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Silliman's Blog
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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>Radiohead</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>Radiohead</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 27, 2003</span></h2>

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<span style="font-family: Arial;">Perhaps the article in <i style="mso-bidi-font-style: normal;"><a href="http://www.durationpress.com/tripwire/index.htm">tripwire</a> </i>6 that
most directly tackles the question of community is K. Silem Mohammad&#8217;s &#8220;Creeping
it real: Brian Kim Stefans&#8217; &#8216;Invisible Congress&#8217; and the Notion of Community,&#8221;
a critique of sorts of Stefans&#8217; &#8220;<a href="http://www.arras.net/stefans_full.htm">When
Lilacs Last in the Door: Notes on New Poetry</a>,&#8221; an overview of younger poets
that Stefans initially undertook for <i style="mso-bidi-font-style: normal;">Poets
&amp; Writers</i> &#8211; specifically for<span style="mso-spacerun: yes;">&nbsp;
</span>Michael <span class="SpellE">Scharf&#8217;s</span> &#8220;<span class="SpellE">Metromania</span>&#8221;
column &#8211; moving it over to </span><st1:personname><span style="font-family: Arial;">Steve Evans</span></st1:personname><span style="font-family: Arial;">&#8217;
webzine, <i style="mso-bidi-font-style: normal;">Third Factory </i>after the <i style="mso-bidi-font-style: normal;">P&amp;W </i><span style="mso-spacerun: yes;">&nbsp;</span>editors rejected it.* <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Stefans&#8217; article proposes
the existence of a new literary tendency that he literally calls The Creeps,
after the Radiohead song. In his article, Stefans quotes from the song &#8211; &#8220;But
I&#8217;m a creep / I&#8217;m a weirdo / what the hell am I doing here? / I don&#8217;t belong
here&#8221; &#8211; to &#8220;explain&#8221; why he chose such a consciously anti-attractive moniker to
assign to the fortunate few he so characterizes. Pointedly, Stefans neglects to
include the lines that lead up to this chorus, perhaps because they articulate
his position a little too plaintively:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I want to have control<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I want a perfect body<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I want a perfect soul<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I want you to notice<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">when</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> I&#8217;m
not around<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">you&#8217;re</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> so
fucking special<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I wish I was special<o:p></o:p></span></div>
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<span style="font-family: Arial;">Stefans also lists 19
writers &amp; 21 books to pin down if not <i style="mso-bidi-font-style: normal;">what</i></span><i style="mso-bidi-font-style: normal;">, </i><span style="font-family: Arial;">then
at least <i style="mso-bidi-font-style: normal;">who</i> (besides himself) he
means:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Caroline <span class="SpellE">Bergvall's</span> <span class="SpellE"><i style="mso-bidi-font-style: normal;">Goan</i></span><i style="mso-bidi-font-style: normal;"> Atom</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Lee Ann Brown's <i style="mso-bidi-font-style: normal;">Polyverse</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Miles Champions' <i style="mso-bidi-font-style: normal;">Three </i></span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Bell</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Verdana; font-size: 10.0pt;"> Zero</span></i><span style="color: black; font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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;<st1:personname><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Kevin Davies</span></st1:personname><span style="color: black; font-family: Verdana; font-size: 10.0pt;">' <i style="mso-bidi-font-style: normal;">Comp</i>.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Tim Davis' <i style="mso-bidi-font-style: normal;">Dailies</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Jeff Derksen's <i style="mso-bidi-font-style: normal;">Dwell</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Dan Farrell's <i style="mso-bidi-font-style: normal;">Last Instance</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Robert Fitterman's <i style="mso-bidi-font-style: normal;">Metropolis
1-15</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Kenneth Goldsmith's <i style="mso-bidi-font-style: normal;">No. 111
2.7.93-10.20.96</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Lisa Jarnot's <i style="mso-bidi-font-style: normal;">Some Other
