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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>The Grand Piano</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>The Grand Piano</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Sunday, November 20, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><span style='font-size:24.0pt;line-height:115%;color:red'>Today in San Francisco!<o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><a href="http://www.thegrandpiano.org/images/nystraighttable.jpg"><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:24.0pt;line-height:115%;color:red;mso-no-proof:yes;text-decoration: none;text-underline:none'><img border="0" height="248" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/e4r9L0QxTFHI_H_jrGXcD6nUDT7-OQSjUNbbZE5hseGUniq4H5SnALlq5Axh07SykllGhH5SuzZUZ5ycwtUaA_hI0KBewJUxgKN8%3Ds0-d" width="588"></span></i></b></a><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:24.0pt;line-height:115%;color:red'><br> </span></i></b><span class=GramE><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Photo </span></i><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height:115%;mso-bidi-font-family:Arial;color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>&#169;</span></i><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height: 115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'> <a href="http://www.facebook.com/profile.php?id=100000985189678"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Lawrence Schwartzwald</span></a>.</span></i></span><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'> All rights reserved</span></i><span style='font-size: 7.5pt;line-height:115%'>.</span><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:24.0pt;line-height: 115%;color:red'><o:p></o:p></span></i></b></p>
<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><i style='mso-bidi-font-style:normal'><span style='font-size:24.0pt; line-height:115%;color:red'><a href="http://thegrandpiano.org/"><span style='color:red'>The Grand Piano</span></a><o:p></o:p></span></i></b></p>
<p align=center style='text-align:center;line-height:115%'><b style='mso-bidi-font-weight: normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>A performance &amp; discussion, <br> with Rae Armantrout, Steve Benson, Carla Harryman, <br> Lyn Hejinian, Tom Mandel, Ted Pearson, <br> Kit Robinson, and Barrett Watten<o:p></o:p></span></b></p>
<p align=center style='text-align:center;line-height:115%'><b style='mso-bidi-font-weight: normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Discussion led by David <span class=SpellE>Buuck</span><br> </span><span style='color:red'><br> </span></b><strong><span style='font-family:"Arial","sans-serif";color:red; font-weight:normal;mso-bidi-font-weight:bold'><a href="http://hosted.verticalresponse.com/791393/e0d9e08d76/1470678425/73cb67c0f8/"><b style='mso-bidi-font-weight:normal'><span style='color:red'>Sunday, November 20 @ Small Press Traffic, SF</span></b></a></span></strong><strong><span style='font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><br> </span></strong><span style='font-family:"Arial","sans-serif";color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>5:00 pm, Timken Hall, <br> California College of the Arts<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, November 10, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><a href="http://thegrandpiano.org/images/nyfisheyetable.jpg"><span style='color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none'><img border="0" height="286" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/20iLSzpAtLV8fz9Q1xLsEV3fHcCiSRbEXBaPGg4ltyKz-Z0b6oWdjppSs8zcF0oseFlcSXaZJC2_Mp82sN7UuVxrZZgR5w%3Ds0-d" width="602"></span></a><br> <span class=GramE><i style='mso-bidi-font-style:normal'><span style='font-size: 7.5pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Photo </span></i><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height:115%;mso-bidi-font-family:Arial;color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>&#169;</span></i><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height: 115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'> <a href="http://www.facebook.com/profile.php?id=100000985189678"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Lawrence Schwartzwald</span></a>.</span></i></span><i style='mso-bidi-font-style:normal'><span style='font-size:7.5pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'> All rights reserved</span></i><span style='font-size: 7.5pt;line-height:115%'>.<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><i style='mso-bidi-font-style:normal'><span style='font-size:24.0pt; line-height:115%;color:red'><a href="http://thegrandpiano.org/"><span style='color:red'>The Grand Piano</span></a></span></i></b><b style='mso-bidi-font-weight: normal'><i style='mso-bidi-font-style:normal'><span style='font-size:20.0pt; line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><br> </span></i></b><b style='mso-bidi-font-weight:normal'><span style='font-size: 16.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>2 Bay Area events</span></b><span style='font-size: 16.0pt;line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><o:p></o:p></span></p>   
