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Showing posts with label <b>Ted Berrigan</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>Ted Berrigan</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>Thursday, January 22, 2015</span></h2>

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<br /><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; 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://www.poetryfoundation.org/bio/ted-berrigan"><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;">Ted</span></a>
<a href="http://en.wikipedia.org/wiki/Ted_Berrigan"><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;">Berrigan</span></a><br />
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</span><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://media.sas.upenn.edu/pennsound/authors/Berrigan/Berrigan-Ted_Buffalo_5-6-68.mp3"><span style="color: red;">reading</span></a></span><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br />
<br />
</span></b><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">in Buffalo, 1968<br />
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2015/01/blog-post_22.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2015-01-22T00:00:00-05:00'>Thursday, January 22, 2015</abbr></a>
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<h2 class='date-header'><span>Friday, October 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: 200%; 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://en.wikipedia.org/wiki/Anne_Waldman"><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;">Anne</span></a>
<a href="http://www.annewaldman.org/"><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;">Waldman</span></a> &amp; <a href="http://en.wikipedia.org/wiki/Ted_Berrigan"><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;">Ted</span></a> <a href="http://epc.buffalo.edu/authors/berrigan/"><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;">Berrigan</span></a><o:p></o:p></span></b></div>
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reading <o:p></o:p></span></b></div>
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<b><i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; 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://jacket2.org/commentary/recovering-memorial-day"><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;">Memorial
Day</span></a></span></i></b><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; 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 />
</span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; 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 />
1973<o:p></o:p></span></div>
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<h2 class='date-header'><span>Friday, May 09, 2014</span></h2>

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<span style="color: red;"><a href="http://media.sas.upenn.edu/pennsound/authors/Berrigan/Berrigan-Ted_Bard-College-12-15-1982.mp3"><span style="color: red;">reading @ Bard</span></a></span></span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; mso-themecolor: text1; mso-themetint: 242;"></span></div>
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<span style="font-size: small;">1982</span></span></div>
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<h2 class='date-header'><span>Thursday, August 09, 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"'><a href="http://doddcenter.uconn.edu/asc/findaids/Berrigan/MSS19970020.html"><span style='color:windowtext'>Ted</span></a> <a href="http://en.wikipedia.org/wiki/Ted_Berrigan"><span style='color:windowtext'>Berrigan</span></a> &amp; <a href="http://www.cyberpoems.com/abtharrisschiff.htm"><span style='color:windowtext'>Harris</span></a> <a href="http://www.bigbridge.org/BB14/poetry-harrisschiffthingstoknow.html"><span style='color:windowtext'>Schiff</span></a><br> on <a href="http://writing.upenn.edu/pennsound/x/PAP.php"><span style='color:windowtext'>Public Access Poetry</span></a><br> August 4, 1977<o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, August 08, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><a href="http://img.artknowledgenews.com/files2009b/Alex_Katz_Ted_Berrigan.jpg"><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline:none'><img border="0" height="312" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/Tord82UnMSAsc-NiCGxOXbiywXWXR8cuHsXmyTS3u3Huw6cy4Rqc3P_0vedg12YezIgZ1Yz84_5TbKJn1iArhNWBdFDmA5JS1817_Fhu1wUo8bsnoiOkbOs%3Ds0-d" width="441"></span></a><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"'><o:p></o:p></span></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"'>&#8220;<a href="http://media.sas.upenn.edu/pennsound/authors/Berrigan/Tree/Berrigan-Ted_In-the-American_1978.mp3"><span style='color:windowtext'>I&#8217;m strictly a formalist</span></a>&#8221; &#8211;<br> <a href="http://www.poetryfoundation.org/bio/ted-berrigan"><span style='color:windowtext'>Ted</span></a> <a href="http://epc.buffalo.edu/authors/berrigan/"><span style='color:windowtext'>Berrigan</span></a><br> <a href="http://media.sas.upenn.edu/pennsound/authors/Berrigan/Tree/Berrigan-Ted_In-the-American_1978.mp3"><span style='color:windowtext'>reading &amp; talking</span></a><br> with <a href="http://jacket2.org/interviews/any-possible-way-making-words"><span style='color:windowtext'>Kit Robinson &amp; Lyn Hejinian</span></a><br> August 11, 1978<o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, December 29, 2010</span></h2>

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<h2 class='date-header'><span>Friday, May 25, 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'>In my note on <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2007/05/there-was-time-when-serious-novelist.html"><span style='color:black'>Paul Auster&#8217;s poetry</span></a> the other day, I  wrote:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Auster&#8217;s work looks on its surface a little like New York School verse, especially of the uptown Columbia variant that looked more to Ron Padgett &amp; John Ashbery than, say, to Ted Berrigan (who, so far as I&#8217;m aware, never published any translations&#185;).<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 footnote admitted that &#8220;This virtually is an invitation to be corrected, and I&#8217;d love to be.&#8221; Several people wrote in, either via the comments stream or via email, including (among others) Jordan Davis, Tinker Greene, Ron Horning &amp; Anselm Berrigan, pointing to a variety of instances of translation in Ted Berrigan&#8217;s work. What follows is a synthesis of these comments. <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'>There is a translation of Rimbaud&#8217;s <i style='mso-bidi-font-style:normal'>Le Bateau ivre </i>published by Adventures in Poetry with illustrations by Joe Brainard under the title <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/2vdf6v"><span style='color:black'>The Drunken Boat</span></a> </i>that is also the basis for many lines throughout <i style='mso-bidi-font-style:normal'>The Sonnets, </i>especially the first I-VI and LXXIV. There are at least eight copies of this side-stapled mimeo volume currently available in used or rare book shops in the U.S., the very least expensive of which is $110. <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'>Life of a Man </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is collected in the <i style='mso-bidi-font-style:normal'>In the Early Morning Rain </i>section of the <i style='mso-bidi-font-style:normal'>Collected Poems </i>tho it first appeared in <i style='mso-bidi-font-style:normal'>Bean Spasms. </i>The notes to the <i style='mso-bidi-font-style:normal'>Collected </i>characterize this sequence as &#8220;transliterated from Giuseppe Ungaretti&#8217;s <i style='mso-bidi-font-style:normal'>Vita di un uomo.