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<h2 class='date-header'><span>Sunday, January 05, 2003</span></h2>

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<span style="font-family: Arial;">To the best of my knowledge,
I&#8217;ve never seen <a href="http://www.renericard.org/index.html">René Ricard</a>
read live. Although we&#8217;re the same age &amp; have both been around the post-avant
scene for three dozen years, we&#8217;ve mostly lived on opposite coasts. There was a
time when I did see several of the Andy Warhol films with which Ricard was
involved, but the only poet I can recall from them is an image of John Giorno
sound asleep. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In addition to the
geographic gap between us, we also have obviously had very different approaches
to the scene. Where I&#8217;ve focused on the two or three things I do moderately
well, Ricard has been something of a renaissance all to himself. In addition to
his poetry and his work in film, he&#8217;s a painter, art critic and bon vivant of
legendary stature. <a href="http://www.michaelwincott.net/rene.htm">Michael <span class="SpellE">Wincott</span></a>, who played Ricard in the Julian Schnabel film <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0115632">Basquiat</a></i>,
refers on his website to Ricard as a &#8220;flamboyant art critic.&#8221; Ricard&#8217;s own
website adds the occupation &#8220;historian&#8221; to that list. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One side effect of these
varied activities is that Ricard actually hasn&#8217;t nearly as much as one might
expect of a poet born in 1946. I believe I owned Ricard&#8217;s <span class="SpellE">Dia</span>
Foundation book at one time, <i style="mso-bidi-font-style: normal;">René Ricard
1979-1980</i>, but couldn&#8217;t find it when I looked for it this morning. So when
I saw his name attached to three poems at the end of <i style="mso-bidi-font-style: normal;">Angel Hair </i>3<i style="mso-bidi-font-style: normal;"> </i>(in <i style="mso-bidi-font-style: normal;"><a href="http://www.granarybooks.com/books/angel_hair/angel_hair1.html">The Angel
Hair Anthology</a></i>), what I brought to them by way of background were some
disparate facts &#8211;the Warhol filmography, that he was born Albert Napoleon
Ricard, a middle name worth remembering &#8211; an impression of him as someone who
shows up a lot in lists that have, say, Anne Waldman in them somewhere, and <span class="SpellE">Wincott&#8217;s</span> portrayal from <i style="mso-bidi-font-style: normal;">Basquiat. </i><span class="GramE">Six factoids in search of an author.</span>
<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;">Angel Hair </span></i><span style="font-family: Arial;">3
came out originally in 1967, when Ricard was just 21. He had already been
around the scene at The Factory for a couple of years and been a part of the
scene in </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;"> before that. The first of his poems is simply
entitled &#8220;Oh&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Oh yes the page is blank<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">At first; And now to confuse<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The issue;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I take a long chic drag from my
Gauloise<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I&#8217;ve done it before. This could
be a great poem<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">If I didn&#8217;t rather jerk off
instead<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Already I&#8217;ve begun three
consecutive lines with<br />
I; <span class="GramE">Something</span> is meant by this<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Perhaps I&#8217;ll jerk off
eventually<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">What could be more <span class="GramE">essential</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">(Notice a lack of continuity)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Recurrent theme<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Several stanzas and a modicum
of internal rhyme<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Measure <span class="SpellE">Measure</span>
<span class="SpellE">Measure</span> My dear<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Is not poetry without <span class="GramE">tit</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">les</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> <span class="SpellE">vox</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="SpellE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Da</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> Do you
know how much poetry<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">How much <i style="mso-bidi-font-style: normal;">good </i>poetry was written <span class="GramE">in</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Say the 50&#8217;s?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Lots I&#8217;ll bet<br />
<span class="GramE">Down</span> through the ages<br />
We each pick our favorites<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It would be easy enough to
argue that this is a pretty slight poem, but it would be hard to argue the
