissimilar from Kerouac, Snyder, Dorn or Creeley &#8211; and that word &#8220;Boy&#8221; in the title of that poem I referred to above certainly is <span style='color:black'>reflexive and uncritical. But if you grant him the blinders of his time &amp; place (and keep in mind that it was a <a href="http://en.wikipedia.org/wiki/Mickey_Schwerner"><span style='color:black'>nephew</span></a> of Armand Schwerner&#8217;s, certainly a part of Blackburn&#8217;s social network, who was one of the Mississippi Three, murdered by the Klan for trying to register voters in 1964), you can learn an enormous amount about the possibilities of poetry from close reading all of Blackburn&#8217;s work.<o:p></o:p></span></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Which brings me to the question of the availability of his poetry.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> Only one of the seven copies of <i style='mso-bidi-font-style:normal'>The Collected Poems</i> that can be found via <a href="http://tinyurl.com/64r2lc"><span style='color:black'>Abebooks.com</span></a> is priced at under $100. Even the copy priced at $175 is well worth the money. <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/5cfyy6"><span style='color:black'>The Selected Poems</span></a> </i>are more accessible, with over 30 copies to be had, only a British copy of which is priced over $30. But seriously <span class=GramE>folks,</span> isn&#8217;t it time for a good paperback edition of <i style='mso-bidi-font-style:normal'>The Collected Poems</i>? As it is, the EPC website now becomes, on day one, the best single source for Paul Blackburn&#8217;s poetry on the planet. But until the time when you can get </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s work at </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>Bridge  Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>, or through SPD or at Woodland Patterns or even, god forbid, Amazon, we are really short changing Paul Blackburn, literary history and ourselves. <o:p></o:p></span></p>
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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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