</i>&#8221; The version in the <i style='mso-bidi-font-style:normal'>Collected </i>contains two poems not in <i style='mso-bidi-font-style:normal'>Bean Spasms </i>while dropping two others. In <i style='mso-bidi-font-style:normal'>Nothing for You </i>is a translation from Rilke called &#8220;Autumn&#8217;s Day.&#8221; Tinker Greene typed the whole thing into the Auster note comments stream.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt;tab-stops:108.75pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In <i style='mso-bidi-font-style:normal'>Easter Monday </i>is a translation from Leopardi done as a collaboration with George Schneeman &amp; Gordon Brotherston. There is another collaborative translation with Brotherston in the <i style='mso-bidi-font-style:normal'>Collected, </i>in a section right near the end entitled <i style='mso-bidi-font-style:normal'>A Certain Slant of Sunlight Out-Takes </i>is &#8220;Der Asra,&#8221; a working of Heinrich Heine&#8217;s poem of the same name. A chapbook of eight collaborative translations Berrigan &amp; Brotherston did together is apparently in the works, under the title <i style='mso-bidi-font-style:normal'>Water Under the House. </i>In addition to these two poems I am told that there is a work by Neruda in that collection. <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'>Compared with, say, Ron Padgett or Anselm Hollo, this is not a vast quantity and in some ways this is surprising. Translations invariably are a mode of forced collaboration, not just for the translated poet but for the translator as well. And Berrigan was easily the most collaborative poet of his generation &#8211; indeed many of our accepted ideas about what collaboration is can be traced directly back to Berrigan&#8217;s practice and the huge influence it has had over the last four decades. What we can say about the translations here is that they&#8217;re of poets who were already canonic before Berrigan got to them &amp; that he&#8217;s very much following the Poundian model of using the process to access different modes of being. This is nowhere more true than in <i style='mso-bidi-font-style:normal'>Life of a Man, </i>in which the ex-GI Berrigan writes through the Italian poet of World War I. Further, as a Jew born in Alexandria, Egypt &amp; raised partly in Paris, Ungaretti&#8217;s own relationship to his family&#8217;s ancestral home of Lucca is at least as complicated as that of the relatively unlettered Berrigan thrown in with all the Ivy-League graduates-turned-art-critics who populated the New York School.<span style='mso-spacerun:yes'>  </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'>Perhaps Adventures in Poetry should reissue <i style='mso-bidi-font-style:normal'>The Drunken Boat. </i>I&#8217;ve heard two people in the past week claim it to be second only to <i style='mso-bidi-font-style:normal'>The Sonnets </i>among Berrigan&#8217;s achievement &amp; tho I&#8217;m a &#8220;late poem&#8221; guy myself, I take that as a serious claim. The other obvious book that should come out &#8211; I would be surprised to discover that nobody&#8217;s working on this &#8211; is a Collected Collaborations. Now <i style='mso-bidi-font-style:normal'>that </i>will be a volume to conjure by. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, December 18, 2006</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><img height="335" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/zqVVSVoZ-DGZ1_nLJDYIQxwOvCtgoVIgcuPJsg3qtaASJvfL6CotEWPP6KU4a0ryHOe1KGWYE01Tgj39M7BBb8_or2BYCUPkQw%3Ds0-d" width="335"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I&#8217;ve been reading <i style='mso-bidi-font-style:normal'>The Sonnets </i>by Ted Berrigan for what must be the sixth or seventh time. Not only does reading this series every few years never get old, my experience is that, for me at least, it has never been the same book twice. Reading it now in the sumptuous UC Press edition of Berrigan&#8217;s <i style='mso-bidi-font-style:normal'>Collected Poems, </i>I am struck with the air &amp; light &amp; infinite good humor that is at the heart of these poems. I&#8217;m particularly taken with the first two qualities, reinforced as they are by the large fields of white space the 6-by-8 UC format extends to the text. I agree with Alice Notley&#8217;s assertion in her introduction to the <i style='mso-bidi-font-style:normal'>Collected </i>that &#8220;<i style='mso-bidi-font-style:normal'>The Sonnets</i>, in fact, could reflect no other setting than&#8221; </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Manhattan</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>, although &#8220;air &amp; light&#8221; are not qualities I associate with that densely populated island. They&#8217;re functions here more of Berrigan&#8217;s own personality, which can grin very wide &amp; be fairly barbed all at once:<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'>L</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><br>
<br>
I like to beat people up<br>
absence of passion, principles, love. She murmurs<br>
What just popped into my eye was a fiend&#8217;s umbrella<br>
and if you should come and pinch me now<br>
as I go out for coffee<br>
&#8230; as I was saying winter of 18 lumps<br>
Days produce life locations to banish 7 up<br>
Nomads, my babies, where are you? Life&#8217;s<br>
My dream which is gunfire in my poem<br>
Orange cavities of dreams stir inside &#8220;The Poems&#8221;<br>
Whatever is going to happen is already happening<br>
Some people prefer &#8220;the interior monologue&#8221;<br>
I like to beat people up<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>Ellipsis in the original, as they say.</span></span><span style='font-size:10.0pt;font-family:Arial'> If there was a better sonnet in the 20<sup>th</sup> century, more complex &amp; subtle, <span class=GramE>more full</span> of human emotion or life, more well crafted, it&#8217;s somewhere else in this same sequence, but it&#8217;s of course always open to debate. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>There are 79 poems gathered into this particular edition of <i style='mso-bidi-font-style:normal'>The Sonnets, </i>a few from as early as 1961, the bulk from 1963. That&#8217;s 13 more than appeared in the first two editions, but still nine less than Berrigan actually wrote. Given that he used cut-up or splicing techniques, some of them in such a way that you can&#8217;t miss the device &#8211; the same lines pop up over and over &#8211; and that some of the source material was his own very first &#8220;not-so-good&#8221; (to use Notley&#8217;s own judgment here) poems, I&#8217;ve wondered &#8211; during maybe three of my read-<span class=SpellE>throughs</span> &#8211; if a devoted scholar could reconstruct the &#8220;uncut&#8221; poems, the translations from Rimbaud, the miscellaneous additions that, in fact, make these so much more than verbal collages. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The very first work in <i style='mso-bidi-font-style:normal'>The Collected Poems, The Sonnets </i>is in some ways the most radical poetry Berrigan would ever write. Notley calls it, rightly, &#8220;Ted&#8217;s most famous book.&#8221; It is probably the work through which more poets have learned the core strategies of abstraction in language &#8211; it doesn&#8217;t have to be &#8220;non-referential;&#8221; a line, a phrase can go in one direction, the next one along an altogether different path; the whole itself will pull together disparate elements to construct &#8220;a voice,&#8221; etc. &#8211; than any other single text. