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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Politics</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>Politics</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>Thursday, February 13, 2003</span></h2>

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<span style="font-family: Arial;">&#8220;Job share archivists&#8221; </span><st1:personname><span style="font-family: Arial;">Susan M. Schultz</span></st1:personname><span style="font-family: Arial;"> &amp; </span><st1:personname><span style="font-family: Arial;">Pam Brown</span></st1:personname><span style="font-family: Arial;"> have
augmented the <i style="mso-bidi-font-style: normal;"><a href="http://www.icols.org./pages/PB&amp;SS/PB&amp;SS.html">Department of
Dislocated Memory</a></i> with a new installment of their collaboration
&#8221;Amnesiac recoveries.&#8221; It&#8217;s a project that raises all kinds of interesting
questions.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I have never seen a history
of poetic collaboration. A search in Google for all sites that use both
&#8220;poetry&#8221; &amp; &#8220;collaboration&#8221; yields 199,000 sites. A search for the exact
phrase &#8220;history of poetic collaboration&#8221; yields none &#8211; or will until the Google
crawler finds today&#8217;s blog. My sense &#8211; and it may be quite incomplete &#8211; is that
poetic collaboration arises truly with the surrealists.* <span class="GramE">It</span>
enters the </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> largely through the writing of the one group most
heavily influenced by surrealism: the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;">. You will not find any <span class="GramE">collaborations</span> in the
Allen anthology. Indeed, the only ones you can actually spot** even in <span class="SpellE"><i style="mso-bidi-font-style: normal;">In</i></span><i style="mso-bidi-font-style: normal;"> the American Tree</i> are in the section of
critical statements, first a collaborative manifesto for the French journal <i style="mso-bidi-font-style: normal;">Change</i> &amp; later the famous list of
experiments that Bernadette Mayer &amp; several groups of students at her
Poetry Project workshops created. But if you look to Tom Clark&#8217;s anthology <i style="mso-bidi-font-style: normal;">All Stars</i> (Grossman Publishers/ Goliard
&#8211; Santa Fe, 1972), a combination of NY School &amp; beat writers that reflected
</span><st1:place><span style="font-family: Arial;">Clark</span></st1:place><span style="font-family: Arial;">&#8217;s view from the Bolinas mesa, Ron Padgett&#8217;s
selection consists of 17 collaborations &#8211; with Dick Gallup, Ted Berrigan, <span class="SpellE">Tessie</span> Mitchell, Michael Brownstein, Anne Waldman, Pat
Padgett, Bill Berkson, Larry Fagin, Jimmy Schuyler &amp; of course Tom Clark. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The absence of collaboration
among Beats &amp; Projectivists***, and for the most part from the San
Francisco Renaissance+, is worth noting. It suggests, I think, a stance toward
the author &amp; literal <i style="mso-bidi-font-style: normal;">author</i>ity
that is substantially different from that of other communities of writing.
Allen Ginsberg may well have been the <span class="SpellE"><i style="mso-bidi-font-style: normal;">Kral</i></span><i style="mso-bidi-font-style: normal;"> <span class="SpellE">Majales</span></i> or King of the May in 1965 </span><st1:city><st1:place><span style="font-family: Arial;">Prague</span></st1:place></st1:city><span style="font-family: Arial;">, but he also appears to have been a meticulous &amp;
careful warden of his own literary production. At the same time, Ginsberg took
no credit for the editing job that literally transformed the pages on William
Burroughs&#8217; floor into <i style="mso-bidi-font-style: normal;">Naked Lunch</i> &#8211; a
stance that parallels Ezra Pound&#8217;s similar editing of <i style="mso-bidi-font-style: normal;">The </i></span><st1:place><st1:placename><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Waste</span></i></st1:placename><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> </span></i><st1:placetype><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Land</span></i></st1:placetype></st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">.</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> had no such hang-ups with sharing credit. As with Surrealism,
boundaries existed only to be transgressed, albeit with more of a smile &amp;
wink than the </span><st1:place><span style="font-family: Arial;">Europe</span></st1:place><span style="font-family: Arial;">ans generally brought to the process. Boundaries are
precisely what are at stake in &#8220;Amnesiac recoveries.&#8221; Here, for example, is
&#8220;Shut-Lip&#8221;:<o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">The
investment banker sewed his lips shut. He'd arrived in a leaky ship, having
paid dues to the dark haired man who answered to no name he could pronounce.