Kind of </i></span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Mission</span></i></st1:place></st1:city><span style="color: black; font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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 class="SpellE"><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Adeena</span></span><span style="color: black; font-family: Verdana; font-size: 10.0pt;"> <span class="SpellE">Karasick's</span> <span class="SpellE"><i style="mso-bidi-font-style: normal;">Dyssemia</i></span><i style="mso-bidi-font-style: normal;"> Sleaze</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Pamela Lu's <i style="mso-bidi-font-style: normal;">Pamela: A Novel</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Bill Luoma's <i style="mso-bidi-font-style: normal;">Works and Days</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Jennifer Moxley's <i style="mso-bidi-font-style: normal;">Imagination
Verses</i> and her chapbook <i style="mso-bidi-font-style: normal;">Wrong Life</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Harriet Mullens' <i style="mso-bidi-font-style: normal;">Muse and
Drudge</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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;<st1:personname><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Rod Smith</span></st1:personname><span style="color: black; font-family: Verdana; font-size: 10.0pt;">'s <i style="mso-bidi-font-style: normal;">Protective Immediacy</i> and <i style="mso-bidi-font-style: normal;">In Memory of My Theories</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Chris Stroffolino's <i style="mso-bidi-font-style: normal;">Stealer's
Wheel</i><o:p></o:p></span></div>
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&lt;![if !supportLists]&gt;<span style="color: black; font-family: Wingdings; font-size: 10.0pt; 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="color: black; font-family: Verdana; font-size: 10.0pt;">Rodrigo Toscano's <i style="mso-bidi-font-style: normal;">Partisans</i><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="color: black; font-family: Verdana; font-size: 10.0pt;">Darren <span class="SpellE">Wershler</span>-Henry's <i style="mso-bidi-font-style: normal;">the tapeworm foundry</i>&nbsp;</span><span style="font-family: Verdana;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">That&#8217;s an interesting &#8211; if
not particularly coherent &#8211; roster, ranging from the constraint-driven
formalism of Mullen &amp; the Canadian post-Oulipo experimenters to the
epistemology-centered Moxley**, to Pamela Lu&#8217;s poignantly retro novella, a
retelling of sorts of <i style="mso-bidi-font-style: normal;">Catcher in the Rye </i>as
filtered through Ashbery&#8217;s <i style="mso-bidi-font-style: normal;">Three Poems, </i>to
several poets with visible post-langpo &amp; post-NY school concerns. <o:p></o:p></span></div>
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<span style="font-family: Arial;">If Stefans&#8217; initial piece is
itself an instance of post-langpo counter-canon formation, parallel in purpose
if not specifics to the claims underlying the <i style="mso-bidi-font-style: normal;">O&#8226;blēk </i>&#8221;</span><st1:place><st1:placename><span style="font-family: Arial;">New</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Coast</span></st1:placetype></st1:place><span style="font-family: Arial;">&#8221; anthology &amp; subsequent <i style="mso-bidi-font-style: normal;">Apex of the M</i> editorials or Sianne Ngai&#8217;s &#8220;Poetics of Disgust,&#8221;
what seems to interest Mohammad most about Creepy poetry is a claim that I
don&#8217;t think Stefans actually makes:<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The eyebrow-raising element
here is the claim that Creeps want to break out of the community model of experimental
writing, a model that has held indomitable sway for decades, notably reinforced
and codified in Ron Silliman&#8217;s passionate introduction to <i style="mso-bidi-font-style: normal;">In the American Tree.</i><o:p></o:p></span></div>
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<span style="font-family: Arial;">Given that, as per Sartre,
the alternative to the group is serial formation, a phenomenon that is
synonymous with the atomizing principles of capitalism &#8211; &amp; nowhere more
visible in literature than in the sales-driven approach to books of the </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> trade publishers &#8211; that &#8220;break out&#8221; would more
accurately be characterized as <span class="GramE">a surrender</span>, if in fact
it were the case. The adjective Creepy would acquire a whole new (or, rather,
very old) set of meanings. But I don&#8217;t think this is what Stefans was driving
at in his original piece. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The passage that Mohammad
cites for this eye-brow elevation is the following:<o:p></o:p></span></div>
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<span class="GramE"><span style="color: black; font-family: Verdana; font-size: 10.0pt;">all</span></span><span style="color: black; font-family: Verdana; font-size: 10.0pt;"> the Creeps share . .