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>There was, in the late 1960s &amp; throughout much of the 1970s, some dispute among younger poets as to who might have been the actual source for such procedures in poetry. The core of <i style='mso-bidi-font-style:normal'>The Sonnets </i>was constructed in 1963, one year after John Ashbery published &#8220;Europe,&#8221; the work of his that most clearly &#8220;predicts&#8221; the poetry of Berrigan (and not just <i style='mso-bidi-font-style:normal'>The Sonnets</i>), one year earlier in <i style='mso-bidi-font-style:normal'>The Tennis Court Oath. </i>William Burroughs, in his 1965 <i style='mso-bidi-font-style:normal'><a href="http://www.parisreview.org/viewinterview.php/prmMID/4424"><span style='color:windowtext'>Paris Review </span><span style='color:windowtext;font-style:normal'>interview</span></a></i> with Conrad <span class=SpellE>Knickerbocker</span> (which I&#8217;ve also been rereading this week), assigns credit to <a href="http://en.wikipedia.org/wiki/Brion_Gysin"><span style='color:windowtext'>Brion Gysin</span></a>, but does so in a way that is carefully hedged:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>A friend, Brion Gysin, an American poet and painter, who has lived in </span><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Europe</span></st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> for thirty years, was, as far as I know, the first to create cut-ups. His cut-up poem, &#8220;Minutes to Go,&#8221; was broadcast by the BBC and later published in a pamphlet. I was in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Paris</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> in the summer of 1960; this was after the publication there of <i style='mso-bidi-font-style:normal'>Naked Lunch. </i>I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it, <i style='mso-bidi-font-style:normal'>The Waste Land </i>was the first great cut-up collage, and Tristan Tzara had done a bit along the same lines. Dos <span class=SpellE>Passos</span> used the same idea in &#8220;The Camera Eye&#8221; sequences in </span><st1:country-region><st1:place><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>U.S.A.</span></i></st1:place></st1:country-region><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>I felt I had been working toward the same goal; thus it was a major revelation to me when I actually saw it being done. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The argument thus goes: Gysin did it first, tho maybe there were others, and in any event there are antecedents dating back to the high modernists, so does it really matter? What counts is that Gysin blew <i style='mso-bidi-font-style:normal'>my </i>mind. Burroughs makes a similar claim at the start of his essay, &#8220;<a href="http://www.ubu.com/papers/burroughs_gysin.html"><span style='color:windowtext'>The Cut-Up Method of Brion Gysin</span></a>:&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana'>At a surrealist rally in the 1920s Tristan Tzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued wrecked the theater. Andr</span><span style='font-size:10.0pt;font-family:Verdana;mso-fareast-font-family:"Arial Unicode MS";mso-bidi-font-family:"Arial Unicode MS"'>é</span><span style='font-size:10.0pt;font-family:Verdana'> Breton expelled Tristan Tzara from the movement and grounded the cut-ups on the Freudian couch. <br>
<br>
In the summer of 1959 Brion Gysin painter and writer cut newspaper articles into sections and rearranged the sections at random. Minutes to Go resulted from this initial cut-up experiment. <span class=GramE>Minutes to Go contains</span> unedited unchanged cut ups emerging as quite coherent and meaningful prose. The cut-up method brings to writers the collage, which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passers by and juxtaposition cut-ups. And photographers will tell you that often their best shots are accidents . . . writers will tell you the same. The best writing seems to be done almost by accident but writers until the cut-up method was made <span class=GramE>explicit<span style='mso-bidi-font-family:"Arial Unicode MS"'> </span><span style='mso-spacerun:yes'>&#160;</span>(</span>all writing is in fact cut ups. I will return to this point</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:"Arial Unicode MS"'>) </span><span style='font-size:10.0pt;font-family:Verdana'>had no way to produce the accident of spontaneity. You can not will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The <a href="http://en.wikipedia.org/wiki/Cut-up_technique"><span style='color:windowtext'>Wikipedia article</span></a> on cut-up techniques largely replicates the <span class=SpellE>Burroughsian</span> view. The &#8220;as far as I know&#8221; qualification of the interview, however, suggests that, even by 1965, Burroughs had begun to hear of the cut-ups and chance techniques of others, such as the work being done in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial'>Britain</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial'> by Bob Cobbing. Robert Sheppard, in &#8220;<a href="http://tinyurl.com/y7tdjv"><span style='color:windowtext'>Bob Cobbing and Concrete Poetry</span></a>,&#8221; invokes Burroughs in a somewhat deprecating manner:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Arial'>Cut up, an analogous technique used, more occasionally than supposed, by William
Burroughs, himself British-based for a while in the 1960s, was <span class=SpellE>practised</span> by Cobbing as far back as the 1950s. The procedural and <span class=SpellE>permutational</span> works of the Oulipo movement, founded in 1960, and still active, suggests another relationship, one seen in Cobbing&#8217;s sideswipe at the inane figurative play of much contemporary British poetry when he generates lines such as &#8216;rock &#8217;n roll makes me feel like roly-poly / a little lechery makes me feel like spotted dick&#8217; from Liz <span class=SpellE>Lochhead&#8217;s</span> &#8216;a good fuck makes me feel like  custard&#8217;.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Jackson Mac Low, forever attentive to documenting his forays into new territory, notes in <i style='mso-bidi-font-style:normal'>Representative Works: </i>1938-1985, that his initial two &#8220;biblical poems&#8221; were &#8220;the first works I composed by means of chance operations (</span><st1:date Year="1954" Day="30" Month="12"><span style='font-size:10.0pt;font-family:Arial'>30 Dec. 1954</span></st1:date><span style='font-size:10.0pt;font-family:Arial'> &#8211; </span><st1:date Year="1955" Day="1" Month="1"><span style='font-size:10.0pt;font-family:Arial'>1 Jan. 1955</span></st1:date><span style='font-size:10.0pt;font-family:Arial'>).&#8221; Mac Low&#8217;s texts differ from, say, <i style='mso-bidi-font-style:normal'>The Sonnets </i>or even Burroughs&#8217; cut-up fiction in that they might not have been recognized even as literature when they were first composed. The opening lines of &#8220;7.1.11.1.11.9.3<span class=GramE>!11.6.7</span>!4.,a biblical poem,&#8221; are:<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:9.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>In /_____/ /_____/ wherein the /_____//_____/<br>
made<br>
/_____//_____/ eat lest they /_____/ and taken /_____//_____/ the<br>