Pronunciation is over-rated, he muttered to himself as he eased into the hold,
arms bound in fetal position. His middle passage was punctuated (never leave
metaphors of language behind, he added, pensively) by hunger pangs. No-name man
told him nothing of the end, though his origin had been clear (he remembered,
at least, his hard-earned MBA). He wanted to escape big words, like
globalization, like fraud. Crusoe's accountant had nothing on his, member of
the magic club in high school, artist of the extraordinary bottomless line. </span><span style="color: windowtext; font-family: Times; font-size: 10.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">In
the end, it was hard to collect his story, through teeth clenched like
broken-jawed Ali's. One had to assume consonants, or <span class="GramE">were</span>
they vowels, emerging as from some Afghan cave into the abortive syntax of a
bombing run. What we heard had something to do with sea, and ground, and
sickness. The south sea island that welcomed him (sic) has only years left
before the flood (lawsuits are pending). On its coral, the banker sits, quiet
as monk, though not so tranquil. He knows his days are numbered, so he counts
them in his throat. If he were a poet, one might say he'd found his voice.</span><span style="color: windowtext; font-family: Times; font-size: 10.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span class="SpellE"><span class="GramE"><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">memoricide</span></span></span><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;"> -<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>bombing the library.<br />
<span class="GramE">collective</span> memory,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>the treasures of manuscript,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span>the texts<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>history, natural sciences,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>philosophy, poetry, mathematics<br />
anthologies, dictionaries, treatises on everything,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>his story,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span>collected,<br />
the bombing filmed</span><span style="color: windowtext; font-size: 10.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 5.0pt; margin-left: .5in; margin-right: .5in; margin-top: 5.0pt;">
<span class="GramE"><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;">in</span></span><span style="color: windowtext; font-family: Verdana; font-size: 10.0pt;"> the peace zone,<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp; </span><i>Coca- Cola</i><br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>phones the film collector<br />
seeking footage<br />
<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>of "real
UFOs"</span><span style="color: windowtext; font-size: 10.0pt;"><o:p></o:p></span></div>
<span style="color: windowtext; font-family: Arial;">There is a political tone
here that one hardly ever sees even with Gen XXXVII of the NY School, and it&#8217;s
stronger even in several of the other pieces, which generally circle around the
topics of oil, corporate corruption &amp; </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;"> imperialism in the </span><st1:place><span style="color: windowtext; font-family: Arial;">Middle East</span></st1:place><span style="color: windowtext; font-family: Arial;">, always impacted by questions of
memory &#8211; &amp; of why memory fails to beget a seemingly appropriate political
response. Of course, neither Brown nor Schultz can by any remote stretch of the
imagination be characterized as part of the old St. Marks scene &#8211; Schultz is as
far removed from there as one can be physically &amp; still reside within the </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">United States</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;">, </span><st1:state><st1:place><span style="color: windowtext; font-family: Arial;">Hawai&#8217;i</span></st1:place></st1:state><span style="color: windowtext; font-family: Arial;">, while Brown is a well-known
Australian poet.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">Indeed, one of the most
interesting aspects of this as <span class="GramE">a collaboration</span> is how
it challenges &#8220;the political.&#8221; Typically &amp; traditionally, one key to the
political has been what might be thought of as &#8220;angle of positionality,&#8221; which
usually gets reduced to an idea of stance. This is visible at the surface in
identarian texts of all <span class="GramE">manner</span>: the poet writes from
his or her historical/ethnic/social/gendered position &amp; articulation of
that position is often what the resulting text is about.<span style="mso-spacerun: yes;">&nbsp; </span>But Schultz &amp; Brown come from different
nations with different roles in the oil = global domination scenario. Schultz
may be marginalized in her role as poet within the hegemon, but within it she
most certainly &amp; visibly is. Brown is at least doubly marginalized, living
in a country that the </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;"> has been known to treat as a branch
office. There are of course further complications: Schultz is a <i style="mso-bidi-font-style: normal;">haole,</i> an Anglo outsider functioning in
a role as authority by virtue of the teaching profession. The relationship of </span><st1:state><st1:place><span style="color: windowtext; font-family: Arial;">Hawai&#8217;i</span></st1:place></st1:state><span style="color: windowtext; font-family: Arial;"> to the mainland is exceptionally
problematic &amp; a separatist movement continues to percolate there. </span><st1:country-region><st1:place><span style="color: windowtext; font-family: Arial;">Australia</span></st1:place></st1:country-region><span style="color: windowtext; font-family: Arial;">&#8217;s history vis-à-vis an imperial
