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Showing posts with label <b>Projectivism</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, January 28, 2014</span></h2>

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<a href="//3.bp.blogspot.com/-_ZLZRWQJnCo/Us9TBeQhSKI/AAAAAAAADhc/SyXS1ummyUg/s1600/Many%2BAllen%2BGinsbergs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="//3.bp.blogspot.com/-_ZLZRWQJnCo/Us9TBeQhSKI/AAAAAAAADhc/SyXS1ummyUg/s1600/Many%2BAllen%2BGinsbergs.jpg" width="400"></a></div>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: xx-small;">Many Allen Ginsbergs - only the middle row is real</span></i></span></div>
<div style="text-align: center;">
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</div>
<div style="text-align: left;">


</div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">In
2008, the late Carolyn Cassady, one-time wife of Neal &#8211; Jack Kerouac&#8217;s
trickster muse &#8211; revealed some lingering bitterness in an interview when she
remarked that as &#8220;far as I&#39;m concerned, the Beat Generation was something made
up by the media and Allen Ginsberg.&quot; That&#8217;s an unfair dig at Ginsberg.
When Lawrence Ferlinghetti &amp; Shig Murao were prosecuted for the sale of <i style="mso-bidi-font-style: normal;">Howl, </i>Ginsberg &#8211; who became a household
name from the resulting media coverage &#8211; stayed as far away from the trial as
he could. It would have been a far better &#8211; even obvious &#8211; career move for him
to have been sat in the front row of the courtroom in support of Ferlinghetti
&amp; Murao. Instead, he stayed as far away as he could &amp;, when the chance
presented itself, didn&#8217;t take a victory lap after the City Lights publisher
&amp; his book seller were vindicated, but instead hightailed it to India. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">This
was well before Ginsberg got to watch fame, alcohol &amp; the media celebrity
machine tear Jack Kerouac limb from limb, a painful public process that led to the
novelist&#8217;s demise first as a writer &amp; then as a person. Indeed, it might
not have been until Ginsberg&#8217;s stint as Kraj Mahales, the King of the May, in
1965 Czechoslovakia &#8211; to which Ginsberg had been deported from Cuba of all
places after protesting Castro&#8217;s persecution of gays &#8211; that the author of <i style="mso-bidi-font-style: normal;">Howl</i> seemed fully to appreciate his own
potential as a symbolic public figure. But even then other poets rolled their
eyes &amp; looked askance. Jack Spicer&#8217;s very last poem, written just weeks
after Ginsberg expulsion from Czechoslovakia, accuses Ginsberg of not
understanding that &#8220;people are starving.&#8221;</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">That
was 48 years ago &amp;, if anything, the mythos of Ginsberg &amp; radical beat
culture as a forerunner of all things liberational has intensified over the
past half century. In a five-day span late last fall, I saw three separate
motion pictures, either current or very recent, that each included Ginsberg:</span></div>
<br>
<ul>
<li><span style="color: black; font-family: Symbol; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-themecolor: text1;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">John
Krokidas&#8217; </span><a href="http://www.imdb.com/title/tt1311071/?ref_=nv_sr_1"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Kill
Your Darlings</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">, </span></i><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">starring Daniel Radcliffe as the future author of <i style="mso-bidi-font-style: normal;">Howl</i>, Jack Huston as Kerouac &amp; Ben Foster as William S.