eight<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>A text that appears to predict Armand Schwerner&#8217;s later <i style='mso-bidi-font-style:normal'><a href="http://www.ume.maine.edu/~npf/cat57.html"><span style='color:windowtext'>The Tablets</span></a>. </i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Earlier even than Mac Low, however, is Kenneth Koch&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.randomhouse.com/catalog/display.pperl?isbn=9780375709999"><span style='color:windowtext'>When the Sun Tries to Go On</span></a>, </i>written originally in 1953. Like Berrigan&#8217;s <i style='mso-bidi-font-style:normal'>The Sonnets </i>a decade later, one could argue that <i style='mso-bidi-font-style:normal'>The Sun </i>is Koch&#8217;s most radical, even his best work. However, because <i style='mso-bidi-font-style:normal'>The Sun</i> didn&#8217;t come out in book form until Black Sparrow <a href="http://tinyurl.com/y2ylsf"><span style='color:windowtext'>brought it out</span></a> with a Larry Rivers cover in 1969&#185;, long after Koch&#8217;s role as the straight clown amid the gay </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>New York</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'> males had been cemented in the imagination of readers, it had relatively little impact. But how else might Koch have composed:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Bong! went the <span class=SpellE>faery</span> blotters; Ding Dong! the<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Country of Easter! shore! each <span class=GramE>toes</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>The marriage-bin, shouts of &#8220;Conch!&#8221; &#8220;Ruthie&#8221; &#8220;Lurks<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Behind the &#8216;pea&#8217; is basement&#8217;s </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Illinois</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Obtuse radio-<span class=SpellE>lithograms</span>!&#8221;</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> &#8220;Coptic!&#8221; and &#8220;Weak Beddoes<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Less-us-the- shirt!&#8221;</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> Ran behind me-Vishnu, all<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Summer.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> Closet of how it seems! O bare necks<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>In October, closest apparent &#8220;film star&#8221; of the<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Buffalo</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>. Peter of Carolina&#8217;s neatest snow-<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Pier condescension.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> O haughty chapter how<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Clear was as apparent cruelty, bonnet,<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>List, tackles the lace. Hump chariots the summer<o:p></o:p></span></p> 
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Either desires. Ether, so tall<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>As ice, sees her cuckoo hooves at desire<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Margin.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> <span class=GramE>Amour dodo cranberries.</span> There<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&#8221;Art,&#8221; &#8220;blamelessly,&#8221; cashes, D&#8217;s, weds hat&#8217;s<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>HEADS! Joyous </span><st1:time Minute="0" Hour="0"><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>midnights</span></st1:time><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>, different clams!<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Oh the word &#8220;<span class=SpellE>flotation&#8221;&#8217;s</span> <span class=SpellE>cosined</span> beaver rotation beneath<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>The &#8220;<span class=SpellE>seelvery</span>&#8221; dog-freight cars, mammoth<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Stomach-quiz-raspberries we parent<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Cuckoo Mary coast-disinterest <span class=SpellE>verst</span> of &#8220;cheese&#8221; <span class=SpellE>diversed</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Flags of the &#8220;comma stare&#8221; rewhipped<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Georgia</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'> of teaching cash registers to &#8220;hat&#8221; side<o:p></o:p></span></p> 
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>Of pale &#8220;plates,&#8221; the bitter &#8220;nurse&#8221; soothing &#8220;ha&#8221;-green &#8220;<span class=SpellE>stangs</span>&#8221; forward! <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Clearly Koch is using more than just cut-up materials &#8211; his ear forwards the play along in several places &#8211; there is even the alphabet (<i style='mso-bidi-font-style:normal'>&#8221;Art,&#8221; &#8220;blamelessly,&#8221; cashes, D&#8217;s</i>). But if Koch is being less systematic than, say, Mac Low, I think it&#8217;s impossible to imagine just writing this, say, as it came to him. That really doesn&#8217;t become possible, so far as I can tell, until sometime in the early 1970s, most probably in the work of Clark Coolidge, specifically after he dropped the idea of the long poem he&#8217;d embarked on after <i style='mso-bidi-font-style:normal'>Polaroid </i>and <i style='mso-bidi-font-style:normal'>The Maintains, </i>works that equally problematize normative syntactic integration into units of meaning, but do so using systems throughout. Look, say, at <i style='mso-bidi-font-style:normal'><a href="http://eclipsearchive.org/projects/QUARTZ/quartz.html"><span style='color:windowtext'>Quartz Hearts</span></a></i> instead. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>So either Koch is 20 years ahead of everyone, but then does nothing with this discovery, a scenario that makes no sense to me, or more likely he is just ahead of Mac Low, Cobbing, Gysin &amp; Burroughs, this same disrupting methodology getting invented repeatedly over the course of one decade. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Another way one might look at all this is in terms of proprietary anxiety, the cut-up as intellectual turf. Here it seems that you have Burroughs at one extreme &#8211; it&#8217;s not really his move, but <span class=SpellE>Gysin&#8217;s</span>, but you Burroughs promoting it from that point forward &#8211; and Mac Low clearly is interested as well, tho taking a much wider view if you look at the whole of his career (he&#8217;s a veritable engine of different ways of disrupting the ego in the process of writing), while at the other extreme you have Koch, Berrigan &amp; Ashbery, commenting very little if at all on their work in this vein, doing one major piece, then moving on to other work. Cobbing &amp; Gysin work on a third <span class=GramE>level,</span> people who didn&#8217;t go around making major formal claims, but whom others chose to single out as inventors of this exact device. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Ultimately, it&#8217;s always the same move &#8211; get away from the continuity of syntax &amp; tale &amp; suddenly the reader is plunged into the presentness of what is in front of them. It&#8217;s always present, always demanding to be negotiated, interpreted &amp; never getting easier even if you can. Individually, the works that rise out of this breakdown in the narrative chain are all quite different &#8211; Berrigan&#8217;s &#8220;I like to beat people up&#8221; isn&#8217;t a line we would associate with Ashbery &amp; it&#8217;s a lot cheerier than a number of similar statements that occur in Burroughs. But a lot more important than figuring out just who should get credit for cutting up &amp; folding in is fathoming just why <i style='mso-bidi-font-style:normal'>this move </i>at this exact moment in history. <o:p></o:p></span></p>