<p align=center style='text-align:center;line-height:115%'><strong><span style='font-family:"Arial","sans-serif";color:red;font-weight:normal; mso-bidi-font-weight:bold'><a href="http://holloway.english.berkeley.edu/"><b style='mso-bidi-font-weight:normal'><span style='color:red'>Friday, November 18 @ UC Berkeley</span></b></a></span></strong><span style='font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><br> 6:30 pm, Maude Fife Room, <br> Wheeler <span class=GramE>Hall </span><br> .<o:p></o:p></span></p>
<p align=center style='text-align:center;line-height:115%'><strong><span style='font-family:"Arial","sans-serif";color:red;font-weight:normal; mso-bidi-font-weight:bold'><a href="http://smallpresstraffic.org/999"><b style='mso-bidi-font-weight:normal'><span style='color:red'>Sunday, November 20 @ Small Press Traffic, SF</span></b></a></span></strong><strong><span style='font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><br> </span></strong><span style='font-family:"Arial","sans-serif";color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>5:00 pm, Timken Hall, <br> California College of the Arts<o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, November 01, 2010</span></h2>

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<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center;line-height:150%'><em><b><span style='font-size:16.0pt; line-height:150%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><span style='mso-spacerun:yes'> </span>&#8220;This is your brain on poetry.&#8221;</span></b></em><span style='font-size:16.0pt;line-height: 150%;mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><br> &#8211; <a href="http://www.thegrandpiano.org/responses.html"><span style='color: #0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Huffington Post</span></a></span><b><i><span style='font-size:16.0pt;line-height:150%; mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:Arial; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><o:p></o:p></span></i></b></p>
<p class=MsoNormal align=center style='text-align:center;line-height:150%'><a href="http://www.thegrandpiano.org/gp10frontcover.jpg"><span style='font-size: 12.0pt;line-height:150%;mso-bidi-font-family:Arial;color:black;mso-themecolor: text1;mso-no-proof:yes;text-decoration:none;text-underline:none'><img border="0" height="479" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/BgEkEVM3HJAxPm0ms8V4JIYe1oNwZDTU1vrcMHe1QdPYBMxcffcIflFepNF-RETzVEMMPGxacHG-MkNWqOpcc4fOPA%3Ds0-d" width="309"></span></a><span style='font-size:12.0pt;line-height:150%;mso-bidi-font-family:Arial;color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center;line-height:150%'><b><i><span style='font-size:12.0pt; line-height:150%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial;color:#0D0D0D'>&#8220;The Grand Piano continues to amaze...&#8221;</span></i></b><b><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:Arial;color:#0D0D0D'> </span></b><span style='font-size: 12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial;color:#0D0D0D'><a href="http://thegrandpiano.org/responses.html"><span style='color:#0D0D0D'>&#8211; David Meltzer</span></a></span><span style='font-size: 12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center;line-height:150%'><b><i><span style='font-size:12.0pt; line-height:150%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial;color:#0D0D0D'>&#8220;...language, history, textuality, and temporality&#8221;</span></i></b><b><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:Arial;color:#0D0D0D'><br> </span></b><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family: "Times New Roman";mso-bidi-font-family:Arial;color:#0D0D0D'><a href="http://thegrandpiano.org/responses.html"><span style='color:#0D0D0D'>&#8211; Robin Tremblay-<span class=SpellE>McGaw</span></span></a></span><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:Arial'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center;line-height:150%'><b><i><span style='font-size:12.0pt; line-height:150%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial;color:#0D0D0D'>&#8220;Obsessively readable&#8221;</span></i></b><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:Arial;color:#0D0D0D'> <a href="http://kulturindustrie.blogspot.com/2007/04/grand-piano-part-1.html" target="_blank"><span style='color:#0D0D0D'>&#8211; Mark Scroggins</span></a></span><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:Arial'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center;line-height:150%'><span style='font-size:12.0pt; line-height:150%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial;color:#0D0D0D'><a href="http://www.thegrandpiano.org/order.html"><span style='color:#0D0D0D'>Complete sets available</span></a></span><span style='font-size:12.0pt;line-height:150%;mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:Arial'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, October 15, 2008</span></h2>

