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Showing posts with label <b>Robert Kelly</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 Kelly</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>Friday, November 29, 2002</span></h2>

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<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>Parceled,
not parceled, ever the light.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:3'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160; </span><span class=SpellE>Trismegistus</span> to
Tat: our bones<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>will</span></span><span style='font-family:Arial'>
want velvet,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:2'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160;&#160; </span><span class=GramE>line</span> decays, root
your gods<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>in</span></span><span style='font-family:Arial'>
flesh &amp; stock your flesh in<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:4'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
class=GramE>flame</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>(Giordano
given over<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:3'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span>&#8211;<span
class=SpellE><span class=GramE>ubi</span></span> <span class=SpellE>peccavit</span>&#8211;
he sinned in fire<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>tongue</span></span><span style='font-family:Arial'><span
style='mso-spacerun:yes'>&#160;&#160;&#160; </span>word-thorn<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:3'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
class=GramE>into</span> fire,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:4'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160; </span></span><st1:date Month="2" Day="17"
Year="1600"><span style='font-family:Arial'>17 February 1600</span></st1:date><span
style='font-family:Arial'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>&amp;
the beam of light<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:2'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>that</span> is
defining measure<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>&#8211;<span
class=SpellE>metre</span>, the palladium<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:3'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160; </span><span class=GramE>yardstick</span> only a
curio<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>or</span></span><span style='font-family:Arial'>
orifice of<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>measure</span> a
controlled radiance,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=SpellE><span
class=GramE><span style='font-family:Arial'>ångstrom</span></span></span><span
style='font-family:Arial'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span style='mso-spacerun:yes'>&#160;&#160;&#160;
</span><span class=GramE>an</span> infinity &#8216;longer than point&#8211;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=SpellE><span
style='font-family:Arial'>Punctum</span></span><span style='font-family:Arial'>
in <span class=SpellE>Nihilo</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:2'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>from</span> which<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>It
pours.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span style='mso-spacerun:yes'>&#160;&#160;
</span>Sentences by nature false,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>&#8216;<span
class=GramE>opinions</span>&#8217; <span class=SpellE>momentaneous</span> murmurings<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>corpse-fat</span></span><span style='font-family:
Arial'> soft,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:2'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;</span><span class=SpellE><span class=GramE>saponification</span></span>
of the great poets<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>when</span></span><span style='font-family:Arial'> it
is<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;&#160;
</span>Delight forgot&#8211;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:4'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
class=SpellE>Addio</span> <span class=SpellE>alla</span> <span class=SpellE>madre</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>I
take<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>this</span>
serious knife<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:3'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>where</span> Death is<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>&amp;
makes<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:1'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;
</span><span class=GramE>all</span> sharp again<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>wretch</span></span><span style='font-family:Arial'>
of dull edge<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:2'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
style='mso-spacerun:yes'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>his</span> knife I
fight<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-family:Arial'>bites</span></span><span style='font-family:Arial'>
mine.<span style='mso-spacerun:yes'>&#160; </span></span><st1:City><st1:place><span
  style='font-family:Arial'>Crystals</span></st1:place></st1:City><span
style='font-family:Arial'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:3'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span
class=GramE>of</span> damascene sever in air<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'>:<span
style='mso-spacerun:yes'>&#160;&#160; </span><span class=GramE>this</span> silken<o:p></o:p></span></p>

<p class=MsoNormal style='margin-left:.5in'><span style='font-family:Arial'><span
style='mso-tab-count:2'>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </span><span class=GramE>kerchief</span>
divides the steel.<o:p></o:p></span></p>