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

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:8.0pt;font-family:Arial'>&#185; Having appeared in a format that telescoped all 104 stanzas down to just 19 pages in Alfred Leslie&#8217;s 1960 one-shot, <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/tkv7d"><span style='color:windowtext'>Hasty Papers</span></a></i>.</span></span><span style='font-size:8.0pt;font-family:Arial'> <o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, October 28, 2002</span></h2>

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<span style="font-family: Arial;">It was summer 1985, the week
after the </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> poetry conference of that year, and I was still in </span><st1:country-region><st1:place><span style="font-family: Arial;">Canada</span></st1:place></st1:country-region><span style="font-family: Arial;">, having a conversation with </span><st1:city><st1:place><span style="font-family: Arial;">Vancouver</span></st1:place></st1:city><span style="font-family: Arial;"> poet &amp; film maker Colin Browne. Specifically, I
interrogating Browne about what the implications might be considering how few
U.S. poets appeared ever to have read the work of Louis Dudek, a writer I had
heard characterized as the &#8220;Pound&#8221; of Canadian poetry, though I think I may
have told Colin I&#8217;d found Dudek more to be the Edwin <span class="SpellE">Denby</span>
or F.T. Prince, if one were to yoke together those sorts of analogies.* Who else
was out there that I didn&#8217;t yet know about? Which poets did the Canadians worry
about? &#8220;Our monsters are your monsters,&#8221; Browne replied.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But not really, as it turns
out. For the past month </span><st1:personname><span style="font-family: Arial;">Louis
 Cabri</span></st1:personname><span style="font-family: Arial;"> and I have been
trading emails over the absence, as a Canadian influence, of the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;">. I had mentioned Louis&#8217; superb <i style="mso-bidi-font-style: normal;">The
Mood Embosser </i>in a piece I&#8217;d written on the blog about Ted Berrigan&#8217;s poem <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_22_ronsilliman_archive.html%2381947753"><span style="mso-ansi-font-size: 12.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: Arial;">&#8220;Bean Spasms,&#8221;</span></a>
given how deeply simpatico the two poets strike me as being. I had simply
presumed that Berrigan was a Yankee influence that had been internalized by
Cabri, since he and I had never discussed him during Louis&#8217; time here in
Philadelphia<span class="GramE">.*</span>* But, as it turned out, Louis hadn&#8217;t
read as much of Berrigan as I&#8217;d imagined. In a note that Cabri sent to a list
of </span><st1:city><st1:place><span style="font-family: Arial;">Calgary</span></st1:place></st1:city><span style="font-family: Arial;"> poets for a reading group he&#8217;s summoning together
there, he spells out his thinking in response at greater length:<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="color: black;">But, here are
my motivations, guiding at least this email, in case you're curious. I could
see reading some poetry from the 3+ generations of the so-called "</span><st1:place><st1:placename><span style="color: black;">New York</span></st1:placename><span style="color: black;">
 </span><st1:placetype><span style="color: black;">School</span></st1:placetype></st1:place><span style="color: black;">": John Ashbery to Ted Berrigan to Bernadette Mayer to
maybe Lee Ann Brown or others. My interest in this partly stems from an email I
sent </span><st1:personname><span style="color: black;">Ron Silliman</span></st1:personname><span style="color: black;">, who has recently posted some thoughts on his blog about
Berrigan. I wanted to give Ron my sense of how Berrigan and the </span><st1:place><st1:placename><span style="color: black;">New York</span></st1:placename><span style="color: black;">
 </span><st1:placetype><span style="color: black;">School</span></st1:placetype></st1:place><span style="color: black;"> generally <span class="GramE">has</span> been received in </span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;">: hardly at all. Why? That&#8217;s the question that would
interest me most of all. A New York School influence in Canadian poetry can be
detected in the work of some poets associated with the founding of Coach House
Press (e.g. Coleman), and CH did publish Lewis <span class="SpellE">Warsh</span>
(<i style="mso-bidi-font-style: normal;">Part of My History</i>, 1972),
co-founder of Angel Hair Books, a mainstay press of the second generation NYS.
But, the various spokespersons and their ideological filters that brought
continental theory to the Canadian poetry scenes (and to the academy) in the
80s left a poetics such as Berrigan's off the redrawn map. The story on
Berrigan the way it got told me, for instance, was that he was "off
limits." <b style="mso-bidi-font-weight: normal;">One might even say that leaving
Berrigan off "the map" was key to opening new lines of influence</b>
for the poetic word, particularly the influence of "Language Writing"
as understood in </span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;"> via </span><st1:personname><span style="color: black;">Steve
 <span class="SpellE">McCaffery</span></span></st1:personname><span class="SpellE"><span style="color: black;">'s</span></span><span style="color: black;"> famous mid 80s
essay in <i style="mso-bidi-font-style: normal;">North of Intention</i>. Clint
Burnham rehabilitated Berrigan's name as a general contemporary influence, in a
short essay Rob <span class="SpellE">Manery</span> and I published in <span class="GramE"><i style="mso-bidi-font-style: normal;">hole</i></span> 5, in the mid
90s.</span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">I&#8217;ve put that one phrase in <b style="mso-bidi-font-weight: normal;">boldface</b> because I find it so
intriguing. What it proposes, at least implicitly, is that what New American
Poetry might have looked like without the active influence of the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> is something not too dramatically unlike what Canadian poetry became. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It does seem, at least at
the distance from which I get to observe things***, that the two primary
sources of influence were, first, the migration north to Vancouver in the
mid-1960s of people around Jack Spicer and his circle &#8211; Robin Blaser, George
Stanley, Stan Persky &#8211; and then somewhat later the presence of Olson &amp;
Creeley in Buffalo, in close enough proximity to Toronto (and with some
Canadians actually trekking to the eastern shores of Lake Erie). With the </span><st1:street><st1:address><span style="font-family: Arial;">Spicer Circle</span></st1:address></st1:street><span style="font-family: Arial;"> to the west and Projectivism to the east, it does
seem harder to see where exactly either the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> or, for that matter, the Beats, might fit in.<o:p></o:p></span></div>
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<span style="font-family: Arial;">In an email, Cabri expands