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</span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'><span style='mso-spacerun:yes'>&#160;</span>L-R: Ted Pearson, Steve Benson, Carla Harryman, Tom Mandel, Barrett Watten, Lyn Hejinian, Kit Robinson<o:p></o:p></span></i></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>The </span></b><st1:City><st1:place><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>Detroit</span></b></st1:place></st1:City><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>
<i style='mso-bidi-font-style:normal'><a href="http://www.thegrandpiano.org/oct08reading.jpg"><span style='color:black'>Grand Piano</span></a></i> reading of October 4<sup>th</sup> is now online <a href="http://www.thegrandpiano.org/media.html#detroit"><span style='color:black'>here</span></a>.<o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='color:black'><a href="http://www.thegrandpiano.org/"><span style='color:black'><img border="0" height="140" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/Q_4LGA-E6ngMWgj1NncSD1Na3fiJcsvzSFBnbhyxgiE9g-GkergbELCx4gE8rkA_yKNpD3DVfpzot8RPbHnHbZ4CN2OGtjs%3Ds0-d" width="90"><span style='mso-spacerun:yes'>&#160;</span><img border="0" height="140" id="_x0000_i1027" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/ZVIp8PZlsrsP81vPHy02IJmF4tNInJ6PsDnaTLrCGpg0woxPPrxah8UMVodajZmUcYmA9Xpl0Xv_swUNFlnxbnPI72cyA6Q%3Ds0-d" width="90"><span style='mso-spacerun:yes'>&#160;</span><img border="0" height="140" id="_x0000_i1028" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/lzSBdX0DLmBjYaZOyZ_awH4cvFK0ZGvK97y6DWZRcqMDUz9ro-HSfDaxDkjT-sQgnpyrTdV5slNUeMCwNgL413Sfj6Ae780%3Ds0-d" width="90"><span style='mso-spacerun:yes'>&#160;</span><img border="0" height="140" id="_x0000_i1029" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/Fkond29KXyXq6iYXQS1-cV4ZdyzNsjVWC5lP-IjAR4JMR8VZL_W87vhO0XSK8aezd1E1R5xXBY9yRUH-_VLu8F9ww1hBsM8%3Ds0-d" width="90"><o:p></o:p></span> </a></span></p>

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<h2 class='date-header'><span>Sunday, October 12, 2008</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Arial;color:black'>Available now!<o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><a href="http://www.thegrandpiano.org/"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="459" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/McY6uDgz8M34v2VZpco3DsrRhdT5DinsEJyt99vcH4RPdC3Mry0wHqkYldnyD7vRArrX2rydi6IOSLZs1BUlNZq2%3Ds0-d" width="297"></span></a></p>

<p class=intro><strong><span style='font-size:10.0pt;font-family:Arial'>Kit Robinson begins: </span></strong><span style='font-size:10.0pt;font-family:Arial'>TED BERRIGAN SAID that when he discovered Frank O&#8217;Hara&#8217;s poetry he found &#8220;somebody who wrote the way I talked.&#8221; I had the same feeling when I first read Berrigan&#8217;s work. Yet what began as a sense of natural language in O&#8217;Hara quickly became a kind of patented style with Berrigan, as his many characteristic ways of saying things were essentially branded through repeated use, not only in his poetry, but in the running commentary he produced in his classes and in conversation. Ted also said that when you try to imitate another writer you will fail, and that failure will be the basis for your own thing, or words to that effect. I believe that&#8217;s true too.<span style='color:black'><o:p></o:p></span></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&quot;<i style='mso-bidi-font-style:normal'><a href="http://www.thegrandpiano.org/"><span style='color:black'>The Grand Piano</span></a></i> <br>
is itself a veering off and an investigation<br>
<span style='mso-spacerun:yes'>&#160;</span>and a playing or experimenting <br>
with the materials of language,<br>
<span style='mso-spacerun:yes'>&#160;</span>history, textuality, and temporality, <br>
the personal and political, <br>
poetry and community....<br>
There is an abundance to linger over <br>
in <i style='mso-bidi-font-style:normal'>The Grand Piano</i> <br>
even as and perhaps because of <br>
the large gaps and contradictions&quot; &#8211;<br>