. a surprising desire to communicate, to perform, to create social <i style="mso-bidi-font-style: normal;">interactivity</i>, and to expand beyond the
small communities that have been their inherited legacy from previous American
avant-gardes. They are often experimentalists, but have no interest in
experiment for its own sake, at least if the results are not something like a
public, often very entertaining, form of poetry, a sort of deviant form of
street theater itself.&nbsp;The Creeps are almost universally very funny,
though why there has been such a turn to humor in their poetry is matter for
debate<span class="GramE">.*</span>**</span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">This anxiety about
communicating with a broader constituency of readers fits in perfectly with the
high-school discomfiture articulated by the Radiohead lyrics, but it&#8217;s a
considerable leap &#8211; very nearly a rocket launch &#8211; to suggest that any, let
alone all, of the lucky Creeps want to make the leap to appearances on Oprah or
even </span><st1:personname><span style="font-family: Arial;">Jim Behrle</span></st1:personname><span style="font-family: Arial;">&#8217;s poetry spots on NPR&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://www.here-now.org/">Here and Now</a></i>. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Stefans&#8217; argument can be
framed as making a case for a return from <i style="mso-bidi-font-style: normal;">trobar
clus,</i> the consciously difficult poetry that the <a href="http://gallica.bnf.fr/themes/LitMAd.htm">12<sup>th</sup> century
troubadours wrote</a> for each other along with the complex <span class="SpellE">melopoetics</span>
of <span class="SpellE"><i style="mso-bidi-font-style: normal;">tobar</i></span><i style="mso-bidi-font-style: normal;"> <span class="SpellE">ric</span>, </i>back
toward something akin to <i style="mso-bidi-font-style: normal;">trobar <span class="SpellE">leu</span></i> or <i style="mso-bidi-font-style: normal;">plan</i>,
the more open-ended &amp; simpler poems composed for less literate audiences.
This I would agree with Kasey is eye-brow <span class="GramE">raising</span>, but
mostly because it so closely parallels the argument offered by Dana Gioia in <i style="mso-bidi-font-style: normal;"><a href="http://www.danagioia.net/essays/ecpm.htm">Can Poetry Matter?</a> </i>The
logic that one could theoretically arrive at a more popular poetry is sometimes
put forward to justify the existence of a Billy Collins or Deborah Garrison or
Sophie Hannah or Wendy Cope. Clearly, none of the Creeps are involved in
anything remotely that creepy.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The problem &#8211; which in fact
is the question of community itself &#8211; of belonging, as such, cannot escape history.
History teaches what history teaches, which includes the inescapable detail
that even as these genres were already subdividing amoeba-like <i style="mso-bidi-font-style: normal;">nine centuries ago</i>, the arrival of
post-12<sup>th</sup> century modes of story telling, ranging from the novel to
cinema to reality TV, have occupied &#8211; for good reason &#8211; the social space
previously taken up by <i style="mso-bidi-font-style: normal;">trobar <span class="SpellE">leu</span></i>. In fact, if one looks to those contemporary
societies in which poetry has occupied something akin to a truly popular genre,
such as late-Stalinist Soviet </span><st1:country-region><st1:place><span style="font-family: Arial;">Russia</span></st1:place></st1:country-region><span style="font-family: Arial;"> or the remoter districts of </span><st1:country-region><st1:place><span style="font-family: Arial;">Yemen</span></st1:place></st1:country-region><span style="font-family: Arial;">, there are inevitably &amp; always specific historic
circumstances that have thwarted or diverted the narrative genres that absorb
these spaces in the post-industrial West. We don&#8217;t need Homer precisely because
we already have Homer Simpson.<o:p></o:p></span></div>
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<span style="font-family: Arial;">If Stefans was, as I
suspect, doing some creative mischief-making for the institutional context of <i style="mso-bidi-font-style: normal;">Poets &amp; Writers, </i>Mohammad attempts
to spin this rather wispy daydream into a far more formidable theoretic
construction. Mohammad asks:<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">So how does Creep turn away
from a community-based poetics?<span style="mso-spacerun: yes;">&nbsp; </span>Only to
the extent that it rejects the notion of a safe enclave, a privileged
brotherhood of artistry in which the problems of the outside world are, after
all, <i style="mso-bidi-font-style: normal;">outside</i>, and at least there&#8217;s that.