on this take:<o:p></o:p></span></div>
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<span style="color: black;">The absence
of NYS is to me precisely how "</span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;">" differs from the "</span><st1:country-region><st1:place><span style="color: black;">US</span></st1:place></st1:country-region><span style="color: black;">," and by an unconscious social logic of mutual
exclusion based on divergent histories.<o:p></o:p></span></div>
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<span class="GramE"><span style="color: black;">Some for instances.</span></span><span style="color: black;">
American abstract expressionism hit French Quebec before the rest of </span><st1:country-region><st1:place><span style="color: black;">Canada</span></st1:place></st1:country-region><span style="color: black;"> (around 1948 with Emile <span class="SpellE">Borduas</span>
and the highly politicized "<span class="SpellE">Refus</span> global"
manifesto for secular independence for art and culture in </span><st1:state><st1:place><span style="color: black;">Quebec</span></st1:place></st1:state><span style="color: black;">) and 1st <span class="SpellE">gen</span> NYS was not to my
knowledge ever translated then (ever in </span><st1:state><st1:place><span style="color: black;">Quebec</span></st1:place></st1:state><span style="color: black;">? I doubt it) -- and, besides, the poetry would not
necessarily have served the self-interests of political autonomy that the <span class="SpellE">Refus</span> global artists translated out of US abstract
expressionism. </span><st1:state><st1:place><span style="color: black;">Quebec</span></st1:place></st1:state><span style="color: black;"> poets nurtured surrealism, what with its anti-religious
furor and suggestive connection to the idea of a repressed unconscious, long
after Breton visited the eastern coast.<o:p></o:p></span></div>
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<span style="color: black;">NYS is
culturally sophisticated, urbane, American, and, with the 2nd gen., decadent,
in a way that, say, Olson/projective verse never was, appealing as it did to
those who had such as <span class="SpellE">Davey</span>, <span class="SpellE">Wah</span>
et al rural working class backgrounds and a sense of the
"autochthonous." NYS was literally urban in a way that Canadian city
living could not understand in the 50s/even in the 60s and 70s (look at Ray <span class="SpellE">Souster's</span> squeaky clean city -- poetry of the individual,
of pitiless "loneliness" and observation). And Berrigan et al
flourished in the 70s when Canadian cultural nationalism and a <span class="SpellE">befuddlingly</span> stupor-inducing "regionalism" <span class="GramE">was</span> at its heralded peak.<o:p></o:p></span></div>
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<span style="color: black;">2nd <span class="SpellE">gen</span> NYS seemed to be of interest to some of the poets first
associated with Coach House -- Dewdney, Coleman. But these poets were sidelined
by both the kind of rustic theory that Nichol invoked in a straight-forward but
entertaining way (<span class="SpellE">pataphysical</span> invention, concrete)
and the highly abstract kind that McCaffery distilled from continental
philosophy and art (in Steve's version, as you know, a conceptual <span class="SpellE">artlike</span> approach to language never gives language back to
the five senses).<o:p></o:p></span></div>
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<span style="font-family: Arial;">When I asked Louis yesterday
if I could quote from his emails, he expanded even further:<o:p></o:p></span></div>
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Hi Ron,</div>
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<br /></div>
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Sure. Thanks for asking. A "second-order commodification" role
that I perceive formally innovative Canadian poetics playing in its contribution
to US/Canadian poetic tendencies -- from projective verse (the Vancouver 63
conference) to Language poetry (the 85 conference) -- connects to my sense of <span class="SpellE">NYS's</span> absence in Canada.</div>
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<br /></div>
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By "second-order commodification" (a term modified from <span class="SpellE">Barthes's</span> 1957 theory of the ideology of myth as a
second-order semiotic system) I mean the following scenario. I'm quoting from
an essay on <span class="GramE">hole</span> magazine at <a href="http://www.english.upenn.edu/~wh/phillytalks/extensions/hole.shtml"><u><span style="color: blue; mso-ansi-font-size: 12.0pt; mso-ascii-font-family: &quot;Times New Roman&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: &quot;Times New Roman&quot;;">http://www.english.upenn.edu/~wh/phillytalks/extensions/hole.shtml</span></u></a>:</div>
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<br /></div>
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"Second-order commodification" is a condition of reception of
the cultural "new" (a relative matter) where the emergence (of the
new, from "here") and the arrival (of the new, from
"elsewhere") intersect in a contested site-as-dialogue. That
condition existed for us [i.e. as hole magazine eds.] in employing the term
"language-<span class="SpellE">centred</span>." Second-order
commodification refers to a myth-inducing condition in which there is
simultaneously (a) the emergence ("here") and arrival (from
"there") of primary writing only later to be identified as
"new" (for instance, as "language-<span class="SpellE">centred</span>")
with (b) the emergence/arrival of a metalanguage (in this case, conveyed by the
term "language-<span class="SpellE">centred</span>") identifying the
work as new. Second-order commodification results from a cultural context in
which primary language without a name, and its metalanguage that brings a name,
temporally co-exist. One reception-effect of second-order commodification,
particularly in Canada, is to have poetics stances appear clearly staked,
already amplified, distinctly audible, a critical lexicon already worked out
and available to draw from in identifying aesthetic tendencies in possibly
opposing, even reductive, ways.</div>
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<br /></div>
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Further in the essay, I consider three kinds of responses to this
predicament of Canadian culture: resolute intransigence (Deanna Ferguson),
resolute participation (Lisa Robertson), the resolute itself -- squared (Alan
Davies). <span class="GramE">(Alan Davies is never considered in this
inter-border context, but, originally from Canada, some of his first work is
published in the anthology <i style="mso-bidi-font-style: normal;">Now We Are Six</i>
[Coach House, 1976].)</span></div>
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<br /></div>
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Perhaps, then, the absence of NYS in <st1:country-region><st1:place>Canada</st1:place></st1:country-region>
is due to an absence of a NYS metalanguage?</div>
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<br /></div>
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The role of absence is a traditional motif of Canadian literary cultural
history. In its more interesting variants, "absence" is paradoxically
<span class="SpellE">ontologized</span> and <span class="SpellE">centred</span> in
an author's body of work -- for instance, Robert <span class="SpellE">Kroetsch&#8217;s</span>.
