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Showing posts with label <b>Paul Celan</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>Paul Celan</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>Monday, December 16, 2013</span></h2>

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</div><div align="center" class="MsoNormal" style="text-align: center;"><a href="http://en.wikipedia.org/wiki/Pierre_Joris"><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;">Pierre</span></b></a><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"> </span></b><a href="http://www.pierrejoris.com/blog/"><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;">Joris</span></b></a><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"><br />
<br />
</span></b><a href="http://media.sas.upenn.edu/pennsound/authors/Jorris/Joris_Pierre_The-Holocaust-Experience-in-the-Poetry-of-Paul-Celan_KWH-UPenn_12-3-2014.mp3"><b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;">talking with Al Filreis</span></b></a><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"> <o:p></o:p></span></b></div><div align="center" class="MsoNormal" style="text-align: center;"><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"><br />
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</span></b></div><div align="center" class="MsoNormal" style="text-align: center;"><a href="https://jacket2.org/commentary/pierre-joris-paul-celan-and-shoah"><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;">Paul Celan &amp; the Shoah</span></b></a><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"><br />
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</span></b><a href="http://writing.upenn.edu/wh/multimedia/tv/reruns/watch/156218"><i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;">(video)</span></i></a><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1; mso-themetint: 242;"><o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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<h2 class='date-header'><span>Sunday, April 29, 2012</span></h2>

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<p class="MsoNormal" style="text-align:center;line-height:150%" align="center"><span style="line-height:150%;Arial&quot;,&quot;sans-serif&quot;; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-thememso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:&quot;lumm=95000 lumo=5000&quot;font-family:&quot;;font-size:12.0pt;color:text1;"   >With Paul Celan into the 21<sup>st</sup> Century
with Pierre Joris &amp; Nicole Peyrafitte<o:p></o:p></span></p>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Nicole%2520Peyrafitte' rel='tag'>Nicole Peyrafitte</a>,
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<h2 class='date-header'><span>Sunday, December 22, 2002</span></h2>