Robin Tremblay-<span class=SpellE>McGaw</span>.<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'>The Grand Piano</span></i><span style='font-size:10.0pt;font-family:Arial;color:black'> is <b style='mso-bidi-font-weight:normal'><a href="http://www.thegrandpiano.org/about.html"><strong><span style='font-family:Arial;color:black;font-weight:normal;mso-bidi-font-weight:bold;mso-bidi-font-style:italic;text-decoration:none;text-underline:none'>an experiment in collective autobiography</span></strong></a>.</b> <br>
<br>
Subscribe to <b style='mso-bidi-font-weight:normal'><a href="http://www.thegrandpiano.org/order.html"><strong><span style='font-family:Arial;color:black;font-weight:normal;mso-bidi-font-weight:bold;mso-bidi-font-style:italic;text-decoration:none;text-underline:none'>all ten volumes or a partial subscription</span></strong></a></b> beginning with any volume.<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'>Individual copies available through <a href="http://tinyurl.com/4ez2he"><span style='color:black'>SPD</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, October 03, 2008</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Arial'>Tomorrow in the Motor City!</span></b><o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, September 24, 2008</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:20.0pt;font-family:Arial'>The Grand Piano </span></i></b><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Arial'>comes to </span></b><st1:City><st1:place><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Arial'>Detroit</span></b></st1:place></st1:City><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Arial'>!<o:p></o:p></span></b></p>

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<h2 class='date-header'><span>Tuesday, June 24, 2008</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:20.0pt;font-family:Arial;color:#993300'>Writing as Event!<o:p></o:p></span></i></b></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='color:black'><a href="http://www.thegrandpiano.org/"><span style='color:black;text-decoration:none;text-underline:none'><img border="0" height="418" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/uSg0jlufgssXXddadRawfG5onEf24kyRpjwJaAjde7xqrbf0BYX6V_Dk1xWQnAeGqaZtVVpR-Dl-qn4Jrfg35sjjAe2TY5aRqPkPD2J6-83F%3Ds0-d" width="500"></span></a><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'><br>
<b style='mso-bidi-font-weight:normal'><a href="http://www.spdbooks.org/Details.asp?BookID=9780979019852"><span style='color:black'>THE GRAND PIANO</span><span style='color:black;font-weight:normal'>, Part 6</span></a></b><br>
<i style='mso-bidi-font-style:normal'>An Experiment in Collective Autobiography<br>
San Francisco, 1975-1980<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>By Ron Silliman, Steve Benson, Bob Perelman, Kit Robinson, Barrett Watten, Lyn Hejinian, Carla <span class=GramE>Harryman, Rae Armantrout, Ted Pearson, and <span style='color:windowtext'>Tom Mandel.</span></span> </span><span style='font-size:10.0pt;font-family:Arial'><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'>&quot;A vital contribution to the collective memory of the poetry of that period.... The relationship of the individual to the society and its intermediate institutions, such as the Grand Piano readings, is relevant to any thoughtful analysis of the place of poetry writing and production today.&quot; <o:p></o:p></span></p>

<p class=MsoNormal align=right style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-align:right'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#8212;James Sherry, <i style='mso-bidi-font-style:normal'><a href="http://jacketmagazine.com/34/sherry-piano3.shtml"><span style='color:black'>Jacket</span><span style='color:black;font-style:normal'> 34</span></a></i><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'>&quot;The collective autobiographers are less interested in revising the past and more interested in using the narratives of their history to further contextualize the complex poetics and communal history of that poetics for the future...to nurture an arena of possibilities where ideas can be exchanged.&quot;<o:p></o:p></span></p>

<p class=MsoNormal align=right style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-align:right'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#8212;Rob Fitterman, &#8220;<span class=SpellE>Futuring</span> <i style='mso-bidi-font-style:normal'>The Grand Piano</i>&#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;mso-bidi-font-family:Arial'>&quot;<i style='mso-bidi-font-style:normal'>The</i> <i style='mso-bidi-font-style:normal'>Grand Piano</i> is itself a veering off and an investigation and a playing or experimenting with the materials of language, history, textuality, and temporality, the personal and political, poetry and community.... There is an abundance to linger over in <i style='mso-bidi-font-style:normal'>The Grand <span style='color:black'>Piano</span></i><span style='color:black'> even as and perhaps because of the large gaps and contradictions.&quot;<o:p></o:p></span></span></p>