Burroughs, which may still be in some theaters<br style="mso-special-character: line-break;">
<br style="mso-special-character: line-break;">
</span></li>
<li><span style="color: black; font-family: Symbol; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-themecolor: text1;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Walter
Salles&#8217; </span><a href="http://www.imdb.com/title/tt0337692/?ref_=nv_sr_1"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">On the
Road</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">, </span></i><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">an attempt to contain Kerouac&#8217;s sprawling autobiographical novel as an
intelligible film narrative starring Sam Riley as Sal Paradise (Jack Kerouac),
Tom Sturridge (like Radcliffe, a British actor) as Carlo Marx (Ginsberg) &amp;
Viggo Mortensen as (as Bull Lee, Burroughs), relatively new to the Netflix
&amp; DVD round after a modest theater run<br style="mso-special-character: line-break;">
<br style="mso-special-character: line-break;">
</span></li>
<li>

<span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Robert
McTavish&#8217;s documentary, </span><a href="http://paulenelson.com/2013/03/23/line-has-shattered-van-po-conf/"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">The
Line Has Shattered</span></i></a><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">, </span></i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">recounting
the 1963 Vancouver Poetry Conference, during which 48 &#8220;students&#8221; took seminars
&amp; participated in readings over three weeks from Allen Ginsberg, Charles
Olson, Robert Creeley, Denise Levertov &amp; Margaret Avison &#8211; this film is
still rolling out via the art film / festival circuit </span></li>
</ul>
<div style="text-align: left;">
</div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">Ginsberg&#8217;s
stature on the curious fulcrum between public intellectual &amp; public
anti-intellectual is worth noting. In addition to Radcliffe &amp; Sturridge,
Ginsberg has also been portrayed by Roger Massih, Wade Williams, James Franco,
Charley Rossman, Hank Azaria, Yehuda Duenyas, David Cross, Tim Hickey, Jon
Schwartz, Ron Livingston, Bill Willens, John Turturro, Richard Cotovsky, David
Markey, Ron Rifkin, &amp; George Netesky. David Cross, who played Ginsberg in
in the Dylan anti-biopic <i style="mso-bidi-font-style: normal;">I&#8217;m Not There, </i>plays
Allen&#8217;s father Louis in <i style="mso-bidi-font-style: normal;">Kill Your
Darlings.</i>&#185;</span></div>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;"></span><br>
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<h2 class='date-header'><span>Sunday, December 01, 2002</span></h2>

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<span style="font-family: Arial;">Although I knew his work
slightly from his own <i style="mso-bidi-font-style: normal;">A Controversy of
Poets,</i> I hadn&#8217;t focused on Robert Kelly&#8217;s poetry until I got to know some
of his former Bard students: David Perry*, John Gorham and Harvey Bialy, and
through them Tom Meyer. All spoke glowingly of Kelly as a teacher. But it
wasn&#8217;t until I got hold of a copy of <i style="mso-bidi-font-style: normal;">Finding
the Measure</i> (Black Sparrow, 1968) that Kelly&#8217;s poetry forced me to pay
attention. The volume&#8217;s preface &#8211; or as Kelly titles it, complete with open-ended
parenthesis, &#8220;(prefix:&#8221; &#8211; is one of the knockdown finest statements of a
poetics I&#8217;ve ever read. Even today, 35 years after it was written, it stands
up:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Finding
the measure is finding the <span class="SpellE">mantram</span>,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">is</span></span><span style="font-family: Arial;">
finding the moon, as </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ex
of measure,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">is</span></span><span style="font-family: Arial;">
finding the moon&#8217;s source;<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: Arial;"><span style="mso-tab-count: 4;">&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;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">if</span> that source<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">is</span></span><span style="font-family: Arial;"> Sun,
finding the measure is finding<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">the</span></span><span style="font-family: Arial;">
natural articulation of ideas.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 5;">&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;&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>The
organism<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">of</span></span><span style="font-family: Arial;"> the
macrocosm, the organism of language,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">the</span></span><span style="font-family: Arial;">
organism of <i style="mso-bidi-font-style: normal;">I </i>combine in ceaseless <span class="SpellE">naturing</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">to</span></span><span style="font-family: Arial;">