center &amp; its aboriginal population is no less convoluted. Both of these
writers are perpetually aware of these conditions.<o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">Part of what makes
&#8220;Amnesiac recoveries&#8221; so interesting is that it&#8217;s <i style="mso-bidi-font-style: normal;">not</i> possible to tell who in the collaboration is writing at any
given moment, something that is so discernible, say, in a work like <i style="mso-bidi-font-style: normal;"><a href="http://www.aerialedge.com/sight.htm">Sight</a></i>
that its authors, Lyn Hejinian &amp; Leslie Scalapino, two fabulous poets who
grew up in the same town in the same country within a couple of years of one
another &amp; whose fathers both taught at the same school, actually <i style="mso-bidi-font-style: normal;">initial</i> their individual passages. <o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">But if we cannot tell who
is speaking, or at least <i style="mso-bidi-font-style: normal;">writing</i>, in
&#8221;Amnesiac recoveries,&#8221; how does the reader then position these </span><st1:state><st1:place><span style="color: windowtext; font-family: Arial;">tex</span></st1:place></st1:state><span style="color: windowtext; font-family: Arial;">ts with regards to the issues of
globalization that are raised? This is what strikes me as so remarkable:<span style="mso-spacerun: yes;">&nbsp; </span>Schultz &amp; Brown have arrived at what I
can only call a transnational voice, a position that steps quite clearly
outside of the role of states precisely as it address the problem of the rogue
hegemon. If there is a position of world citizen from which one might be able
to write, this is it. <o:p></o:p></span><br />
<span style="color: windowtext; font-family: Arial;">Brown &amp; Schultz do this
with wit, sharpness &amp; élan. The entire project &#8211; I have no idea if the two
sections that are up are all of the collaboration or only just the first
portion of it &#8211; is gutsy &amp; fun while being serious in the face of some
extraordinary challenges<span class="GramE">.+</span>+ In connecting the dots
north-south across the equator between their two homes, these poets are erasing
lines that we often forget are &#8220;always already&#8221; there. &amp; it&#8217;s fascinating
to see what now shows through.<o:p></o:p></span><br />
<br />
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<span style="font-family: Arial; font-size: 10.0pt;">* Some
writers characterize the relationship between William Wordsworth &amp; Samuel
Taylor Coleridge, especially during the <i style="mso-bidi-font-style: normal;">Lyrical
Ballads</i> period, as <span class="GramE">a collaboration</span>. An argument
can certainly be made for that, even though they didn&#8217;t publish poems as
composed by both.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** I
believe that the phrase that is used as the epigraph to the West section of the
book, &#8220;Instead of ant <span class="SpellE">wort</span> I saw brat guts,&#8221; was
itself composed during <span class="GramE">a collaboration</span>. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** Thus
when Daphne <span class="SpellE">Marlatt</span> works collaboratively, as in the
book <i style="mso-bidi-font-style: normal;">Double Negative</i> with Betsy <span class="SpellE">Warland</span>, it&#8217;s because she&#8217;s moved away from the
Projectivism of her youth toward a political feminism. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ The
notable exception was <i style="mso-bidi-font-style: normal;">The <span class="SpellE">Carola</span> Letters</i> co-authored by Joanne Kyger &amp; George
Stanley. See <a href="http://jacketmagazine.com/11/kyger-killian.html">Kevin
Killian&#8217;s article</a> on the row it caused in the SF scene. Killian raises the
possibility that camp, the arch subgenre of gay culture, was a major thorn in
the side of Robert Duncan. Camp as a discourse erases boundaries not unlike the
ones that Schultz &amp; Brown are tackling.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">++ The web
site captures this beautifully with a photograph of the two poets in </span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Hawai&#8217;i</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;"> staring at the apotheosis of the
problem, a stretch limo in a setting in which no limousine should ever appear. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, February 12, 2003</span></h2>

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<span style="font-family: Arial;">One of the great lessons of
the Vietnam War is that a nation of people opposed to a foreign war can
actually constrain &amp; eventually halt that conflict. Unfortunately, one of
the other lessons of that war is that this process takes time. Between the
so-called </span><st1:place><st1:placetype><span style="font-family: Arial;">Gulf</span></st1:placetype><span style="font-family: Arial;"> of </span><st1:placename><span style="font-family: Arial;">Tonkin</span></st1:placename></st1:place><span style="font-family: Arial;"> incident on </span><st1:date day="4" month="8" year="1964"><span style="font-family: Arial;">4 August 1964</span></st1:date><span style="font-family: Arial;"> and the day when the last Huey pulled the final
refugees off of the roof of the </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> embassy in </span><st1:place><span style="font-family: Arial;">Saigon</span></st1:place><span style="font-family: Arial;"> in April,
1975, eleven years, over 50,000 American &amp; millions of Vietnamese lives
were wasted. The current regime in </span><st1:state><st1:place><span style="font-family: Arial;">Washington</span></st1:place></st1:state><span style="font-family: Arial;"> doesn&#8217;t know much about history books, but it does