<p class=MsoNormal align=right style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in;text-align:right'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#8212;Robin Tremblay-<span class=SpellE>McGaw</span>, <i style='mso-bidi-font-style:normal'><a href="http://www.asu.edu/pipercwcenter /how2journal/vol_3_no_2/alerts/mcgaw.html"><span style='color:black'>How2</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;color:black'>Copies of single volumes may be ordered from <a href="http://tinyurl.com/34jf3u"><span style='color:black'>Small Press Distribution</span></a> <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'>Subscriptions to <b style='mso-bidi-font-weight:normal'>The Grand Piano</b> (ten volumes, at quarterly intervals, beginning with parts 1&#8211;6), are available; Send order form and check for $90 made out to <b style='mso-bidi-font-weight:normal'>Lyn Hejinian, 2639 Russell Street, Berkeley, CA 94705</b>. Partial subscriptions starting from no. 2 are $80; from no. 3, for $70; from no. 4, for $60, from no. 5, $50; from no. 6, $40, etc. <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'>Order forms may be downloaded here: <a href="http://www.english.wayne.edu/fac_pages/ewatten/pdfs/gp6order.pdf"><span style='color:black'>color</span></a> or <a href="http://www.english.wayne.edu /fac_pages/ewatten/pdfs/gp6orderbw.pdf"><span class=SpellE><span style='color:black'>b&amp;w</span></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Designed and published by Barrett Watten, Mode A/This Press (</span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Detroit</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>).<br>
</span><st1:address><st1:Street><span style='font-size:10.0pt;font-family:Arial'>6885 Cathedral Drive</span></st1:Street><span style='font-size:10.0pt;font-family:Arial'>, </span><st1:City><span style='font-size:10.0pt;font-family:Arial'>Bloomfield</span></st1:City></st1:address><span style='font-size:10.0pt;font-family:Arial'> </span><st1:place><st1:City><span style='font-size:10.0pt;font-family:Arial'>Twp.</span></st1:City><span style='font-size:10.0pt;font-family:Arial'>, </span><st1:State><span style='font-size:10.0pt;font-family:Arial'>MI</span></st1:State><span style='font-size:10.0pt;font-family:Arial'> </span><st1:PostalCode><span style='font-size:10.0pt;font-family:Arial'>48301</span></st1:PostalCode></st1:place><span style='font-size:10.0pt;font-family:Arial'>. <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'><a href="http://www.thegrandpiano.org/" target="_blank"><span style='color:black'>http://www.thegrandpiano.org</span> </a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Sunday, January 27, 2008</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.spdbooks.org/Details.asp?BookID=9780979019845"><span style='color:black'>The Grand Piano </span><span style='color:black;font-style:normal'>5</span></a></span></i><span  style='font-size:10.0pt;font-family:Arial;color:black'><br>
is now available<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Arial'><a href="http://www.spdbooks.org/Details.asp?BookID=9780979019807"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="144" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/lDjAZmikLz4fK8y1fP6bOlYEBDNmZ90RlVQqysXnIwanafZuX7dL-neulF2xI6nx8oTdo5npQrALtKWWxk3Qe27blmdJGaVz0w%3Ds0-d" width="97"><span style='mso-spacerun:yes'></a> &nbsp; </span><a href="http://www.spdbooks.org/Details.asp?BookID=9780979019814"><img border="0" height="144" id="_x0000_i1027" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/yIAm8fXgwG5i9lgzV8i_qEbVdQCzyT_ZyobMkFzESP1fspCAXND0UnWnIeRB7nSB5L8R9plCJbSeQA_-5V2upJfi9LDvdfzJqQ%3Ds0-d" width="94"></span></a><span style='mso-spacerun:yes'> &nbsp; </span><a href="http://www.spdbooks.org/Details.asp?BookID=9780979019821"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="144" id="_x0000_i1028" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/l6Ag7d0ew4VivAtU65yWVVwZ9i904iJIhRrroU4Y8IyDD9eEy65PljQUyzhQ8Gg5DplPCSNxXae30UACh6rUBvIh23G2r31_aw%3Ds0-d" width="96"></span></a><span style='mso-spacerun:yes'> &nbsp; </span><a href="http://www.spdbooks.org/Details.asp?BookID=9780979019838"><span style='color:windowtext;text-decoration:none;text-underline:none'><img border="0" height="144" id="_x0000_i1029" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/QNtJ0ntBIzPHFjYyoeOXinuKVtcWHFbSst8qP7yiGIE7BzAVJRAAgMfcOvnod36lhcPGqN3b1R0Ak4VmF_5npQ1P16kAFGtMFA%3Ds0-d" width="93"></span></a><o:p></o:p></span></p> 