propagate a fourth, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 3;">&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;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;</span><span style="mso-spacerun: yes;">&nbsp;&nbsp; </span><span class="GramE">the</span> poem,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 5;">&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;&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><span class="GramE">from</span> their trinity.<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: Arial;">Style
is death. Find the measure is finding<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">a</span></span><span style="font-family: Arial;">
freedom from that death, a way out, a movement<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">forward</span></span><span style="font-family: Arial;">.<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: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;
</span>Finding the measure is finding the<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">specific</span></span><span style="font-family: Arial;">
music of the hour,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 4;">&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;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">the</span> synchronous<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">consequences</span></span><span style="font-family: Arial;"> of the motion of the whole world.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Style is death. </span></i><span style="font-family: Arial;">Derrida would have a field day with that, coming as it does in the work
of someone for whom measure &#8211; the line &amp; phrase heard as units at once both
of music &amp; of meaning &#8211; is <i style="mso-bidi-font-style: normal;">the </i>compelling
issue. What does Kelly mean to make so bald a claim?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The answer of course is to
be found first in Kelly&#8217;s assertion that there is such a thing as a &#8220;natural
articulation of ideas,&#8221; followed by his trinity of organisms. The idea of
&#8220;natural articulation,&#8221; may follow out of the old Imagist maxim that &#8220;a new
cadence means a new idea,&#8221; but Kelly weds it very much to an organic vision not
only of the poem but of all existence.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It&#8217;s interesting to map
Kelly&#8217;s trinity over, say, Jakobson&#8217;s six functions of language. As I&#8217;ve written
here before, I always think of Jakobson&#8217;s model as three axes, or as pairs of
opposites: addresser, address; contact, code; signifier, signified. Kelly&#8217;s
trinity does fall neatly into those three pairs, especially if one goes back to
Jakobson&#8217;s own discussions of the signified as ultimately contextual, much
broader than the notion of an object for every noun &#8211; Kelly calls it the
&#8220;organism / of the macrocosm.&#8221;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">What Kelly describes as
three axes &#8220;ceaselessly <span class="SpellE">naturing</span>&#8221; to pop out a poem
rather the way a hen does eggs is the grounds for any articulation, not just
verse. Is Kelly arguing after a fashion that it is this particular
configuration of these possibilities that lead to the poem? Perhaps, but more
important is the way in which this text privileges the &#8220;I&#8221; with italics only to
deny its force one stanza later with &#8220;Style is death<i style="mso-bidi-font-style: normal;">.</i>&#8221; But of course that kind of equation can work both ways: <i style="mso-bidi-font-style: normal;">Death is style</i></span> <span style="font-family: Arial;">might be even more accurate. Phrased thus, we can see
that Kelly is trying very hard to separate out the &#8220;I&#8221; of consciousness from a
second &#8220;I,&#8221; the superego really, that would impose its understanding of
tradition &amp; history encoded through a process that keeps the word from
somehow coming through directly.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">That distinction takes me
back to the seemingly self-canceling phrase, &#8220;natural articulation.&#8221; Such a
concept implies a universe in which articulation would be unmediated &amp;
inevitable. Not simply that the flower of my sermon should be its own message,
but that nature itself is just such an ultimate discourse. But Kelly&#8217;s phrase
continues: &#8220;natural articulation <i style="mso-bidi-font-style: normal;">of
ideas.</i>&#8221; Thus ideas themselves must <span class="GramE">exist</span> both
prior to &amp; outside of any embodiment in words. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If the lion could speak we
would have to write it down<span class="GramE">.*</span>* Kelly is aligning the
poem here with a discourse that is, literally, inhuman &#8211; though not necessarily
anti-human. Rather it exists prior to &amp; outside of our merely secular
discursive behaviors. The <span class="SpellE"><i style="mso-bidi-font-style: normal;">mantram</i></span><i style="mso-bidi-font-style: normal;"> </i>of the
first line is, if we follow this logic, a subliminal hum within the universe.