<p class=MsoNormal><o:p>&nbsp;</o:p></p>

<p class=MsoNormal><span style='font-family:Arial'>This passage, the first two
out of eight pages, opens Robert Kelly&#8217;s <i style='mso-bidi-font-style:normal'>Songs
I-XXX </i>(Pym-Randall Press, 1968). Typing these lines again after all these
years &#8211; one of the real benefits of doing this blog* &#8211; I feel as riveted by
them as when I first confronted this work over thirty years ago. There is in
these lines of verse something I feel is almost entirely missing from most of
today&#8217;s poetry &#8211; the measure of the line heard &amp; understood as a mode of
music. <i style='mso-bidi-font-style:normal'>Melopoiea</i> as Pound once called
it. This use of sound is something that poets once took for granted as an
option &#8211; there are moments in <i style='mso-bidi-font-style:normal'>The Cantos </i>when
it is all that exists beyond the crackpot economics &amp; dubious readings of
American presidential history. Yet, somehow, after Robert Duncan, a master at
this mode, you find Robert Kelly, with his exquisite conception of measure, and
Kenneth Irby, with an ultimate ear for vowels, then silence. Or not silence,
exactly, but rather a shift in the manner music. <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'>It was Olson of course,
along with Creeley, who heard that other possibility in Pound&#8217;s line &amp; even
more clearly in that of Williams, the intricate prosody of the spoken, the
huffing of the line as breath &#8211; very nearly a poetics of asthma in Olson&#8217;s
case, the way so many of his poems start out with a long line only to find
themselves narrowing as the words rush, repeatedly interrupted by the need to
mark line&#8217;s limit, to a literally breathless conclusion. <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'>Thus, in the 1950s and &#8216;60s,
American poetry found itself with not one, but three different tendencies with
regards to the proactive use of sound in poetry:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;
margin-left:1.0in;text-indent:-.25in;mso-list:l0 level1 lfo2;tab-stops:list 1.0in'><!--[if !supportLists]--><span
style='font-family:Wingdings;mso-fareast-font-family:Wingdings;mso-bidi-font-family:
Wingdings'><span style='mso-list:Ignore'>&#167;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]--><span style='font-family:Arial'>the complicated
rhythms of the spoken (Olson, Creeley, </span><st1:place><span
 style='font-family:Arial'>Blackburn</span></st1:place><span style='font-family:
Arial'>**), which also included a number of relatively casual practitioners,
such as Ginsberg, Whalen, Snyder &amp; O&#8217;Hara<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;
margin-left:1.0in;text-indent:-.25in;mso-list:l0 level1 lfo2;tab-stops:list 1.0in'><!--[if !supportLists]--><span
style='font-family:Wingdings;mso-fareast-font-family:Wingdings;mso-bidi-font-family:
Wingdings'><span style='mso-list:Ignore'>&#167;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]--><span style='font-family:Arial'>a poetics
predicated on measure (Duncan, Kelly, some of Irby)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:6.0pt;
margin-left:1.0in;text-indent:-.25in;mso-list:l0 level1 lfo2;tab-stops:list 1.0in'><!--[if !supportLists]--><span
style='font-family:Wingdings;mso-fareast-font-family:Wingdings;mso-bidi-font-family:
Wingdings'><span style='mso-list:Ignore'>&#167;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span><!--[endif]--><span style='font-family:Arial'>a regularized
metrics derived from the old formalism (Berryman, Lowell)<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-family:Arial'>Of course, the great
majority of poets fell into a category that could be triangulated between &#8220;a
little of this &amp; a little of that,&#8221; those who didn&#8217;t really care &amp;
those who were genuinely tone-deaf to their own writing. <o:p></o:p></span></p>

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

<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span
style='font-family:Arial'>Songs I-XXX</span></i><span style='font-family:Arial'>
was the third book published by Kelly in a two year period of 1967-68 that to
this day remains not just a great burst of poetic productivity &#8211; Kelly has been
the Energizer Bunny of poetic production his entire life &#8211; but also a defining
moment for a particular mode of poetics, one that was grounded in sound &amp;
turned toward alternative sacred texts as a primary concern. <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'>It&#8217;s worth noting Kelly&#8217;s
trajectory in that decade &#8211; it gives some sense of how greatly the scene was
changing, as well as how greatly it has changed in the 30-odd years since. Beginning
to publish around 1960, Kelly within five years had brought out five books with
small press publishers, been the focus of an issue of Cid <span class=SpellE>Corman&#8217;s</span>
<i style='mso-bidi-font-style:normal'>Origin,</i> and co-edited with Paris
Leary, <i style='mso-bidi-font-style:normal'>A Controversy of Poets</i>,
published as a Doubleday Anchor paperback original. While Leary&#8217;s contributions
have largely been forgotten outside of a few obvious &#8220;Big Names&#8221; such as Robert
Lowell or the fans of Gray Burr &amp; Melvin Walker La <span class=SpellE>Follette</span>,
Kelly&#8217;s contributors expanded the roster of the Allen anthology, bringing Louis
Zukofsky, Jackson Mac Low, Jerry Rothenberg, <span class=SpellE>Gerrit</span>
Lansing &amp; Ted Enslin to a considerably broader audience than they&#8217;d
previously experienced.*** &amp; by virtue of coming five years later than the
Allen, several of Kelly&#8217;s selections, such as of &#8220;Billy the Kid&#8221; for Jack
Spicer and the complete &#8220;<span class=SpellE>Biotherm</span>&#8221; by Frank O&#8217;Hara &#8211;
literally in 5&#189; point type &#8211; were notably stronger than those included in the
Allen. <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 the three books that
appeared more or less immediately on the heels of <i style='mso-bidi-font-style:
normal'>Controversy, Axon Dendron Tree </i>(Salitter Press, 1967), <i
style='mso-bidi-font-style:normal'>Finding the Measure </i>(Black Sparrow,
1968) &amp; <i style='mso-bidi-font-style:normal'>Songs I-XXX </i>(Pym-Randall,
1968) effectively served to solidify Kelly&#8217;s position as a major American poet,
one of the first, along with Ted Berrigan to achieve this level of recognition
within the post-avant tradition who had not been a part of the Allen anthology.<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'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>* There is
nothing that compares to having the words of a poem you are thinking about
emerge from your own fingertips atop a keyboard, no matter than Robert Kelly may
have originally drafted these in pen or that, in the late 1960s, he was almost
certainly working with a manual typewriter, not a PC. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>** Whose
sense of the uses of transcription to spatially approximate aspects of speech
is perhaps the most detailed of <span class=GramE>all.</span><o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>*** I&#8217;ve
noted before that when Richard Moore&#8217;s USA Poetry PBS television series first
introduced me to the work of Zukofsky in 1966, the only volume that held any of
his poetry at Cody&#8217;s in </span><st1:City><st1:place><span style='font-size:
  10.0pt;font-family:Arial'>Berkeley</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'>, then as now the largest bookstore
in that town, was <i style='mso-bidi-font-style:normal'>A Controversy of Poets.<o:p></o:p></i></span></p>
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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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