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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>Sophie Hannah</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>Sophie Hannah</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Monday, January 20, 2003</span></h2>

          <div class="date-posts">
        
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<div class='post-body entry-content' id='post-body-87721046' itemprop='description articleBody'>
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<span style="font-family: Arial;">My copy of </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;">&#8217;s <i style="mso-bidi-font-style: normal;">Collected</i>
came straight from Carcanet, which tucked in a bookmark that was, as these
things often enough are these days, an advertisement for another poet, one <a href="http://www.contemporarywriters.com/authors/?p=auth187&amp;state=index=h">Sophie
Hannah</a>. It includes, on one side, a head shot of the poet and a poem
printed in red type, whose title (presented rather as though it were a
footnote) is &#8220;Occupational Hazard&#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;">He has slept with accountants and brokers,<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;">With a cowgirl (well, someone from
<span class="SpellE">Healds</span>).</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with non-smokers and smokers<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;">In commercial and cultural fields.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with book-sellers, book-binders,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">Slept with auditors, florists, Pas,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">Child psychologists, even child minders,<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;">With directors of firms and of
plays.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with the stupid and clever.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with the rich and the poor<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">But he sadly admits that he&#8217;s never<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;">Slept with a poet before.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">Real poets are rare, he confesses,<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;">While it&#8217;s easier to find a
cashier.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">So I give him some poets&#8217; addresses<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">And consider a change of career.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Positioned directly below
the photograph, head tilted slightly, hair frizzed &amp; over-sized round
glasses, the poem is virtually an invitation (if not an incitement) to imagine
what it would be like sleeping with Sophie Hannah, all sort of a curious soft
porn approach to promoting the lightest of light verse. The photo apparently is
the official Sophie Hannah PR shot. A cropped version of it appears on her page
at the Contemporary Writers site linked at the top of this blog and the full
version can be found on <a href="http://www.gregoryandcompany.co.uk/pages/authors/index.asp?AuthorID=20">Hannah&#8217;s
page</a> at her agent&#8217;s site. Yep, this poet has an agent, as well as a long
list of books for somebody born in 1971, including fiction &amp; children&#8217;s
literature as well as light verse. The flip side of the Carcanet bookmark
contains quotes about her work, positioned next to thumbnail versions of the
covers of three of her collections of verse. One, credited to the <i style="mso-bidi-font-style: normal;">Poetry Review,</i> declares &#8220;Shall I put it
in capitals? SOPHIE HANNAH IS A GENIUS.&#8221; Another, credited only to the <i style="mso-bidi-font-style: normal;">Independent</i>, says simply, &#8220;The brightest
young star in British Poetry&#8221; (caps in the original).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Sleeping with Sophie Hannah
is apparently a theme. Googling around the web, I quickly found <a href="http://www.duffyandsnellgrove.com.au/extracts/Slenderex.htm">a site</a>
for one of her books that prints two poems, one of which announces <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; text-indent: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I,
therefore, will expect<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;">Full
details of our sex life in the Sun.</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><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 will not sue you nor will I
object<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;">In any way &#8211; I&#8217;ll treat it as
good fun.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Like &#8220;Occupational Hazard,&#8221;
these works are rather long walks off short piers &#8211; a lot of verbiage &amp;
metrical padding given over to what are really one-line jokes. If these are
signs of the &#8220;brightest young star in British Poetry,&#8221; then <i style="mso-bidi-font-style: normal;">Benny Hill </i>is <i style="mso-bidi-font-style: normal;">Potemkin. </i>If you want to take &#8220;Occupational Hazards&#8221; seriously as
poetry, then you have to start asking questions like, why aren&#8217;t we told
anything about what &#8220;he&#8221; does, or what the value of such plodding form brings
to the occasion. You have to start treating decadence seriously, literally to
explore the pathology at the heart of this work. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A few days before Edward