point any better than the poem does itself. In fact, reading it some 35 years
after its initial publication, what struck me was how admirable &#8220;Oh&#8221; is as an
act of writing. It&#8217;s very nearly a perfect example of how the &#8220;I do this/I do
that&#8221; aspect of New York School writing is itself very much a process of
thinking &#8211; the very point on which NYS and langpo come together as literary
tendencies. &amp;, not coincidentally &#8211; Ricard was originally associated as a
poet with John Wieners &#8211; the point at which langpo &amp; Projectivism come
together as well. &#8220;Oh&#8221; is virtually all about manifesting this process &amp;
the competition between the poem &amp; all other plausible endeavors, right up
to the point when the text acknowledges the presence of &#8220;you.&#8221; At that moment,
Ricard&#8217;s focus shifts to invoke a broader sense of history. <span class="GramE">All
of which he accomplishes with absolutely the least amount of pretension
imaginable: poetry is placed into a spectrum alongside taking a &#8220;chic drag&#8221; on
a French cigarette &amp; jerking off.</span> Neither of which, <span class="GramE">it&#8217;s</span> worth noting, are figured here pejoratively. <o:p></o:p></span></div>
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<span style="font-family: Arial;">My favorite moment in the
poem &#8211; actually, I have several &#8211; my <i style="mso-bidi-font-style: normal;">first</i>
favorite moment is the acknowledgement that the instant pen is put to paper (or
pixels to screen) the &#8220;unconfused&#8221; state of the poem-as-possibility is lost
forever. The unwritten poem has a lot in common with virginity &#8211; things get messy
in a hurry. Ricard&#8217;s sense of humor as he proceeds is exceptionally nuanced &#8211;
we get the cigarette <i style="mso-bidi-font-style: normal;">before</i> the sex,
for example. Another wonderful moment here is in the way Ricard distances
himself from meaning &#8211; &#8220;Something is meant by this.&#8221; An entire critique of
meaning is figured in that statement.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The poem&#8217;s first major shift
occurs with &#8220;What could be more essential,&#8221; a rhetorical question that is then
framed parenthetically as a </span><st1:state><st1:place><span style="font-family: Arial;">fla</span></st1:place></st1:state><span style="font-family: Arial;">w in the writing. From this point forward, the poem
will stick to poetry as its focus, even through the second shift which occurs
(no coincidence here) with the second question. The poem&#8217;s approach to its
theoretical problem is so light-hearted &amp; generous that it&#8217;s possible not
to take the question of what happens to good poetry seriously, even though it&#8217;s
a perfectly serious question. <o:p></o:p></span></div>
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<span style="font-family: Arial;">You can see Ricard here as
interested in the idea of artless art &#8211; a concept very close not only to the
whole Warhol scene but also to conceptualism as well, which was just starting
to enter the arts scene en masse.* The desire for an artless art is also quite
evident in his other poems in the same issue. In this sense, Ricard is closer
to the work, say, of Vito Acconci &#8211; who immediately precedes Ricard in <i style="mso-bidi-font-style: normal;">Angel Hair</i> &#8211; than, say, to Ron Padgett
or Bill Berkson, even as the &#8220;I do this/I do that&#8221; aspect of the work makes
Ricard a natural for a little magazine edited under the spell of Ted Berrigan. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Reading a journal such as <i style="mso-bidi-font-style: normal;">Angel Hair</i> 35 years after the fact in
some ways is more meaningful than it ever could have been at the time it was
originally published &#8211; we know now how all of these artists &#8220;will turn out,&#8221;
who will be brilliant &amp; who tragic. Ricard is someone who clearly chose to
have an extremely diverse career, which like anything else has its advantages
&amp; drawbacks both. A poem such as &#8220;Oh&#8221; stands as a reminder that a &#8220;pretty
slight poem,&#8221; written well, can still fully illuminate the whole world of
poetry decades later.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Indeed,
conceptualism offers a logic through which Warhol&#8217;s cinema can be viewed as
&#8220;attacking&#8221; the pop art of Warhol&#8217;s paintings.<o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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_WidgetManager._RegisterWidget('_LinkListView', new _WidgetInfo('LinkList1', 'sidebar', document.getElementById('LinkList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text1', 'sidebar', document.getElementById('Text1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text3', 'sidebar', document.getElementById('Text3'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_ImageView', new _WidgetInfo('Image1', 'sidebar', document.getElementById('Image1'), {'resize': false}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text2', 'sidebar', document.getElementById('Text2'), {}, 'displayModeFull'));
</script>
</body>
</html>