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Showing posts with label <b>Robert Lowell</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 Lowell</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>Sunday, September 16, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><a href="http://farm9.staticflickr.com/8453/7973062066_4f910f9425_o.jpg"><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-no-proof:yes; text-decoration:none;text-underline:none'><img border="0" height="367" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/9wfT58QrdJE3II2YI3ahfRVkzZ8qBPsEXLj6n_O6CjODJavFVDLq_zfjDf1rpXYzgDjIcpJ86sGVKdVsev3AUwHvTc63BI1S2r71YHUa_KqzTw%3Ds0-d" width="365"></span></a><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><br> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:150%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'>Photo: Richard Avedon</span></i><i style='mso-bidi-font-style: normal'><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></i></p>  <p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><a href="http://www.english.illinois.edu/maps/poets/g_l/lowell/lowell.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Robert</span></a> </span><a href="http://www.poetryfoundation.org/bio/robert-lowell"><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Lowell</span></a><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><br> </span><a href="https://diva.sfsu.edu/bundles/191213/49826/contents/59160"><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:red'>reading</span></a><span style='font-size:12.0pt;line-height:150%; font-family:"Arial","sans-serif"'><br> at the <span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="https://diva.sfsu.edu/collections/poetrycenter/bundles/191213"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Poetry Center</span></a><span class=GramE>,</span></span><br> San Francisco State University<br> March 27, 1957<o:p></o:p></span></p>  
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2012/09/blog-post_16.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2012-09-16T00:01:00-04:00'>Sunday, September 16, 2012</abbr></a>
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<h2 class='date-header'><span>Monday, May 07, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Correspondence performed<span class=GramE>:</span><br> <a href="http://www.english.illinois.edu/maps/poets/a_f/bishop/bishop.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Elizabeth</span></a> <a href="http://www.poetryfoundation.org/bio/elizabeth-bishop"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Bishop</span></a> &amp; <a href="http://www.english.illinois.edu/maps/poets/g_l/lowell/lowell.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Robert</span></a> <a href="http://www.poetryfoundation.org/bio/robert-lowell"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Lowell</span></a>,<br> @ the <a href="http://www.92y.org/VPC"><span style='color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>92<sup>nd</sup> Street Y</span></a><br> May 24 2010<o:p></o:p></span></p>
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<h2 class='date-header'><span>Sunday, October 13, 2002</span></h2>

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<span style="font-family: Arial;">I&#8217;ve made caustic comments
here about a few poets whom I&#8217;ve associated with the tradition I&#8217;ve
characterized (to borrow from Edgar </span><st1:personname><span style="font-family: Arial;">Allan</span></st1:personname><span style="font-family: Arial;"> Poe) as the school of quietude, that tendency within American letters
that envisions poetry in the United States as continuous with (&amp; mostly
derivative from) verse in the British Isles, and especially from the most
conservative elements there. So the question naturally arises: are there
conservative poets whose work I genuinely like? <o:p></o:p></span></div>
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<span style="font-family: Arial;">The answer is yes. I think
Hart Crane&#8217;s <i style="mso-bidi-font-style: normal;">The Bridge </i>a master work
of American poetry. There are aspects of Wallace <span class="GramE">Stevens</span>
work that I like, even though he suffers from being so overrated by his
advocates. Ditto the early Eliot, though the canonization process is not nearly
what it was when I was in college, mercifully. I&#8217;ve been reading Jack Gilbert
and Robert Hass with interest &amp; even passion for over 30 years*, have
always thought Berryman&#8217;s <i style="mso-bidi-font-style: normal;">Dream Songs</i>,
<span class="SpellE">Plath&#8217;s</span> <i style="mso-bidi-font-style: normal;">Ariel, </i>John
Logan&#8217;s <i style="mso-bidi-font-style: normal;">Zigzag Walk</i> and even <span class="SpellE">Merwin&#8217;s</span> <i style="mso-bidi-font-style: normal;">The Lice</i>
admirable. There are elements in Robert Lowell&#8217;s best writing that suggest that
he had the potential to have been another Frank O&#8217;Hara had he not been so