Hirsch profiled <a href="http://www.washingtonpost.com/wp-dyn/articles/A973-2003Jan16.html">Wendy
Cope</a> in yesterday&#8217;s <i style="mso-bidi-font-style: normal;">Washington Post </i>column*,
<span class="SpellE">Nate</span> <span class="SpellE">Dorward</span> asked me about
the inroads that British new formalism is making in the United States &#8211; you are
hereby put on notice that someday soon we are likely to be seeing &amp; hearing
more from Ms. Hannah on this side of the water. The answer I think lies less in
the poetry of those small islands off the coast of </span><st1:place><span style="font-family: Arial;">Europe</span></st1:place><span style="font-family: Arial;"> than it does in a parallel phenomenon, the concept of amateurism in
sports. Amateurism, you will recall, came seriously into being in the 19<sup>th</sup>
century as a means of keeping the unwashed classes from competing with the
neo-macho boys of the elite. The poor could not devote the time needed to train
&amp; prepare without support, so the dividing line conveniently kept them out
without claiming that this was its true purpose<span class="GramE">.*</span>*
Every time I hear of some violation of the amateur rules of college basketball,
for example, I think back on what amateurism has always been all about &#8211;
setting up false boundaries to keep certain folks out.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The idea of treating a
Sophie Hannah or Glyn Maxwell or Michael <span class="SpellE">Hulse</span> as
though they were serious writers &#8211; let alone &#8220;bright young stars&#8221; &#8211; functions
in a similar fashion. Claims as outlandish as that involve a willful
forgetting. It&#8217;s a mechanism for acting as if the likes of a </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;"> (or any of a hundred other British poets) doesn&#8217;t
exist. It&#8217;s very much like the newspapers that only review poetry volumes from
the same three or four trade publishers &amp; the &#8220;prestigious awards&#8221; that do
likewise. <o:p></o:p></span></div>
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<span style="font-family: Arial;">One sees this behavior in
the </span><st1:country-region><st1:place><span style="font-family: Arial;">United
  States</span></st1:place></st1:country-region><span style="font-family: Arial;">
rather often around </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;">, although there are outposts here &amp; there wherever
bad poetry is sold. I suspect that there must be people up there who still
adhere to the root word lurking behind the concept &#8220;</span><st1:place><span style="font-family: Arial;">New England</span></st1:place><span style="font-family: Arial;">&#8221; &amp; who live in perpetual fear that the world
will someday discover that the major </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;"> poet of the 20<sup>th</sup> century was Bill
Corbett. As indeed it was, unless you want to make a case for John Wieners. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I think that the welcome the
British &#8220;new gen&#8221; poets receive &#8211; I tend to think of them instead as &#8220;funny
formalism&#8221; &#8211; has a great deal to do with how little good poetry is coming out
of its equivalent strain here in the States. So rather than look at genuinely
witty writers &#8211; Frank O&#8217;Hara, Anselm Hollo or whomever &#8211; these &#8220;amateurs&#8221; of
Official Verse Culture import second rate material whose only true value is that
it extends a British tradition its advocates would like to endorse &amp;
encourage. Only they have to pretend that it&#8217;s not moribund in order to make
their case. <o:p></o:p></span></div>
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<span style="font-family: Arial;">That a Sophie Hannah
bookmark should be tucked into a volume of </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;"> underscores the fact that Carcanet has been
publishing her work since her early twenties, while it has only now deemed to
incorporate Raworth&#8217;s work into its list, part of the process of legitimating
its claim to represent poetry, rather than being what the trade publishing scene
appears to be in the U.K. as well as the U.S., just another small press scene,
but with great distribution. I certainly don&#8217;t fault Raworth any more than I do
Ginsberg, Koch or Ashbery for choosing distribution, knowing as they do its
limits &amp; compromises. Indeed, one wonders if a Jimmy Schuyler would ever
have met with the public recognition he was accorded had all his books been
published, say, by Black Sparrow or Adventures in Poetry. It makes one wish
that FSG would bring out a big Corbett volume, for example, just to see what it
would be like for a trade publisher to print good poetry from </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;">. <o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* The only
poet reviewed in yesterday&#8217;s <i style="mso-bidi-font-style: normal;">New York
Times Book Review</i> was a collection of work by <a href="http://www.nytimes.com/2003/01/19/books/review/19NANDN.html">James
Merrill</a> edited by J.D. McClatchy.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Rather
the way W &#8220;promotes&#8221; diversity while attacking affirmative action &amp;
appointing racist judges, &amp; &#8220;promotes&#8221; health care reform while cutting
benefits for seniors &amp; protecting the insurance &amp; pharmaceutical
conglomerates<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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