The role for poet is not to alter or direct that energy so much as to enable it
to come through revealed. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">All of which, I would argue,
takes us back to the question in this poem of the moon. It is not only that
&#8220;Finding the measure is finding the <span class="SpellE">mantram</span>,&#8221; but
that it is also &#8220;finding the moon, as </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ex of measure, / is finding the moon&#8217;s source.&#8221; The
question of the moon, its relation to Sun (the absence of article here marking
as more than a little like an Egyptian god) &amp; that mysterious idea of
&#8220;source&#8221; traces the other thematic thread that weaves through this </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t. Read strictly, the entire line of reasoning about
the trinity of organisms should apply <i style="mso-bidi-font-style: normal;">only
if </i>Sun is understood as &#8220;source&#8221; for the moon. Moon of course being a
loaded term for a poet who has already published a volume of short poems called
<span class="SpellE"><i style="mso-bidi-font-style: normal;">Lunes</i></span><i style="mso-bidi-font-style: normal;">.<o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">On the one hand, the
attributes of the tides &amp; their impact on any number of worldly phenomena
is certainly present, but at a level of obviousness that makes it a <span class="GramE"><i style="mso-bidi-font-style: normal;">So</i></span><i style="mso-bidi-font-style: normal;"> What. </i>Ditto the question of gravity
from earth to moon or vice versa &amp; of sun to either. At a more significant
level, though, I don&#8217;t think this image is decidable except insofar as it pins
the question of articulation up into a cosmology of effects. The poem resonates
exactly as something that cannot be reduced to an argument, a good test of any
poem. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* Not the
same David Perry who is now active in poetry around New York, whom I think of
as the &#8220;Adventures in Poetry&#8221; David Perry in order to keep them straight in my
head. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** As indeed
Michael McClure already has.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, November 27, 2002</span></h2>

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<span style="font-family: Arial;">If Sylvester <span class="SpellE">Pollet&#8217;s</span> Backwoods Broadsides chaplet series represents the
epitome of pristine design and text presentation in micropublishing, Kenneth
Warren&#8217;s <i style="mso-bidi-font-style: normal;">House Organ</i> is its polar
opposite. Even though the two publications have occasionally printed the same
people, they&#8217;re as far apart in some ways as two magazines could get. Typeset
in a san-serif font that is hard-going on the page &#8211; it works far better on a
PC screen &#8211; <i style="mso-bidi-font-style: normal;">House Organ </i>is copied
onto 8.5- by 11-inch sheets of white paper and then stapled in a saddle-stitch
format down the center longwise to create a journal in which the pages are 11
inches tall but only 4.25 inches wide. Sent through the mail sans envelope, my
copies arrive bent, nicked, <span class="GramE">torn</span>. Inside, </span><st1:city><st1:place><span style="font-family: Arial;">Warren</span></st1:place></st1:city><span style="font-family: Arial;"> appears to have a horror of white space &#8211; each page
is as crowded with text as is humanly possible. In the summer 2002 issue, the
last inch &amp; one-half of the very last page is given to Cid <span class="SpellE">Corman&#8217;s</span> contribution, wedged in as though an afterthought.
<i style="mso-bidi-font-style: normal;">House Organ </i>is so ugly that it can&#8217;t
possibly be an accident &#8211; </span><st1:city><st1:place><span style="font-family: Arial;">Warren</span></st1:place></st1:city><span style="font-family: Arial;">
is insisting that these works have to be taken on their merits alone. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Yet in spite of all this, <i style="mso-bidi-font-style: normal;">House Organ </i>always has something of
interest &amp; is often a very lively publication. It is literally the only
Projectivist publication extant in 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;">. In addition to Corman, the summer issue, number 39,
includes work by Tom Meyer, Albert Glover, Vincent <span class="SpellE">Ferrini</span>,
Olson biographer Tom Clark, and the fourth installment of </span><st1:city><st1:place><span style="font-family: Arial;">Warren</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s own tour through Charles Olson&#8217;s <i style="mso-bidi-font-style: normal;">Selected Letters,</i> plus another ten
contributors that include Paul Pines &amp; Joseph Massey, whose first book, </span><st1:street><st1:address><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Minima St</span></i></st1:address></st1:street><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">. </span></i><span style="font-family: Arial;">I reviewed on the blog, <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381815073">September
19</a>.* In fact, short works, such as those favored by Corman &amp; Massey,
work best in this format. Here is <span class="SpellE">Corman&#8217;s</span>, entitled
&#8220;1/&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">This
is getting you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">nowhere</span></span><span style="font-family: Arial;">
&#8211; exactly<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">where</span></span><span style="font-family: Arial;">
