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Showing posts with label <b>Robert Duncan</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>Robert Duncan</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>Saturday, October 05, 2002</span></h2>

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<span style="font-family: Arial;">One point that I&#8217;ve made
three times* since I began the Blog a little over a month ago is that themes, for
me at least, don&#8217;t work. That is to say, I literally can&#8217;t read them. <span class="GramE">Them, in this instance, being <i style="mso-bidi-font-style: normal;">poems
with a point.</i></span><i style="mso-bidi-font-style: normal;"> </i>When I try,
the poem invariably loses my interest before I complete the text. My experience
as a reader is that it feels like coercive sentiment &amp; I find myself
physically repelled by the poem. The affect is nausea. It doesn&#8217;t matter
whether I agree with the sentiment or not. Nor for that matter does it need to
be about war or politics &#8211; I&#8217;ve had the same problem with any number of other
noble topics, from AIDS to the environment to love. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Great political poetry &#8211;
&amp; by extension thematic poetry &#8211; is not impossible. I would point to Allen
Ginsberg&#8217;s &#8220;Wichita Vortex Sutra, Part II&#8221; and Robert Duncan&#8217;s &#8220;The Fire, <i style="mso-bidi-font-style: normal;">Passages </i>13&#8221; as two of the finest works
of the past fifty years, let alone two of the best political poems. In each
instance, the devastation &amp; viciousness that is the essence of war**
functions as no more than one axis around which a much wider range of reference
is organized. The experience of each poem is to move outward, incorporating a
broader &amp; much richer cross-section of the world than, say, just the
political. In the process, each contextualizes (thus making a case for the
importance of) the underlying theme itself. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">With its massive deployment
of parallelisms invoking a tone right out of the Old Testament and the
call-&amp;-response oral traditions of the black Baptist church, Amiri Baraka&#8217;s
&#8220;<a href="http://diversity.uoregon.edu/SomebodyBlewUpAmerica.htm">Somebody Blew
Up America</a>&#8221; is neither great poetry nor simply another commemorative bauble
by Pinsky, Collins or Angelou. At one level, the poem is about the palpable but
nonetheless abstract presence of evil in the world itself. At another, the
dizzying juxtapositions that are yoked together via the constant question &#8211;
&#8220;Who? Who? Who?&#8221; &#8211; play with the concept of paranoia itself. Anti-Semitism runs
throughout the poem, not simply in the few lines that have been scattered
widely about the media. So do anti-capitalism, anti-authoritarianism and a
limited version of anti-racism. But ultimately it is the referential range of
Baraka&#8217;s juxtapositions &#8211;<o:p></o:p></span></div>
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<span style="font-family: Arial;">Who
need fossil fuel when the sun ain't <span class="SpellE">goin</span>' nowhere<br />
<br />
<span class="GramE">Who</span> make the credit cards <br />
Who get the biggest tax cut <br />
Who walked out of the Conference <br />
Against Racism <br />
Who killed Malcolm, Kennedy &amp; his Brother <br />
Who killed Dr King, Who would want such a thing? <br />
Are they linked to the murder of </span><st1:city><st1:place><span style="font-family: Arial;">Lincoln</span></st1:place></st1:city><span style="font-family: Arial;">? <o:p></o:p></span></div>
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<span style="font-family: Arial;">&#8211; <span class="GramE">that</span>
restricts the poet&#8217;s impulse. The poem exists entirely at the level of public
discourse. There may be moments of referential opacity if you don&#8217;t get a
reference, but none of intimacy. It may help some readers to know that &#8220;Little
Bobby&#8221; is Bobby Hutton, the first person to sign on with Huey Newton &amp;
Bobby Seale in </span><st1:city><st1:place><span style="font-family: Arial;">Oakland</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s Black Panther Party, gunned down at the age of 18
by the police there on </span><st1:date day="6" month="4" year="1968"><span style="font-family: Arial;">April 6, 1968</span></st1:date><span style="font-family: Arial;">, but the poem does nothing to suggest that Hutton,
or anyone for that matter, has any reality or meaning beyond the headlines from
which the poem is constructed. Private life is reduced to the mention of a tax
cut.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The public reactions to this
poem have generally missed its playful elements as well as the way in which
that reiterated baseline <i style="mso-bidi-font-style: normal;">who <span class="SpellE">who</span></i> echoes a genuine howl of grief that is also present
&amp; perfectly audible in the text. It is in the nature of public discourse to
miss just such elements of life, poetic justice of sorts for a text that is so </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ebted to this same discourse. But the ineluctable
problem of any thematic </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t
almost invariably has to do with its reduction of discourse. Duncan &amp;
Ginsberg could not be more radically opposed to Baraka. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* With
respect to <i style="mso-bidi-font-style: normal;"><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381448405">Chain</a></i>,
<a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381947753">Louis
Cabris &amp; Ted Berrigan</a>, and <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382510403">Kit
Robinson</a>.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** It
matters little whether or not the war can be &#8220;justified.&#8221; <o:p></o:p></span></div>
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at
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<h2 class='date-header'><span>Saturday, August 31, 2002</span></h2>