know that a &#8220;surgical strike&#8221; campaign, a war that can be measured in months or
even weeks, is politically feasible.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Today was the day that </span><st1:personname><span style="font-family: Arial;">Laura</span></st1:personname><span style="font-family: Arial;"> Bush originally set aside to invite a few poets to the White House to
discuss Whitman, Hughes &amp; Dickinson under the banner of &#8221;Poetry and The
American Voice.&#8221; This event won&#8217;t happen because one of the invited poets, Sam
Hamill, turned out to be a conservative only in his aesthetics. Hamill, as
concerned as any American about the impending disaster, sent out an email to
some friends:<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: &quot;Courier New&quot;;">I am asking every poet
to speak up for the conscience of our country and lend his or her name to our
petition against this war, and to make February 12 a day of Poetry <span class="GramE">Against</span> the War. We will compile an anthology of protest to
be presented to the White House on that afternoon.<o:p></o:p></span></div>
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<span style="font-family: Arial;">That email spread like a
computer virus, replicating over &amp; over again until virtually every poet in
the country must have received it at least once. I know that I stopped counting
the copies I received when it got into double digits.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Somewhere along the way,
somebody &#8211; it would interesting to know just who &#8211; thought to let Ms. Bush know
of this impending anthology &amp; the event was cancelled, generating several
articles in the media. As it turned out, the poet laureates of both </span><st1:country-region><st1:place><span style="font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="font-family: Arial;"> <i style="mso-bidi-font-style: normal;">and </i>the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;"> weighed in against the war. </span><st1:personname><span style="font-family: Arial;">Todd Swift</span></st1:personname><span style="font-family: Arial;">&#8217;s ad-hoc antiwar anthologies got some media
attention that they almost certainly would not otherwise have received.
Editorial writers generally took the line that &#8220;poets will be poets,&#8221; which,
condescending as it certainly is, at least acknowledges the historic opposition
to war &amp; brutality that many &#8211; but by no means all &#8211; poets have shown over
the years. Even less surprisingly, writers who function professionally as right
wing commentators, such as Roger Kimball &amp; J. <span class="SpellE">Bottum</span>,
both invited to the cancelled soiree, weighed in to scold their peers for a
lack of manners, a curious way to balance the impolite bombing of the citizens
of </span><st1:country-region><st1:place><span style="font-family: Arial;">Iraq</span></st1:place></st1:country-region><span style="font-family: Arial;"> whose only crime is to have failed to oust a brutal
&amp; murderous dictator. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Since then, there have been
plenty of opportunities for second-guessing. <span class="SpellE">Hamill&#8217;s</span>
website has reminded everyone of what they knew all along &#8211; he&#8217;s really a
conservative as a poet, even if he does oppose the war. His &#8220;chapbook&#8221; in fact
reflects an establishmentarian poetics that wants more than anything to retain
its role as just that. Others have suggested that attending the event &amp;
making a scene there might have generated even more media attention to the
rapid arrival of a wide-spread &amp; popular opposition to Bush&#8217;s war. I&#8217;m a
skeptic on that one myself. I think that <span class="SpellE">Hamill&#8217;s</span> email
took on a life of its own precisely because there is such widespread
opposition. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But what <span class="GramE">concerns</span>
me is not the usual &#8211; &amp; ultimately petty &#8211; divisions between traditions of
poetry. I am experiencing emotions that I suspect many Germans must have felt
in the late 1930s: <i style="mso-bidi-font-style: normal;">my </i>government is
about to rain death onto the world in great quantity. The legitimate safety of
the nation in which I live, one ostensible reason for this, can only be damaged
by any invasion of </span><st1:country-region><st1:place><span style="font-family: Arial;">Iraq</span></st1:place></st1:country-region><span style="font-family: Arial;">. The other reasons for an invasion &#8211; ranging from
the importance of upholding UN resolutions to Iraqi connections to al Qaeda &#8211;
all fall into the categories of dubious to laughable. The history of the </span><st1:place><span style="font-family: Arial;">Soviet Union</span></st1:place><span style="font-family: Arial;"> has demonstrated that containment works against far
stronger foes than Saddam Hussein. <o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Arial;">Which
leaves only one plausible rationale for sending troops into </span></span><st1:country-region><st1:place><span class="GramE"><span style="font-family: Arial;">Iraq</span></span></st1:place></st1:country-region><span class="GramE"><span style="font-family: Arial;">: the liberation of the Iraqi
people.</span></span><span style="font-family: Arial;"> I&#8217;m certainly sympathetic
to that argument &amp; can understand why left intellectuals from Ellen Willis
to <span class="SpellE">Salman</span> Rushdie could be persuaded of the need for
force to oust a genuinely barbaric dictator. But I have two problems with this
argument itself &#8211; first is a rather long list of other nations that would, by
logic, then force us to engage. Hussein may be the worst of a bad lot, but he is