you were heading<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">once</span></span><span style="font-family: Arial;">
your mother fed you.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">And this is Massey&#8217;s untitled
poem:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>Forefinger<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">stuck</span></span><span style="font-family: Arial;">
in peripheral<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">make</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">a</span></span><span style="font-family: Arial;"> moon<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is a way in which a
short work creates its own white space, cognitively if not physically. The self
containment that is possible in a work of this scale serves these pieces, which
stand out in the context of <i style="mso-bidi-font-style: normal;">House Organ</i>
more clearly than do longer pieces, even when those works are as thoroughly
composed &amp; finished as these, as in Tom Meyer&#8217;s excerpts from &#8220;Book Two&#8221;**
or Tom Clark&#8217;s poems on the September 11 attacks. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Projectivism of course was
always more interested in the poem as document of thinking more than of the
finished </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t &amp; <i style="mso-bidi-font-style: normal;">House
Organ&#8217;s </i>summer issue shows just how far such work might go. </span><st1:city><st1:place><span style="font-family: Arial;">Gloucester</span></st1:place></st1:city><span style="font-family: Arial;"> poet Vincent <span class="SpellE">Ferrini</span>
provides an annotated list of the &#8220;Authors in My Life,&#8221; interesting mostly
because they aren&#8217;t who you might think. Albert Glover&#8217;s &#8220;Sketching Greg&#8221; comes
straight out of a creative writing class project, literally, of having students
write in the presence of a &#8220;life model&#8221; &#8211; the nude male of the title &#8211; while
listening to the music of John Coltrane.*** To call Glover&#8217;s poetry slack
misses the point completely. There is simply no attempt to work toward a
polished <span class="GramE">surface,</span> it is literature as pure process:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">so</span></span><span style="font-family: Arial;"> let
us occupy a safe space<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp; </span><span class="GramE">made</span> by some invisible
wall<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">arms</span> like
little legs<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">winged</span></span><span style="font-family: Arial;">
up behind Greg&#8217;s back<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: Arial;"><span style="mso-spacerun: yes;">&nbsp;</span><span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>(Michele
must be looking<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">right</span></span><span style="font-family: Arial;">
up his butt)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">That Glover organizes the &#8220;<span class="SpellE">g&#8221;s</span> and the terminal &#8220;k&#8221; in that first stanza is
fortuitous, perhaps the one singular moment in the three pages of the piece.
But, as Michele can see, it&#8217;s not necessarily the point of this project. What
makes this kind of poetry &#8220;difficult&#8221; or off-putting to non-fans of
Projectivism is how much it depends on the inherent value of traced thought
regardless of the quality of thinking. <span class="GramE">It&#8217;s</span> one thing
when one is reading a brilliant if undisciplined polymath like Charles Olson.
As Paul Blackburn&#8217;s <i style="mso-bidi-font-style: normal;">Journals</i> show,
even a fine poet does not necessarily make for great reading when writing
becomes all but dissociated from intention. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Invariably, one comes across
work in a publication like <i style="mso-bidi-font-style: normal;">House Organ</i>
by people whose names are unfamiliar. Robert <span class="SpellE">Podgurski</span>
in the summer issue has a poem, &#8220;Insistence,&#8221; that feels quite uneven. Its
third stanza shines and the final one is technically competent, but I don&#8217;t get
anything from the first two beyond a couple of unusual adjectives &#8211; <span class="SpellE"><i style="mso-bidi-font-style: normal;">anguine</i></span><i style="mso-bidi-font-style: normal;">, <span class="SpellE">batrachian</span> &#8211;</i>
that would compel me to reread them enough times to really get what he&#8217;s trying
to say. I </span><st1:state><st1:place><span style="font-family: Arial;">wis</span></st1:place></st1:state><span style="font-family: Arial;">h there were some contributors&#8217; notes that would
direct me <span class="SpellE">me</span> to other publications. I&#8217;m curious, but
there&#8217;s no guarantee I&#8217;ll remember the name the next time I happen across it in
print.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">So I get <i style="mso-bidi-font-style: normal;">House Organ</i> &amp; am always interested,
but I seem to fight with a lot of what is going on &#8211; not, I suppose, too unlike
my relationship to certain aspects of Projectivism. <i style="mso-bidi-font-style: normal;">House Organ</i> is available from Kenneth Warren at </span><st1:address><st1:street><span style="font-family: Arial;">1250 Belle Avenue</span></st1:street><span style="font-family: Arial;">, </span><st1:city><span style="font-family: Arial;">Lakewood</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">Ohio</span></st1:state><span style="font-family: Arial;"> </span><st1:postalcode><span style="font-family: Arial;">44107</span></st1:postalcode></st1:address><span style="font-family: Arial;">.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*Which just
