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<h2 class='date-header'><span>Wednesday, April 13, 2011</span></h2>

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<p class=MsoNormal><a href="http://farm6.static.flickr.com/5105/5599960159_127ccd6c67_o.jpg"><span style='mso-bidi-font-size:10.0pt;line-height:115%;mso-bidi-font-family:Arial; color:black;mso-themecolor:text1;mso-no-proof:yes;text-decoration:none; text-underline:none'><img border="0" height="397" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/79CiUt0-k6Vn8vquKMZykls6aJtNED5t0Q14imLwFD5p39qwgxI6B2jEiLBpjJ-laJHLrKBCtCrq3payLeogbwrK2qY_ZpbX-tohat9Dsvoafm8%3Ds0-d" width="297"></span></a><span style='mso-bidi-font-size:10.0pt;line-height:115%;mso-bidi-font-family:Arial; 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> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:115%;mso-bidi-font-family:Arial;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"'>Harry Gilonis (photo by Tom Raworth)<o:p></o:p></span></i></p>
<p class=MsoNormal><span style='mso-bidi-font-size:10.0pt;line-height:115%; mso-bidi-font-family:Arial;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"'>Harry Gilonis saw my link last Friday to <a href="http://www.poetrysociety.org.uk/lib/tmp/cmsfiles/File/review/972Brownjohn.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"; mso-bidi-font-style:italic'>Alan Brownjohn&#8217;s comment</span></a> re the UK poetry wars &amp; recalled that &#8220;<i style='mso-bidi-font-style:normal'>Poetry Review</i> both published his partisan account as if it were neutral, and in addition published no ripostes.&#8221; Here is the one Gilonis sent at the time. <o:p></o:p></span></p>
<p class=MsoNormal><span style='mso-bidi-font-size:10.0pt;line-height:115%; mso-bidi-font-family:Arial;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"'><o:p>&nbsp;</o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.6in;margin-bottom:10.0pt; margin-left:.6in'><i><span style='mso-bidi-font-size:10.0pt;line-height:115%; mso-bidi-font-family:Arial'>Poetry Review<br> </span></i><span style='mso-bidi-font-size:10.0pt;line-height:115%;mso-bidi-font-family: Arial'>22 Betterton Street<br> London WC2H 9BX<br> <br> 29 July 2007<br> <br> Dear Sirs, <br> <br> I&#8217;ve recently read Alan Brownjohn&#8217;s piece on the &#8216;poetry wars&#8217; in <i>Poetry Review</i> Vol. 97 no. <span class=GramE>2,</span> and it Will Not Do. We are presented, with an air of high magnanimity, with a regrettable contretemps between &#8220;the broad mainstream of modern verse&#8221; and Bob Cobbing&#8217;s chums with flowers in their hair and beer down their vests.<span style='mso-spacerun:yes'>  </span>It really wasn&#8217;t like that!<br> &nbsp;<br> The Poetry Society was a membership <span class=SpellE>organisation</span>, mostly made up of amateur readers and writers, mostly non-metropolitan. The <i>Poetry Review</i> reflected their slightly timid tastes, and the Poetry Society was run by a Council mostly made up of minor poets with insufficient public success to keep them busier elsewhere. This was not a mainstream but a side-channel; admittedly not a backwater, but calm and safe; a Norfolk Broad, perhaps. <br> &nbsp;<br> Contrariwise, the radical efflux turns out to be a bigger body of water than the self-proclaimed mainstream: the magazine <i>Second Aeon</i> reported in one issue at the time the publication of 400 new poetry books from avant-gardists. When Eric Mottram called this a Poetry Revival it was a statement of fact; that the Revival was too large and too variegated to be satisfactorily summed-up doesn&#8217;t alter that. Nor was all of its activity outrageously wild, of its moment, doomed to subsequent obscurity. Doubtless Bob Cobbing in full spate might frighten the unfamiliar (he did me!); but that was a small part of what Barry&#8217;s &#8216;radicals&#8217; were propounding, what the Revival offered, what the <i>Review</i> published under Mottram. <br> &nbsp;<br> This last is probably as good a test-case as one could want, given that the <i>Review</i>&#8217;s reach was far wider than 21 Earls Court Square, and copies are still &#8211; for the assiduous - findable. Alan Brownjohn&#8217;s suggestion that that &#8220;average readers of poetry would <span class=SpellE>recognise</span> few of the names&#8221; insults the average reader, but might be accurate about the <i>particular</i> provinciality of the Poetry Society pre-Revival; and again post- , as it returned to its slumbers. <br> &nbsp;<br> I would hope that even if Alan Brownjohn did not <i>then</i> <span class=SpellE>recognise</span> most of the names below, all published by Mottram in the <i>Review</i>, he would <i>now</i> be embarrassed not to do so: John Ashbery, Basil Bunting, Robert Duncan, Roy Fisher, Ian Hamilton Finlay, Barbara Guest, Lee Harwood, Denise Levertov, Hugh MacDiarmid, Barry <span class=SpellE>MacSweeney</span>, Christopher Middleton, Edwin Morgan, George Oppen, Tom Raworth, Iain Sinclair, Garry Snyder&#8230; Many are obviously international figures, ornamenting the lists of major publishing-houses.<br> &nbsp;<br> Nor is it the case that Mottram was as it were &#8216;prematurely tasteful&#8217;, running ahead of his readership; he published, throughout his editorship, conventionally mainstream poets his predecessors (and successors) at the <i>Poetry Review</i> would happily publish - James Berry, Kevin <span class=SpellE>Crossley</span>-Holland, Elaine Feinstein, Michael Hamburger, George <span class=SpellE>MacBeth</span>, F.T. Prince, Peter <span class=SpellE>Redgrove</span>, Penelope Shuttle, Ken Smith, D.M. Thomas. Mottram&#8217;s publishing <span class=SpellE>programme</span> does not smack of exclusivist avant-gardism, but of giving a <i>map of what was happening</i>. &nbsp;<span class=GramE>Which was the job he was hired to do, surely; a job no editors since &#8211; save David Herd and Robert Potts, similarly side-lined &#8211; have even attempted.</span>)<br> &nbsp;<br> When Mottram&#8217;s editorship ended the <i>Poetry Review</i> became not merely - in my opinion - a lot <i>duller</i> but also, I&#8217;d say objectively, a lot less distinguished. As did the Poetry Society itself, after the Arts Council coup; Alan Brownjohn is disingenuous in saying that the Society never had its grant cut, as if that were the only way disapproval might make itself felt. As he must have known at the time, and Barry would have reminded him, the Arts Council&#8217;s chairman, Charles Osborne, was active in his opposition. Roy Fisher - as so often -- got it right: &#8220;if you take a poet / you&#8217;ll take another, and so on, / till finally you get a civilization: or just / the dirtiest brawl you ever saw.&#8221; Peter Barry&#8217;s book, which works at being scholarly when polemic would be entirely excusable, deals with the lamentable decision of the UK arts establishment to settle for brawling; and it is a considerable pity that it was handed over to Alan Brownjohn - a beneficiary of the brawl if not a brawler himself - for review. The book, and the era, deserve better. <br> &nbsp;<br> Yours sincerely, <br> <br> Harry Gilonis<br> London SW11 3NY<o:p></o:p></span></p>
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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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<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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