But absence has never been discussed as a term in relation to poetic lineage,
the back-and-forth of influence across the southern border (let alone in
relation to <span class="SpellE">KSW's</span> and <span class="SpellE">TRG's</span>
'erasing-something [i.e. NYS]-that-is-in-fact-absent').</div>
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<br /></div>
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But the absence of NYS in Canadian poetry is to me <i style="mso-bidi-font-style: normal;">precisely</i> how "Canada" differs from the "US,"
and by an unconscious social logic of mutual exclusion based on divergent
histories -- a difference that in these terms ("NYS") has never
previously been articulated, to my knowledge, in all the efforts -- from the
70s on -- to identify "the difference" between "Canada" and
"US" poetic cultures.</div>
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<br /></div>
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Louis</div>
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<span style="font-family: Arial;">Cabri here entertains the
possibility that the lack of a New York School metalanguage may have
contributed to its inability to move north &#8211; it may even explain why the sudden
disruption in the mid-1980s that the 2<sup>nd</sup> &amp; 3<sup>rd</sup>
generation New York School poets themselves <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382734255"><span style="mso-ansi-font-size: 12.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: Arial;">experienced</span></a>,
wasn&#8217;t more immediately &amp; easily overcome directly by those poets
themselves. &#8220;<span class="SpellE">Personism</span>,&#8221; Frank O&#8217;Hara&#8217;s one serious
statement of his poetics, does more to point up the absence of a metalanguage
than it ever did to constitute one<span class="GramE">.+</span> <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Part of
the &#8220;problem&#8221; of Dudek to us Yanks, when one tries to place him alongside the
history of </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> poetry is that he comes along right
during that fallow period of the Second World War &#8211; that is, after the
Objectivists but really before the New Americans. Robert Duncan, the one major
poet to have emerged from that same period south of the border during that same
period, was cagey enough to avoid by aligning himself with the mostly younger
poets of the NAP. Several of the other poets of interest who emerged during the
war decade &#8211; May Sarton, Muriel Rukeyser &#8211; have remained more or less
permanently in limbo, never really adopted by either of the major traditions of
</span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> verse. To make any sort of simple analogy (Dudek =
X) thus really isn&#8217;t possible, because X itself doesn&#8217;t exist.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">Or, another approach, one might argue that Dudek = the </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> of <i style="mso-bidi-font-style: normal;">The Years as Catches, </i>and most especially &#8220;African Elegies,&#8221; but
without the later impact of the New American Poetry. What poet would </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> have become without the push-pull
influences of Olson, Creeley, Ginsberg, et al? It might have been something
much closer to the Dudek captured in <i style="mso-bidi-font-style: normal;">Infinite
Worlds </i>(Montréal: <span class="SpellE">Véhicule</span> Press, 1988), edited
not coincidentally by one man who knew both quite well, Robin Blaser. Dudek was
born one year ahead of </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;">, closer in age than either Olson or
Creeley.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** Cabri&#8217;s
contribution to the poetics of </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Philadelphia</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> is worth a blog or two in itself.
He proved to be the single most influential spark to the various elements
working more or less independently around the region, at least in the seven
years I&#8217;ve lived here. The scene as he left it had many times the power
(precisely of interactivity) as the scene as he originally found it. It left us
all asking ourselves, &#8220;Who was that masked man?&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** More
distantly than it might have been. In 1962, my grandfather actively explored
moving to </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Calgary</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> as he helped to set up a paper recycling plant there. My
grandmother&#8217;s mental illness finally functioned as the veto to that impulse. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ Kerouac
&amp; Ginsberg gave the Beats a rough, but very </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">usa</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;">ble metalanguage. In addition to his
various notes on spontaneous prose, Kerouac&#8217;s ideas about writing creep into
his prose on several occasions. Ginsberg&#8217;s many public statements served a
similar purpose. Of the primary New American formations, only the </span><st1:place><st1:placename><span style="font-family: Arial; font-size: 10.0pt;">New York</span></st1:placename><span style="font-family: Arial; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: Arial; font-size: 10.0pt;">School</span></st1:placetype></st1:place><span style="font-family: Arial; font-size: 10.0pt;"> actively avoided discussions of
their own practice.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, October 07, 2002</span></h2>

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<span style="font-family: Arial;">Actualism vanished as a
literary tendency as thoroughly as Objectivism seemed to have done in the early
1950s. <span class="GramE">While the annual Berkeley Actualist Conventions were
one public manifestation of this phenomenon, a rather different version than
the one visible in the Bay Area during the 1970s is suggested by <i style="mso-bidi-font-style: normal;">The Actualist Anthology</i> (The Spirit That
Moves Us, 1977), co-edited by Morty Sklar and the late Darrell Gray.</span> In
addition to the editors, the volume includes Allan and <span class="SpellE">Cinda</span>
Kornblum, Chuck Miller, Anselm Hollo, John <span class="SpellE">Batki</span>, Jim
<span class="SpellE">Mulac</span>, David Hilton, Sheila <span class="SpellE">Heldenbrand</span>,
George Mattingly, John <span class="SpellE">Sjoberg</span>, Steve Toth and Dave
Morice.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The editors state frankly
that &#8220;Calling this volume THE ACTUALIST ANTHOLOGY came mainly out of a need for
a title.* &#8216;Fourteen Iowa City Poets&#8217; wouldn&#8217;t have been accurate &#8211; this is <i style="mso-bidi-font-style: normal;">not</i> a regional anthology in the strict
sense.&#8221; But in some sense, it was: &#8220;we have sought have sought to represent the
work of those poets most seminal to the Actualist Movement, which began (in
spirit, if not name) around 1970 in </span><st1:place><st1:city><span style="font-family: Arial;">Iowa City</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">Iowa</span></st1:state></st1:place><span style="font-family: Arial;">. Half of us remain in </span><st1:state><st1:place><span style="font-family: Arial;">Iowa</span></st1:place></st1:state><span style="font-family: Arial;">, while others have moved&#8230;.&#8221; Almost as pronounced as