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://kulturindustrie.blogspot.com/2007/04/grand-piano-part-1.html" target="_blank"><em><span style='font-family:Arial;color:black'>obsessively readable</span></em></a> &#8212; Mark Scroggins<o:p></o:p></span></p>

<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.thegrandpiano.org/"><span style='color:black'>The Grand Piano</span><span style='color:black;font-style:normal'> website</span></a></span></i><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, November 22, 2007</span></h2>

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</span><span style='font-size:8.0pt;font-family:Arial;color:black'>Lyn Hejinian<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'>A quick note on what is Thanksgiving in the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>United States</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, a day commemorating the ability of the Plymouth Colony in </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Massachusetts</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> to do what the <a href="http://en.wikipedia.org/wiki/Lost_Colony"><span style='color:black'>Roanoke Colony</span></a> of </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>North Carolina</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> had not &#8211; survive. In practice, this celebration has always been one commingled with politics. The Continental Congress first declared a Thanksgiving Proclamation in 1777 for it too had as yet survived, tho the army of George Washington had recently suffered the worst military defeat in American history, the </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Battle</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> of the </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Brandywine</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, September 11 of that year, and had retreated to the relatively protected confines of </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Valley Forge</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> for the winter. Washington himself would proclaim a Thanksgiving holiday in 1789, this time in honor of the newly ratified Constitution. Other presidents followed suit on six occasions until 1815, after which it was dropped until resurrected by Abraham Lincoln, who twice declared the holiday as the </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Union</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> once again survived. This initiated a sequence of proclamations that has been followed ever since, although it was another president with war clouds gathering, Franklin Delano Roosevelt, who set it into the form we have today in 1939. Congress put it into law in 1941. <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'>I am, in honesty, thankful for many things, from my family to my readers to my health. I&#8217;ve outlived the span of my own father&#8217;s life now by some 23 years, so I&#8217;m acutely aware that there <span class=GramE>are no guarantees.</span> But this year one group of people I really want to note just how much I appreciate <span class=GramE>are</span> my collaborators on the <i style='mso-bidi-font-style:normal'><a href="../../../../My%20Documents/Ron/The%20Work/Critical%20Writing/Blog2/Blog%20-%20Friday.htm"><span style='color:black'>Grand Piano</span></a> </i>project. These are all people I&#8217;ve known for at least 30 years &#8211; Barrett Watten and I go back 43 years, Rae Armantrout and I 38. <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'>Lyn Hejinian and I first appeared on facing pages in the magazine <i style='mso-bidi-font-style:normal'>Arts in Society </i>40 years ago, tho I wouldn&#8217;t begin corresponding with her for another several years, and wouldn&#8217;t actually meet her until October 1976. I can recall the event exactly. There was a book fair at Fort Mason in San Francisco &#8211; the art fort as we thought of it in the years I lived in the City, a couple of piers and buildings of a decommissioned military facility turned over to non-profit use. Hejinian had a table for her Tuumba Press chapbooks, tho she had not at that point printed all that many of them, as number 4, Kenneth Irby&#8217;s <i style='mso-bidi-font-style:normal'>Archipelago, </i>was sitting there on the table with its deep blue cover and &#8220;Tuumba 4&#8221; &amp; &#8220;November 1976&#8221; printed on the upper left &amp; lower right corners of the cover and here it was not yet November. <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'>Although I knew who Lyn was &#8211; we&#8217;d had a fitful correspondence earlier as I&#8217;d misunderstood what she was trying to do in her