It does this by raising the quixotic possibility of intercourse between
experimental poetry and mainstream culture . . . .<o:p></o:p></span></div>
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<span style="font-family: Arial;">Mohammad&#8217;s evidence for
this, which goes on for a couple of pages, is entirely a list of literary
devices associated with language poetry. This suggests that an important part
of literary formation is, or at least might be, creative amnesia &#8211; and on this
question I&#8217;d probably concur, noting how Robert Grenier&#8217;s great &#8220;break&#8221; with
speech in 1970 was directed precisely toward the poetics toward which he felt
himself most deeply attracted. Three decades hence, langpo finds itself drawn
into this same quandary of being configured as an impediment rather than a
foundation even as the evidence duly displayed directly contradicts the charge.
<i style="mso-bidi-font-style: normal;">Plus ça change.<span style="mso-spacerun: yes;">&nbsp; </span>. . .<o:p></o:p></i></span></div>
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<span style="font-family: Arial;">Perhaps the most problematic
part of Mohammad&#8217;s construction is that he pulls back from it at the end, not
unlike Chaucer&#8217;s deathbed apology: <o:p></o:p></span></div>
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<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">this</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> is
exactly what I find attractive about Stefans&#8217; Creep (anti-) aesthetic: it&#8217;s a
movement that is formed within the mind of the reader, not the designs of a
self-articulated community. Stefans&#8217; apprehension of Creepiness comes from his
own Creepy imagination, his own desire to oversee a troupe of invisible,
flea-like verbal acrobats.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Now there&#8217;s an attractive
proposition! How would you like to be both invisible &amp; flea-like? Sign me
up, Kasey! <i style="mso-bidi-font-style: normal;">Not.<o:p></o:p></i></span></div>
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<span style="font-family: Arial;">However, Mohammad is almost
certainly accurate in his next (and final) assertion:<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">That the poets [Stefans] names are
readily conformable to such a desire says something about their shared use of
certain techniques and their common concerns as postmodern artists, but more
about a simultaneous resistance and porousness in their work that encourages
progressive (but diverse) notions of community to be constructed from the
margins outward (inward?) &#8211; there is no Creep manifesto, only an ever-growing
passenger manifest, the names on which can be shuffled according to the needs
of an equally various and multiple collective of readerly sensibilities. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Sure sounds like Sartre&#8217;s
vision of serialization &amp; capitalist atomization to me, a series of
infinitely substitutable parts that can be popped out of a box or anthology &#8211;
like a chess set composed entirely of pawns &#8211; and dropped into any theory one
wants. This goes right back to the suppressed lyrics of the original Radiohead
song, &#8220;I want to have control.&#8221; This is a vision of a generation of poets who
have no clue what that might feel like. And don&#8217;t understand that such &#8220;porousness&#8221;
is as much a lethal threat to <span class="GramE">themselves</span> as it is
astronauts on the space shuttle. <o:p></o:p></span></div>
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<span style="font-family: Arial;">To the degree that Stefans,
or Ngai or even the <i style="mso-bidi-font-style: normal;">Apex</i> / <i style="mso-bidi-font-style: normal;">O&#8226;blēk </i>gang make efforts to
challenge that porousness, their attempts, however partial &amp; one-sided,
align them with the angels of history, for which they all deserve our thanks
&amp; support. But to the degree that anybody imagines a community of rugged
individuals &#8211; which is what the post-community monad most certainly is &#8211; as a
possibility, these poets can only continue to ask themselves &#8220;what the hell am
I doing here?&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Evans
asks that links not be made to <i style="mso-bidi-font-style: normal;">Third
Factory</i>, which is why the link to Stefans&#8217; piece goes to a linked
bibliography of Brian&#8217;s that does have an apparently authorized link. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Stefans
claims, using Moxley as his &#8220;evidence,&#8221; that &#8220;Creeps . . . are not . . .
greatly concerned with epistemological issues&#8221;!?!<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** Again,
the test of Stefans&#8217; claim here is, or should be, Jennifer Moxley&#8217;s poetry.
I&#8217;ve argued here before that this would be a total misreading of her work. <o:p></o:p></span></div>
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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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