horrifically dysfunctional, aesthetically as well as emotionally. Alan Dugan is
a guilty pleasure. And Wendell Berry is a <span class="GramE">poet</span> for
whom the term conservative should be understood literally, in the very best
sense. The values he espouses in his poetry &amp; life seem to me to fit
together seamlessly. So when I come down harshly on a poet such as Richard
Wakefield, it&#8217;s because he writes so ineffectively: his sense of metrics could
only be characterized as plodding and bungled. <o:p></o:p></span></div>
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<span style="font-family: Arial;">On my desk is a manuscript
for a book entitled <i style="mso-bidi-font-style: normal;">Calendars</i> by
Annie Finch that Tupelo Press will be printing sometime soon. It&#8217;s a marvelous
manuscript by a poet who could easily be taken for one of the New Formalists,
in the Timothy Steele vein, but who is also, I would argue, a formalist in the
tradition, say, of Bernadette Mayer &amp; Lee Ann Brown. Which is to say: <i style="mso-bidi-font-style: normal;">she gets it</i>. Her commitment is to the
language, even as the strategies she deploys are most often taken from oldest
playbook there is. At times, as in the poem &#8220;Moon,&#8221; her work reminds me of <span class="SpellE">H.D.&#8217;s</span> sense of timing, so very deliberate &amp; ordered:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Then
are you the dense everywhere that moves<span class="GramE">,</span><br />
the dark matter they haven&#8217;t yet walked through?<br />
<br />
(No, I&#8217;m not, I&#8217;m just the shining sun<span class="GramE">,</span><br />
sometimes covered up by the darkness.)<br />
<br />
But in your beauty &#8211; yes, I know you see &#8211;<br />
There is no covering, no constant light.<br style="mso-special-character: line-break;" />
&lt;![if !supportLineBreakNewLine]&gt;<br style="mso-special-character: line-break;" />
&lt;![endif]&gt;<o:p></o:p></span></div>
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<span style="font-family: Arial;">That supplemental <i style="mso-bidi-font-style: normal;">yes</i> in the last couplet, the fact that
the final syllable in each line articulates a phonemic openness, except for the
last, even the use of the capital letter at the start of the final line (but
not in the final line of the other stanzas), all demonstrate a control over the
materials at hand that is extraordinary. That <i style="mso-bidi-font-style: normal;">yes </i>functions as though it were a sigh, modulating &amp; <span class="GramE">redirecting<span style="mso-spacerun: yes;">&nbsp; </span>the</span>
timing of the work away from dialog &amp; toward conclusion. It&#8217;s a device that
I&#8217;ve often been suspicious of &#8211; Josephine Miles, another traditionalist whose
work I take seriously, too often incorporated such asides just <span class="GramE">to</span> even out meter or complete an end-rhyme. Finch uses it
here to halt the flow of the text, to gather the language up into an expression
of breath. It is no accident that every word in that aside uses exactly one
syllable** or that there are no hard consonants there &#8211; the only moment in this
six-line text where either of these conditions applies. I love it when someone
can demonstrate such mastery in such a compact terrain.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I want to quote one other
short poem here, my favorite, because of the way in which it blends an
over-the-top sense of language&#8217;s lushness with a tone so soft it all but
whispers. It&#8217;s called &#8220;Butterfly Lullaby.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">My
wild indigo dusky wing<br />
my mottled, broad-wing skipper<span class="GramE">,</span><br />
a sleepy, dreamy dusty wing,<br />
flying through my night.<br />
<br />
My northern, southern, cloudy wing<span class="GramE">,</span><br />
my spring azure, my crescent pearl,<br />
a silver-spotted, sweet question mark,<br />
sleeping in my sky.<br />
<br />
A tiger swallowtail, harvester<span class="GramE">,</span><br />
moving through my hours,<br />
an eyed brown in the redwing dark,<br />
wrapped softly in my words.<o:p></o:p></span></div>
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<span style="font-family: Arial;">We haven&#8217;t had a poet so
capable of combining control &amp; excess since the young Robert Duncan.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* I have a
theory that Jack&#8217;s animated &amp; public distaste for langpo has to do with the
fact that he <span class="GramE">himself,</span> were he younger, would have been
one. This is, after all, the man who once wrote (quoting from memory here):
&#8220;Helot for what time there is in the <span class="SpellE">baptist</span> hegemony
of death.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** Shades
again of H.D. and even of Lew Welch.<o:p></o:p></span></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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