hardly alone. The second is that, from an Iraqi perspective, the last nation on
earth I would to become an involuntary protectorate of would be the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;">. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Far from &#8220;helping to spread
democracy&#8221; to other Middle-Eastern states, the Bush strategy is a recipe for
long-term destabilization of an entire region, stretching from sub-Saharan </span><st1:place><span style="font-family: Arial;">Africa</span></st1:place><span style="font-family: Arial;"> and extending to the western provinces of </span><st1:country-region><st1:place><span style="font-family: Arial;">China</span></st1:place></st1:country-region><span style="font-family: Arial;"> &amp; the <span class="GramE">Philippine<span style="mso-spacerun: yes;">&nbsp; </span>archipelago</span>. And, as should be
apparent to anyone in the post-September 11<sup>th</sup> world, destabilization
abroad can have profound consequences at home as well. Any attempt to stretch
our military dominance over such a vast terrain &#8211; one that includes or touches
at least four nuclear states &#8211; would require a transformation of the American
economy toward a fortress </span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;"> prepared for permanent conflict. It is no accident
that no nation in history has been able to sustain an empire &#8211; the costs far
outweigh any riches reaped. <o:p></o:p></span></div>
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<span style="font-family: Arial;">What can be done to halt
this disaster before it occurs? <span class="GramE">Short of a massive general
strike in the </span></span><st1:country-region><st1:place><span class="GramE"><span style="font-family: Arial;">United States</span></span></st1:place></st1:country-region><span class="GramE"><span style="font-family: Arial;">, virtually nothing.</span></span><span style="font-family: Arial;"> The present regime has already demonstrated that it
will not listen to the majority &#8211; that isn&#8217;t how it got into office, nor an
impulse it has had even for one day since taking power. </span><st1:city><st1:place><span style="font-family: Arial;">Furth</span></st1:place></st1:city><span style="font-family: Arial;">er, it has subsequently consolidated power in all
three branches of federal government.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Poets need to continue to
speak out, to demonstrate to the world the absolute lack of consensus the
actions of this regime have, to point to the hypocrisies &amp; to call
attention to all of the various new threats on democracy and justice that emanate
from the axis of evil situated between </span><st1:place><st1:city><span style="font-family: Arial;">Crawford</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">Texas</span></st1:state></st1:place><span style="font-family: Arial;">, and the White House. But nobody, poets most of all,
should be </span><st1:state><st1:place><span style="font-family: Arial;">del</span></st1:place></st1:state><span style="font-family: Arial;">uded into thinking that this by itself constitutes
effective action. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The problem that poets have
is one that we share with all progressives &#8211; the forces who promote this
conflict have dramatically reorganized &amp; transformed themselves since the
1960s. Progressives continue to use the same tools that took so very long to work
four decades ago that millions died needlessly. Unless &amp; until we can
transform that imbalance, more to the American Voice than just poetry will
continue to go unheard.<o:p></o:p></span></div>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Washington' rel='tag'>Washington</a>
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<h2 class='date-header'><span>Monday, December 30, 2002</span></h2>

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<span style="font-family: Arial;">Sometime today, this blog
will greet its 10,000<sup>th</sup> visitor. For a genre like poetry in which a
turnout of 50 people to a reading is considered a smashing success, this seems
remarkable. <o:p></o:p></span></div>
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<span style="font-family: Arial;">2002 will be remembered as
the Year of the Blog because, if for no other reason, political bloggers
(especially <a href="http://talkingpointsmemo.com/">Josh Marshall</a>) were the
ones who first noticed &amp; broadcast Trent Lott&#8217;s outrageous comments at
Strom Thurmond&#8217;s birthday party, which led ultimately to his resignation as
President of the Senate. As the blogging phenomenon expands to a point where
there are now just <span class="GramE">under</span> one million blogs worldwide &#8211;
three other members of my own extended family have blogs &#8211; it makes sense that
some will focus on poetry &amp; poetics. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">When I started at the very
end of August, there were relatively few weblogs with any sort of announced
focus around poetry, most notably Brian Kim Stefans' <i style="mso-bidi-font-style: normal;">Free Space Comix</i> &amp; </span><st1:personname><span class="SpellE"><span style="font-family: Arial;">Laura</span></span></st1:personname><span class="SpellE"><span style="font-family: Arial;">ble&#8217;s</span></span><span style="font-family: Arial;"> weblog portion of her web site devoted to recordings
of poetry readings. Blogs such as those belonging to Brandon Barr &amp; Jill
Walker had a relationship to writing, but &#8211; like many early blogs &#8211; were
primarily extensions of an interest in electronic media per se: blog theory. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Since September, quite a
number of poetry-centric blogs have started up, some of them really excellent.