writing &#8211; and I knew, at some level, that she was the person responsible for Tuumba, so that this person behind the table very likely would be her, I just burst into some rhapsody about how wonderful I thought the poetry of Ken Irby was &#8211; still do, in fact &#8211; and that it was terrific to see that a new press existed that recognized this. She then introduced herself &#8211; count on her to have the better social skills here &#8211; and I apologized for being such an idiot during our correspondence, and we took it from there, a conversation that in some important ways is still continuing, in good part of late thanks to the <i style='mso-bidi-font-style:normal'>Grand Piano. </i>Irby must have been around that weekend as well &#8211; when did he moved back to </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Lawrence</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>? &#8211; since my copy of <i style='mso-bidi-font-style:normal'>Archipelago </i>is signed/doodled by him in his terrific calligraphic hand, dated &#8220;Ft Mason / Oct76.&#8221;<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'>I think it&#8217;s remarkable that a group of friends &#8211; the circle doesn&#8217;t stop at the border of this particular series of books &#8211; can have the kind of lifelong sustaining relationships that we have had &amp; are still having in the lives and work of one another. As a writing project, <i style='mso-bidi-font-style:normal'>The Grand Piano </i>is a fascinating, complicated, sometimes extremely difficult task. (Right this very moment, I&#8217;m ten days overdue on my assignment of turning in a draft of my section for volume six, the book in which I go first.) Although we are now in the second year of our actual writing &amp; production of the series, we have been discussing this project now for ten years, mostly via email &amp; a listserv. When I was in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Detroit</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> last month, Barry mentioned to me that his email folder for the <i style='mso-bidi-font-style:normal'>Piano </i>had over 5,000 items in it. I totally believe it. Mine is lighter than that mostly because I&#8217;m not the person who has to deal with printers, nor with the finances, nor with the distribution questions that Barry &amp; Lyn both have to handle. <span class=GramE>Nor Tom Mandel with the website, nor Alan Bernheimer with the documentation.</span> This is a daunting amount of labor and none of us could do it by ourselves, frankly. I can&#8217;t even begin to say how impossible <i style='mso-bidi-font-style:normal'>The Grand Piano</i> would be without Barry to do the typesetting, design work (tho in fact we all review and sign off on it, so that the man is in the unenviable position of reporting to many masters) and trying to manage the calendar. That last one is a skill completely foreign to me. <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 certainly true that <i style='mso-bidi-font-style:normal'>The Grand Piano </i>is a work empowered by the  literary diaspora of the West Coast language poets &amp; that it wouldn&#8217;t likely be happening now if we were all still living within a BART ride of one another. Yet in the past year, I&#8217;ve been most fortunate to see seven of my collaborators, eight including Bernheimer. Barry &amp; Carla have been good enough to let me sleep under their roof, as has Tom Mandel &amp; his spouse Beth Joselow. Bob Perelman &amp; I have found ourselves at the gardening store buying plants together, or at least accompanying Krishna &amp; Francie who are the knowledgeable ones in that domain. But the <i style='mso-bidi-font-style:normal'>Piano </i>gives us each so many other ways to be involved in each other&#8217;s lives &#8211; the work itself is an act of joy.<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'>I look at other collaborative projects around poetry, such as the <a href="http://tinyurl.com/37eusj"><span style='color:black'>Subpress Collective</span></a> that has produced so many important books in the past eight years or so, and I hope that there&#8217;s more to this experience for its editors than simply the process of taking turns putting out editions, each the lonely accomplishment of just one or two individuals. The real difference between the <i style='mso-bidi-font-style:normal'>Grand Piano </i>poets and so many of the other collective or collaborative literary formations over the past century always seems to me just how deeply and for how long we have meant so much to one another. Whenever I hear language bashing today, what I really hear most profoundly is <span class=GramE>an envy</span> on the part of isolated individuals that language