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<p class=MsoNormal><span style='font-family:Arial'>During his life Robert Duncan
alternately called his booklength critical project both <i style='mso-bidi-font-style:normal'>The H.D.
Book </i>and <i style='mso-bidi-font-style:normal'>The Day Book</i>. Individual
chapters appeared in journals such as <i style='mso-bidi-font-style:normal'>Caterpillar</i>,
but the volume as a whole has never appeared. The copy I&#8217;m reading comes from a
pirate typesetting that I don&#8217;t believe was ever released in hard copy. In this
sense, the version I have is not unlike the Frontier Press edition of <i
style='mso-bidi-font-style:normal'>Spring &amp; All</i> that Harvey Brown
produced in order to provoke New Directions into republishing that great lost
work of Williams. <span style='mso-spacerun:yes'>&#160;</span><o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>People have speculated over
the reasons why <i style='mso-bidi-font-style:normal'>The H.D. Book</i> is not
in print, and conspiracy theories on the topic are not unpopular. But in some
sense, the book&#8217;s problem lies precisely in its genius &#8211; a work of criticism with
no argument, no theme, no development, <span class=GramE>no</span> expository
equivalent to a plot. It certainly has nodes around which it turns again and
again &#8211; </span><st1:City><st1:place><span style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s autobiography, the poetry of Hilda Doolittle, <span
class=GramE>the</span> poetics of the high modernists in general, the &#8220;wars&#8221;
between various occult practitioners extending outward from <span class=SpellE>Blavatsky</span>,
seers that </span><st1:City><st1:place><span style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'> both cheerfully acknowledges as frauds and insists
must be taken at full value. Any given chapter, any given paragraph may turn to
one of these topics, or sweep between any two of them (</span><st1:City><st1:place><span
  style='font-family:Arial'>Duncan</span></st1:place></st1:City><span
style='font-family:Arial'>&#8217;s sense of pace seems slow precisely because it is
governed by rhythm). <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>So what we as readers must
then confront is a text that straddles genres neatly between critical theory
and autobiography and proceeds, as Shklovsky would have noticed, as plotless
prose, a work whose point is never to get anywhere, but always to bring the
reader into the presentness of reading itself. <i style='mso-bidi-font-style:
normal'>The H.D. Book</i> is hardly the first such critical work in English &#8211;
there is all of Stein&#8217;s lectures and critical prose, and again <i
style='mso-bidi-font-style:normal'>Spring &amp; All. </i>But in fact none of
these have ever had an easy or simple publishing history, as Duncan himself
certainly understood. In the 1950s, he had been the <i style='mso-bidi-font-style:
normal'>only</i> writer of any note to acknowledge Stein&#8217;s influence
whatsoever. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, August 30, 2002</span></h2>