Here is a list of the blogs that I check at the very least a few times each
week. <o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://garysullivan.blogspot.com/">Elsewhere (Gary Sullivan)</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://equanimity.blogspot.com/">Equanimity (Jordan Davis)</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://www.arras.net/weblog/">Free Space Comix: The Blog (Brian Kim
Stefans)</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://cmc.uib.no/jill/">Jill/Txt (Jill Walker)</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://jonathanmayhew.blogspot.com/">Jonathan Mayhew&#8217;s Blog</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://www.laurable.com/log/index.html">Laurable.Com</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://lesters.blogspot.com/">Lester&#8217;s <span class="SpellE">Flogspot</span>
(Patrick Herron&#8217;s poetry sock puppet)</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://limetree.blogspot.com/">Lime Tree (K. Silem Mohammad)</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://texturl.net/"><span class="SpellE">Texturl</span> (Brandon Barr)</a><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://thetijuanabibleofpoetics.blogspot.com/">The Tijuana Bible of
Poetics (Heriberto Yepez)</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://ululate.blogspot.com/">Ululations (Nada Gordon)</a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Blogging has even become
slightly controversial on the Poetics List. Some people there seem to think
that critical discourse has to follow an <i style="mso-bidi-font-style: normal;">either/or
</i>model of communication, whereas it seems to me quite obvious to a <i style="mso-bidi-font-style: normal;">both/and</i> system in much the same way
that both the poetry reading and the poetry book have concrete value for
poetry. Blogging seems no more of a threat to listserv discussions than it does
to the academy itself. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The blog as diary seems to
me of little interest. But blogging as a form of intellectual discipline has
great value. I&#8217;ve thought more concretely than I otherwise could have about any
number of issues over the past four months as a result of this blog. I&#8217;ve increased
my own reading, and gone in some directions that I would not have otherwise
taken. There are some poets whose work I might only have glanced at &#8211; Joseph
Massey &amp; Richard Deming, for example &#8211; without the discipline of the blog.
And others whose contributions I might not have thought through nearly as
thoroughly as I have &#8211; George Stanley, for instance, or Jennifer Moxley. Many
of the emails &amp; other communications I&#8217;ve received as a result of various
blogs have been enormously instructive. <o:p></o:p></span></div>
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<span style="font-family: Arial;">These thoughts occur to me
as 2003 approaches concerning blogging and poetry:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo4; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">The number of
poetry-centered blogs can only grow and, as it does, the audience for any given
approach to such blogs will be forced, simply by the limits of time &amp;
attention, to divide. Thus are tendencies <span class="GramE">born.</span> It
will be interesting to see what the terrain looks like one year from now. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo4; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">To date, most if
not all poetry-related blogs have come out of the broad spectrum of post-avant
literary traditions. This may be because such writing has a critical tradition
that is not only an adjunct of the process of tenure.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo4; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">One visible gap
to date with regards to poetry blogs appears to be that very old one: gender.
Of the eleven blogs listed above, nine are by men. I don&#8217;t see any inherent
reasons for this gap, although I wouldn&#8217;t want to underestimate the number and
kinds of distractions &amp; responsibilities with which women in today&#8217;s
society must contend. But the form itself would seem to have several real
advantages that might prove attractive to women, the ability to bypass male
editors being only one. <o:p></o:p></span></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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<h2 class='title'>Other Books in Print</h2>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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