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<st1:personname><span style="font-family: Arial; font-size: 12.0pt;">Gary Sullivan</span></st1:personname><span style="font-family: Arial; font-size: 12.0pt;"> ended his dissertation on humor &amp; context the other day
with what I would characterize as an imponderable: &#8220;<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">How is Celan&#8217;s work read by
those who don&#8217;t know who he was, his history?&#8221; Now Annie Finch sends an email
to ratchet the issue of irony up one more notch: </span></tt><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Dear
Ron, <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="font-family: Verdana;">the whole
[Jennifer] Moxley discussion has been fascinating. if this inspires thought for
your blog, I'd be interested to read your response. I think the poems I was
recalling are in <i style="mso-bidi-font-style: normal;">With Strings</i> or if
not, another recent book. I guess part of the question raised is, how much does
the context of the writer's other work affect the irony that individual poems
can retain? <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="font-family: Verdana;">"Charles
Bernstein has written some poems that I would not be surprised to see in a book
by X.J. Kennedy. Ron, can you imagine a time in which the context separating
those two is lost, or is that taking the idea too far?"<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="font-family: Verdana;">Two
more thoughts/questions:<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="font-family: Verdana;">Do
you think poems that go too much the other way, that don't have enough irony,
are just as vulnerable to being lost after their originary time is over as
poems that depend too much on transitory irony? <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="font-family: Verdana;">Then
there is the phenomenon of poems that are written with irony and STILL survive
after the irony is long gone in most reader's minds. Examples: Frost's The Road
Not Taken and Blake's Songs of Innocence. Where do these fit in?<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="font-family: Verdana;">Annie<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">I would
suspect that one of the Bernstein poem&#8217;s Annie might be remembering is &#8220;The Boy
Soprano&#8221;:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Daddy loves me this I know<br />
Cause my granddad told me so<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Though he beats me blue and black<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">That&#8217;s because I&#8217;m full of crap<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">My mommy she is ultra cool<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Taught me the Bible&#8217;s golden rule<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<st1:personname><span style="font-family: Verdana; mso-bidi-font-family: Arial;">Don</span></st1:personname><span style="font-family: Verdana; mso-bidi-font-family: Arial;">&#8217;t talk back, do what
you&#8217;re told<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Abject compliance is as good as gold<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">The teachers teach the grandest things<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Tell how poetry&#8217;s words on wings<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">But wings are for Heaven, not for earth<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Want my advice: hijack the hearse<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 12.0pt;">Compare
this with Kennedy&#8217;s &#8220;<a href="http://www.poemtree.com/poems/BratsReward.htm">A
Brat&#8217;s Reward</a>&#8221;:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">At the market Philbert Spicer<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Peered into the bacon slicer &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Whiz! the wicked slicer sped<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Back and forth across his head<o:p></o:p></span></div>
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<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Quickly shaving &#8211; What a shock! &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Fifty chips off Phil&#8217;s old block,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Stopping just above the eyebrows.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">Phil&#8217;s not one of them thar highbrows.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Kennedy,
poetry editor of the <i style="mso-bidi-font-style: normal;">Paris Review</i> in
the 1960s betwixt </span><st1:personname><span style="font-family: Arial; font-size: 12.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 12.0pt;">ald Hall &amp; Tom Clark, is a long-time practitioner of
light verse as well as poetry for children &#8211; the smoothness of his metrics here
is an index of just how good at this he is. Considering that we&#8217;re discussing
mutilation in the market place, it&#8217;s remarkable just how free &#8220;Reward&#8221; is of
even the slightest hint of social comment. The only moment it shows up is at
the very end &#8211; that distancing effect of slang in &#8220;them thar highbrows.&#8221;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Even if we
were unaware of the Anna Bartlett Warner hymn &#8211; hard to envision in a world in
which Google shows over 40,000 pages devoted to it &amp; its variants* &#8211; on
which Bernstein&#8217;s poem is based, there&#8217;s a depth of sarcasm in the writing that
is impossible to erase over time. Even presuming we don&#8217;t recognize the
allusion &#8211; a presumption basic to satire &#8211; this displacement of &#8220;Daddy&#8217;s&#8221; love
to granddad&#8217;s word for verification &amp; the references to family violence in
the first stanza make it unmistakable. As does the use of the term &#8220;abject&#8221; in
the second stanza. As does the &#8220;advice&#8221; of the final line. Even prosodically,
the degree to which Bernstein pushes away from the seven-syllable line of the
original twists the poem away from the harmonic closure of the 19<sup>th</sup>
century lyrics toward a result whose dissonance &#8211; the degree to which it sounds
&#8220;off&#8221; or &#8220;wrong&#8221; &#8211; underscores the connotative domain. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">What we
have are two poetries that have certain surface similarities, one of which is
adamantly social &amp; will remain so, even if many topical elements are
drained away, the other of which is only incidentally (&amp; possibly unknowingly)
social. So while in theory the possibility of two poetries merging in such a
way as to dissolve their original differences exists, in practice I think this
is apt to happen only with much more parallel kinds of writing, the way the
elliptical side of the mainstream (say, Jorie Graham&#8217;s work) shades over into
aspects of post-avant writing (someone like Ann Lauterbach sits almost
perfectly in the middle here, as do Forrest Gander &amp; C. D. Wright). But not
in work that is truly diverse, regardless of surface features.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Is it
possible for poems to not have <i style="mso-bidi-font-style: normal;">enough </i>irony?
My sense is no, in that I suspect that writing can incorporate an almost total
spectrum of metalinguistic distancing effects, from no irony whatsoever (Denise
Levertov) all the way to total irony (Joe Brainard). It is, however, possible
for poems to use irony ineffectively, as Walter Conrad Arensberg does in &#8220;To
Hasekawa.&#8221; That&#8217;s a different issue.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 12.0pt;">But as time
passes, contexts fade. There are poems in which irony disappears only to reveal
other strengths of the poem &#8211; that&#8217;s pretty much the situation with Blake. But
other elements shift around as well. Just as Bernstein&#8217;s poem will continue to
reveal a social structure regardless of whether we recognize Warner&#8217;s hymn, so
too will the dark world envisioned by Paul Celan remain, whether or not the
reader relates it to the holocaust: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">BY THE UNDREAMT etched,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">the sleeplessy wandered-through breadland<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">casts up the life mountain.<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; mso-bidi-font-family: Arial;">From its crumb<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">you knead anew our names<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">which I, an eye<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">similar<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">to yours on each finger,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">probe for<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">a place, through which I<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">can wake myself toward you,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">the bright<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; mso-bidi-font-family: Arial;">hungercandle in mouth.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Hungercandle
(&#8220;Hungerkerze&#8221;) is not a term that is mistakable, any more than &#8220;mouth&#8221; can
ever be softened without a pronoun. The bleakness of the situation could be </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 12.0pt;">Kampuchea</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 12.0pt;">, </span><st1:place><span style="font-family: Arial; font-size: 12.0pt;">Babi Yar</span></st1:place><span style="font-family: Arial; font-size: 12.0pt;"> or the Balkans. What is not
relieved, however, is the underlying sense of deprivation. Only in a world in
which hunger &amp; genocide were both abolished &amp; forgotten could these
lines appear to lose their sense of deprivation. Which I fear means that we are
a long, long way from being able to test the ability of Celan&#8217;s work to operate
without context.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Of the
writers mentioned here, Jennifer Moxley is perhaps closest to Celan in her
overall vision of humanity. Like him, she is on the low end of the irony
spectrum. Neither has any interest in letting the reader escape the enveloping
circumstance of the poem &#8211; like Celan, her poems may long for relief, but they
seldom if ever offer any. That her works employ a neutral language, rather
than, say, the high-torque neologisms of a Celan, is part of the analysis. Like
Annie Finch, I&#8217;m fascinated by the reactions to her work. They underscore my
own sense of its importance. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">* Including a few that touch
on its use by the Ku Klux Klan.<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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<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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