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Showing posts with label <b>Stephen Vincent</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>Stephen Vincent</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>Monday, November 10, 2014</span></h2>

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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://coldfrontmag.com/tree-haptics-the-sensation-of-a-particular-history-by-stephen-vincent/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Stephen</span></a>
<a href="http://www.stephenavincent.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Vincent</span></a><br />
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</span></b><b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;"><a href="http://hwcdn.libsyn.com/p/4/2/e/42ec320b1ea6f0e5/Stephen_Vincent_11-2-14.mp3?"><span style="color: red;">reading &amp; talking</span></a></span></b><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
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on <i>Poet as Radio<br />
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<h2 class='date-header'><span>Tuesday, May 15, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Saturday afternoon, I came back from a long walk in <a href="http://www.jenkinsarboretum.org/index.shtml"><span style='color:black'>Jenkins Arboretum</span></a> &#8211; it&#8217;s azalea season here in Chester County &amp; the arboretum is one of the great azalea &amp; shade gardens &#8211; brought in &amp; opened the mail, then lay on the couch with the three new books that had come that day &amp; promptly fell asleep. When I woke, refreshed by that rare (for me) phenomenon of a mid-day nap, I thought to glance through the books &amp; opened Stephen Vincent&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.junctionpress.com/books/vincentwalkingtheory.html"><span style='color:black'>Walking Theory</span></a> </i>from Mark Weiss&#8217; <a href="http://www.junctionpress.com/"><span style='color:black'>Junction Press</span></a><i style='mso-bidi-font-style:normal'>. </i>I started reading &amp; just couldn&#8217;t stop. It&#8217;s not like <i style='mso-bidi-font-style:normal'>Walking Theory </i>is a chapbook &#8211; <span class=GramE>it&#8217;s</span> 84 pages long &#8211; and for me reading anything longer than a one-page broadside-brochure in a single sitting is quite unusual. But <i style='mso-bidi-font-style:normal'>Walking Theory </i>is not a usual book. These are the poems Stephen Vincent has been preparing to write his entire life. They definitely pass the &#8220;take the top of your head off&#8221; test. I went cover to cover without even sitting up. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The walk as a unit of writing is not new to Vincent &#8211; his last book was called <i style='mso-bidi-font-style:normal'><a href="http://www.junctionpress.com/books/vincent.html"><span style='color:black'>Walking</span></a> </i>&amp; the relationship between the two volumes reminds me a little of how, when you saw David Antin&#8217;s first couple of books of talks, you sensed yourself in the presence of a supple &amp; evolving form that one could expand &amp; explore potentially for the rest of one&#8217;s life. It&#8217;s an experience-based unit of writing, not unlike &#8220;the sitting&#8221; &#8211; still the most common &amp; least acknowledged verse unit there is &#8211; and one with some history &amp; orientation. One could trace it, especially through, say, Phil Whalen or the circumambulations of Gary Snyder, back to the travel writing of </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Japan</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; a broader Zen aesthetic. But in Vincent&#8217;s hands, the mode is not that distant, either, from Nathan <span class=SpellE>Whiting&#8217;s</span> running poems, Ted Berrigan&#8217;s <i style='mso-bidi-font-style:normal'>Train Ride</i> or even the life-based conceptual poetry of a Kenny Goldsmith. And tho I sense Phil Whalen as sort of the &#8220;secret uncle&#8221; of these texts, Vincent occupies something of a middle ground, with a form that on the surface is not that different from any linked poetry, at least until you read it.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Walking Theory </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is a book of elegies, so that the walk itself is not just a mode of urban (and in some instances coastal) exploration &amp; a good form of exercise for someone getting comfortable with the second half-century of his existence, it&#8217;s literally about walking off grief, directly, indirectly, every which way. Grief is as essential to this process of walking as breathing is to meditation. But one could say just as easily that walking is as essential to grief, etc. You can&#8217;t separate them out, the chicken from the egg of emotion. This book is pure emotion:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Grieve in the morning.<br>
Grieve in the afternoon.<br>
Grieve. Grieve.<br>
<br>
Your mother. Your father.<br>
You friend. Your lover. The brother,<br>
sister, son and daughter.<br>
<br>
Unto the fourth day, unto the fifth,<br>
upon the waters. Upon the night. Upon the day.<br>