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<p class=MsoNormal><span style='font-family:Arial'><a
href="http://www.factoryschool.org/content/pubs/rhood/duncan/HD_Book.pdf">http://www.factoryschool.org/content/pubs/rhood/duncan/HD_Book.pdf</a><o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>I am the slowest of readers,
so much that when I was a student, my high school enrolled me in an Evelyn Woods&#8217;
speed reading course to see if it couldn&#8217;t increase my pace &#8211; but I always
imagined words to have sounds &amp; sentences and paragraphs to set off thoughts,
requiring me to reread passages over &amp; over whenever I returned from my
flights of &#8220;fancy.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>Today, I am reading perhaps
50 books at once &#8211; I have a stack beside this desk that includes <i
style='mso-bidi-font-style:normal'>The Angel Hair Anthology, </i>Lorine <span
class=SpellE>Niedecker&#8217;s</span> <i style='mso-bidi-font-style:normal'>Collected
Works,</i> Bruce Andrews&#8217; <i style='mso-bidi-font-style:normal'>Lip Service, </i>Allen
Curnow&#8217;s <i style='mso-bidi-font-style:normal'>Early Days Yet,</i> Tan Lin&#8217;s <i
style='mso-bidi-font-style:normal'>Lotion Bullwhip Giraffe, Conjunction&#8217;s </i>special
issue on <i style='mso-bidi-font-style:normal'>American Poetry: The State of
the Art,</i> Serge <span class=SpellE>Gavronsky&#8217;s</span> <i style='mso-bidi-font-style:
normal'>66 for Starters</i>, Charles Tomlinson&#8217;s <i style='mso-bidi-font-style:
normal'>Selected Poems,</i> James Sherry&#8217;s <i style='mso-bidi-font-style:normal'>Our
Nuclear Heritage, </i>Frank Stanford&#8217;s <i style='mso-bidi-font-style:normal'>The
Battlefield Where the Moon Says I Love You,</i> Barbara Guest&#8217;s <i
style='mso-bidi-font-style:normal'>Selected Poems,</i> and <span class=SpellE>H.D.&#8217;s</span>
<i style='mso-bidi-font-style:normal'>Collected Poems 1912-1944. </i>Some of
these are &#8220;rereads&#8221; (Sherry, Stanford), but others (Lin, Curnow, Tomlinson) are
books that I have been reading literally for years.<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>In addition to this stack, I
have another that sits by the front door, waiting for those moments when I can
relax and sit on the porch and read &#8211; these are the books I took with me to
Nova Scotia this summer (though the Angel Hair anthology and Niedecker
collected were also in that group and have since migrated down to my study). In
my bedroom is another clutch of books of poetry that will be integrated with
the stack by the door. Plus the novel I&#8217;m currently reading, David Mitchell&#8217;s <span
class=GramE><i style='mso-bidi-font-style:normal'>Ghostwritten</i></span><i
style='mso-bidi-font-style:normal'>.</i><o:p></o:p></span></p>
<br>
<p class=MsoNormal><span style='font-family:Arial'>The stack by the front door
includes Christian <span class=SpellE>Bok&#8217;s</span> <span class=SpellE><i
style='mso-bidi-font-style:normal'>Eunoia</i></span><i style='mso-bidi-font-style:
normal'>, </i>Pattie McCarthy&#8217;s <span class=SpellE><i style='mso-bidi-font-style:
normal'>bk</i></span><i style='mso-bidi-font-style:normal'> of (h<span
class=GramE>)<span class=SpellE>rs</span></span>,</i> Lyn Hejinian&#8217;s <i
style='mso-bidi-font-style:normal'>A Border Comedy,</i> Heaney&#8217;s version of <i
style='mso-bidi-font-style:normal'>Beowulf,</i> <span class=SpellE>Besmilr</span>
Brigham&#8217;s <i style='mso-bidi-font-style:normal'>Run Through Rock,</i> Jennifer <span
class=SpellE>Moxley&#8217;s</span> <i style='mso-bidi-font-style:normal'>The Sense
Record, </i>Geoffrey Hill&#8217;s <i style='mso-bidi-font-style:normal'>Speech!
Speech! </i>(<span class=GramE>a</span> curiously flaccid text given its
reputation), and Edwin Torres&#8217; <i style='mso-bidi-font-style:normal'>The
All-Union Day of the Shock Worker.</i><o:p></o:p></span></p>


<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>In a restroom upstairs is a
smaller stack of critical &amp;/or non-fiction texts that I&#8217;m working through
more slowly. And in the dining room is Stephen Wolfram&#8217;s self-published tome, <i
style='mso-bidi-font-style:normal'>A New Kind of Science,</i> which I&#8217;m going
through with the idea that there must be some ideas for poems in there that I
might use once I begin <i style='mso-bidi-font-style:normal'>Universe</i> in
earnest (still a year away, I&#8217;d guess).<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>But in my pocket, as an
e-book, is Robert Duncan&#8217;s <i style='mso-bidi-font-style:normal'>H.D. Book</i>,
which I&#8217;ve downloaded to my Palm Pilot using the Adobe Acrobat Reader for Palm
tool.<o:p></o:p></span></p>

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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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<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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