happened to be his 24<sup>th</sup> <span class="GramE">birthday<span style="font-size: 12.0pt;">.</span></span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">**
Suggesting of course the presence of &#8220;Book One&#8221; &amp; the possibility of
others. Is there a new Tom Meyer long poem in the works?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*** I
didn&#8217;t know that there were creative writing classes that still did this. This
wasn&#8217;t so uncommon in the 1960s.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Sunday, September 08, 2002</span></h2>

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<span style="font-family: Arial;">One of the most interesting
inclusions in the ridiculously named <i style="mso-bidi-font-style: normal;">The
Best American Poetry 2002</i> (Scribner), guest edited by Robert Creeley, is a
series of twenty-six fragments written by the late George Oppen, &#8220;scrawled on envelopes
and other small pieces of paper &#8211; posted to the walls of George Oppen&#8217;s study
and gathered after his death.&#8221; One in fact was written in pencil directly on
the wall itself. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One that I find most
haunting is the second:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span style="font-family: Arial;">I
find I am forgetting<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">all</span></span><span style="font-family: Arial;"> the
spoken<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp; </span>of<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">and</span></span><span style="font-family: Arial;"> the
numbers<span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>(i.e.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">how</span></span><span style="font-family: Arial;"> to
form them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span style="font-family: Arial;">----------------------<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span class="GramE"><span style="font-family: Arial;">also</span></span><span style="font-family: Arial;">
the numbers<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">George Oppen died of
Alzheimer&#8217;s disease, the debilitating degenerative condition against which he
struggled for many years. This fragment appears to directly address that
condition and, in doing so, recalls the furor that met the exhibition of Willem
de Kooning&#8217;s last paintings, also created by an artist well into the
irreversible dementia of the disease. Were the sweeping and majestic spaces of his
last canvases &#8211; more akin to a Diebenkorn (albeit one with no straight lines)
than to the intense and misogynistic paintings of de Kooning&#8217;s signature work &#8211;
the sign of an artist who had arrive at a new (and theoretically more peaceful)
stage in his evolution or an index of the degeneration of one of the great
minds in painting? Because poetry depends precisely on language and is so
intimately entangled with consciousness itself, Oppen&#8217;s last fragments
inevitably raise the same issues. I&#8217;ve heard at least one person wonder aloud
as to the </span><st1:state><st1:place><span style="font-family: Arial;">wis</span></st1:place></st1:state><span style="font-family: Arial;">dom of printing these last unfinished pieces.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I&#8217;m persuaded by the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t themselves. Although not all are anywhere near
Oppen&#8217;s best poetry, some &#8211; like the above &#8211; are quite fine. While George Oppen
is rightly included among the Objectivists in literary history, the bulk of his
writing occurred after 1960, a point beyond which it was impossible not to be
aware of the New Americans.* The projectivists in particular were clear about
using poetry to represent the movement of thought, although others as diverse
as Phil Whalen, Allen Ginsberg and Frank O&#8217;Hara could be said to have also
written what Whalen once characterized as a &#8220;continuous nerve movie.&#8221; <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Oppen seems quite clear, if
not about words &amp; numbers as such, about the importance of tracking his own
consciousness against this greatest of challenges, its own ineluctable
decomposition. These fragments, many of which repeat themselves, stalking the
same terrain over &amp; over, articulate a mind working through some of the
most elemental facts of poetry and life with an absolute sense of just how
little time remains.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<br />
<br />
<div class="MsoNormal">
<span style="font-family: Arial;">*</span> <span style="font-family: Arial; font-size: 10.0pt;">Oppen was an attentive reader. I had
the fortune of being present when Mark Linenthal first introduced Oppen to
Robert Duncan. Oppen&#8217;s first words were, &#8220;I want to talk with you about your
use of open vowels.&#8221;<o:p></o:p></span></div>
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<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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<h2 class='title'>Ketjak</h2>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<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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