Grieve.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Or, also from &#8220;Elegy in Red&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Go away little<br>
death Angel.<br>
Get off my back door.<br>
Isn&#8217;t your father lonely?<br>
<span class=GramE>Your mother home alone?</span><br>
Go away, go away<br>
little death Angel.<br>
Break bread with the ancestors<span class=GramE>,</span><br>
with the long dead.<br>
Break bread with the moss on the oak<span class=GramE>,</span><br>
Heaven leaves her morsels<br>
on a stone</span><span style='font-size:10.0pt;font-family:Arial;color:black'>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Or, still deeper into this same poem:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>How to put the death raft out.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
<span class=GramE>How to put my brother&#8217;s body on the raft.</span><br>
<span class=GramE>How to sing the song, a farewell song.</span><br>
<span class=GramE>How to garland the raft with flowers.</span><br>
<span class=GramE>How to pick the man or woman to guide the tiller.</span><br>
<span class=GramE>How to watch the raft float by.</span><br>
How to know the stream flows dark and deep.<br>
How to know he will not come back.<br>
<span class=GramE>How to know when to sing.</span><br>
When to witness the trail<span class=GramE>,</span><br>
the tracks and wheels,<br>
the grooves in the earth<br>
that brought him to<br>
this river&#8217;s bank.<br>
<span class=GramE>How to know when to weep.</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>It&#8217;s a misrepresentation, really, of <i style='mso-bidi-font-style:normal'>Walking Theory, </i>for me to quote only these works with so much parallelism. There is a ton of play <span class=GramE>here,</span> and a shining wit &#8211; this actually isn&#8217;t a &#8220;heavy&#8221; or gloomy book in the slightest, once you acknowledge that grief also is a part of life. Vincent has a good sense of the line &#8211; I think that&#8217;s self-evident above &#8211; and a good ear for the spoken word as well. Some of the very best passages are pure quotation, such as these two from the long title poem:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>35</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
<i style='mso-bidi-font-style:normal'>&#8221;How are your dreams, Mom?&#8221;<br>
&#8221;Oh, the other day, I wish<br>
I had written it down. It was fantastic.<br>
It was really something. I remembered it<br>
All day long. It&#8217;s too bad<br>
I didn&#8217;t write it down.&#8221;<br>
<br>
<br>
</i><b style='mso-bidi-font-weight:normal'>36</b><br>
&#8221;The sun is always sending out<br>
bursts of energy.<br>
I&#8217;ve been on one<br>
Since early this week.&#8221;<br>
<span style='mso-spacerun:yes'> &nbsp;  &nbsp;   &nbsp; &nbsp;  </span><i style='mso-bidi-font-style:normal'>Anonymous Voice, </i>KPFA Radio, June 2004<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Stephen Vincent has always been a personal poet &amp; in his early work, such as his selection in <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/ywtto9"><span style='color:black'>Five on the Western Edge</span></a>, </i>the collection Vincent edited &amp; published of Bay Area poets in the mid-seventies&#185;, I felt that to be a <span class=GramE>weakness, that</span> it led toward sentimentality. But instead of stripping the personal out of his poems, Vincent has done just the opposite: he&#8217;s embraced it to a degree that I haven&#8217;t seen outside of the early books of Allen Ginsberg. Doing so, the sentiment, that buffer between what we feel &amp; what we think we should feel, is what&#8217;s been stripped away. The result is a luminous record of a life, a family &amp; a community. <i style='mso-bidi-font-style:normal'>Walking Theory </i>is a terrific book. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; In many ways <i style='mso-bidi-font-style:normal'>Five </i>is as good a record of </span><st1:City><st1:place><span   style='font-size:8.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:8.0pt;font-family:Arial;color:black'> poetry as it existed outside of the language poets in the 1970s as anyone put together. The five (the others were Hilton <span class=SpellE>Obenzinger</span>, Beau <span class=SpellE>Beausoleil</span>, Larry <span class=SpellE>Felson</span> &amp;Steve Brooks) aren&#8217;t </span><st1:place><st1:PlaceType><span style='font-size:8.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType><span  style='font-size:8.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:8.0pt;font-family:Arial;color:black'>Quietude</span></st1:PlaceName></st1:place><span style='font-size:8.0pt;font-family:Arial;color:black'> poets in the slightest, but it&#8217;s worth noting that they&#8217;re all male &amp; all white. It&#8217;s not that other worlds didn&#8217;t exist, but the scenes in those days didn&#8217;t much mesh. Vincent, an early supporter of a writer like <span class=SpellE>Ntosake</span> <span class=SpellE>Shange</span>, certainly understood the problematics of this at the time. <o:p></o:p></span></p>
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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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