the crucible of </span><st1:city><st1:place><span style="font-family: Arial;">Iowa
  City</span></st1:place></st1:city><span style="font-family: Arial;"> was this
group&#8217;s decidedly Midwestern background &#8211; eight of the contributors (Miller, <span class="SpellE">Mulac</span>, <span class="SpellE">Heldenbrand</span>, Mattingly, <span class="SpellE">Sjoberg</span>, Toth, Morice &amp; <span class="SpellE">Cinda</span>
Kornblum) were born in the </span><st1:place><span style="font-family: Arial;">Midwest</span></st1:place><span style="font-family: Arial;">, Darrell Gray was raised there. <span class="GramE">Generationally,
the Actualists roughly the same age as the language poets, ranging from a few
poets born in the 1930s (Hollo, Sklar, Hilton, Miller) to others born right
around the mid-century mark (Toth, <span class="SpellE">Heldenbrand</span>,
Mattingly).</span> <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">As a group, these writers proved
antithetical to the &#8220;Workshop poem&#8221; associated with poets such as Marvin Bell
or Norman <span class="SpellE">Dubie</span>. The poems were often casual, but
always lively. Sklar, in &#8220;What Actually is Actualism,&#8221; characterized it as a
&#8220;basically open, generous and positive approach to our art.&#8221; Actualists poked
fun at the academy &amp; prided themselves on their rough edges: both Sklar and
Miller lists bouts of incarceration in their biographical notes. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The literary context for
Actualism is worth noting. Allan Kornblum spells out his influences in the
greatest detail: <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
Thanks to my poetry
teachers in workshops: Dick Gallup, Carter Ratcliff, Tom Veitch, Ted Berrigan,
Jack Marshall, <st1:personname>Don</st1:personname>ald Justice, and Anselm
Hollo.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">While Justice taught at </span><st1:state><st1:place><span style="font-family: Arial;">Iowa</span></st1:place></st1:state><span style="font-family: Arial;"> for many years, the core of this list is a mélange
of second and third generation </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> poets. As different as Gallup, Ratcliff, Veitch &amp; Berrigan are as
poets &#8211; the range of what gets included under the NY School banner is as broad
as that which now gets characterized as language poetry &#8211; what one notices
about this quartet is how absent they have been from the poetry scene for a
very long time: Berrigan by virtue of an early death, Ratcliff having turned to
art criticism, Veitch to graphic novels (including an authorized Star Wars
trilogy), and Gallup having, in the words of <i style="mso-bidi-font-style: normal;">Publishers Weekly, </i><span style="mso-spacerun: yes;">&nbsp;</span>&#8220;disengaged from the literary world in the
early &#8216;80s.&#8221; Marshall, who has managed to stay around the NY School, Iowa City
and the </span><st1:city><st1:place><span style="font-family: Arial;">San
  Francisco</span></st1:place></st1:city><span style="font-family: Arial;">
scene, keeping all three safely at arm&#8217;s length, is only slightly less
reclusive. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">By the mid-1980s, this
context had all but evaporated. Even more importantly, by the time Darrell Gray
died in 1986, alcoholism had effectively silenced him. While Actualism itself
cannot be reduced to Gray&#8217;s poetry &amp; impact, he was clearly its central
figure, both socially and intellectually. Without Gray, none of the other
participants, either in the Bay Area or from the </span><st1:state><st1:place><span style="font-family: Arial;">Iowa</span></st1:place></st1:state><span style="font-family: Arial;"> formation, continued to pursue the concept. Without
Berrigan, the single most important influence on Actualism, the link between
the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> and these poets scattered mostly throughout the west became nebulous in
the extreme. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But if Actualism as a
tendency disappeared, many of the Actualists themselves did not. In addition to
Mattingly, Hollo and Morice, whom I&#8217;ve discussed previously in the blog, the <span class="SpellE">Kornblums</span> have transformed Toothpaste Press, virtually the
house organ of Iowa Actualism**, into Coffee House Press, one of the best and
most successful independent presses in the United States. In addition to its
many other books, Coffee House recently brought Dick Gallup back into print
with his first book since 1976, <i style="mso-bidi-font-style: normal;"><a href="http://www.coffeehousepress.org/shinypencils.asp">Shiny Pencils at the
Edge of Things</a>,</i> and has just another big &#8220;new and selected&#8221; volume by
Jack Marshall, <i style="mso-bidi-font-style: normal;"><a href="http://www.coffeehousepress.org/gorgeouschaos.asp">Gorgeous Chaos</a></i>
as well as Anselm Hollo&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://www.coffeehousepress.org/notesonpossibilities.asp">Notes on the
Possibilities and Attractions of Existence</a></i>, his largest collection
since Mattingly&#8217;s Blue Wind Press editions more than 20 years ago<i style="mso-bidi-font-style: normal;">.</i> Sklar occasionally still issues books
from The Spirit That Moves Us Press from </span><st1:place><st1:placename><span style="font-family: Arial;">Jackson</span></st1:placename><span style="font-family: Arial;"> </span><st1:placename><span style="font-family: Arial;">Heights</span></st1:placename></st1:place><span style="font-family: Arial;">, NY. John <span class="SpellE">Batki</span>, who characterized himself as
the &#8220;Laziest Actualist,&#8221; has instead grown into one of the finest translators
of Eastern European poetry. David Hilton has been teaching at </span><st1:place><st1:placename><span style="font-family: Arial;">Anne</span></st1:placename><span style="font-family: Arial;"> </span><st1:placename><span style="font-family: Arial;">Arundel</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Community College</span></st1:placetype></st1:place><span style="font-family: Arial;"> near </span><st1:city><st1:place><span style="font-family: Arial;">Baltimore</span></st1:place></st1:city><span style="font-family: Arial;"> for over 30 years. And Steve Toth maintains a somewhat
&#8220;under construction&#8221; <a href="http://sstoth0.tripod.com/healingpoems/index.html">website</a>
that includes memorials to both Ted Berrigan and Darrell Gray.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* This
rationale perfectly matches the one given for Objectivism: letting Zukofsky
take over <i style="mso-bidi-font-style: normal;">Poetry</i> <span class="GramE">magazine</span>
for an issue required something identifiable, requiring a name.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** When <i style="mso-bidi-font-style: normal;">The Actualist Anthology </i>came out in
1977, Toothpaste Press had already published books by both <span class="SpellE">Kornblums</span>,
Hollo, Sklar, <span class="SpellE">Batki</span>, Gray, Hilton, <span class="SpellE">Heldenbrand</span>, <span class="SpellE">Sjoberg</span>, Toth and
Morice. <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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