poets, so-called, seem to have such a big, loud, mostly happy family. It&#8217;s something I wish every writer had the opportunity to experience. So today I want to say thank you to Rae Armantrout, Steve Benson, Alan Bernheimer, Carla Harryman, Lyn Hejinian, Tom Mandel, Ted Pearson, Bob Perelman, Kit Robinson &amp; Barrett Watten &#8211; your lifetimes of generosity are extraordinary. <o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-family:Arial;color:black'>&#167;<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Plus a special thanks today also to <a href="http://www.myspace.com/geoffreygatza"><span style='color:black'>Geoffrey Gatza</span></a>, who each year creates a menu of poetry for a member of the literary community for Thanksgiving.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> This year&#8217;s selection (which is now on the <a href="http://www.blazevox.org/thanks.htm"><span style='color:black'>BlazeVOX</span></a> website) is <i style='mso-bidi-font-style:normal'>This is It, </i>a feast in the shape of an  alphabet, and the guest of honor <span class=SpellE><i  tyle='mso-bidi-font-style:normal'>c&#8217;est</i></span><i style='mso-bidi-font-style:normal'> <span class=SpellE>moi</span>.</i> It&#8217;s a  sumptuous feast in several ways, those you&#8217;d expect and some you wouldn&#8217;t. I put on two pounds just reading the table of contents.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, July 12, 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'>I&#8217;ve been thinking about poetry readings &amp; their importance, especially to poets from my own generation. It&#8217;s not an accident, for example, that the collective autobiography in which I&#8217;m currently participating is called <i style='mso-bidi-font-style:normal'>The Grand Piano, </i>since that reading series proved the catalyst to what became known as language poetry on the West Coast. Nor is it an accident that Charles Bernstein has put such energy into preserving the sound of so many readings, from his early <i style='mso-bidi-font-style:normal'>Ear Inn </i>CD &#8211; functionally the New York counterpart to <i style='mso-bidi-font-style:normal'>The Grand Piano </i>&#8211; to the volume <i style='mso-bidi-font-style:normal'>Close Listening, </i>the various radio shows with which he&#8217;s been associated or the monumental <a href="http://www.writing.upenn.edu/pennsound/"><span style='color:black'>PENNsound</span></a>, the largest archive of poetry MP3s on the web. <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'>In 1977, when Tom Mandel &amp; I took over <span class=GramE>curating<span style='mso-spacerun:yes'>  </span>(</span>nobody used that word for coordinating a reading series back then) the Grand Piano on </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>Haight Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>, we tried very hard not to let the series become too closely identified with just our kind of poetry. For one thing, both of us read more broadly than that, and both of us understood that an important part of the argument for &#8220;our&#8221; take on poetry was not only our poems themselves &#8211; tho we&#8217;ll happily stand behind them &#8211; but also how they reflected on a wide range of other kinds of writing. In a sense, our broader mission was not so far removed from that of this blog, to shed light on a lot of interesting kinds of work, to see how they fit together and, at times, how they might clash as well.<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'>Our very first reading featured David Melnick and Morgan Wines. I&#8217;d known Melnick&#8217;s work for a decade at that point, had had a hand in helping him finalize some of the poems in <i style='mso-bidi-font-style:normal'>Eclogs, </i>and love (to this day) everything he&#8217;s written. <span class=GramE>Wines was</span> the young poet of the moment at UC Berkeley. But our second reading went to Eugene Wildman, the innovative fiction writer who had edited the <i style='mso-bidi-font-style:normal'>Chicago Review </i>in the late 1960s. Mandel, like Melnick, had gone to the </span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>University</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Chicago</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; the <i style='mso-bidi-font-style:normal'>Review </i>had been the first &#8220;major&#8221; magazine to take my work seriously, to use it on multiple occasions. <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 following month we devoted two of the evenings to individuals in greater depth, Simon Ortiz &amp; David <span class=GramE>Gitin,</span> and we did the same again in March with Steve McCaffery &amp; Mary Oppen. We had Richard Tillinghast &amp; Robert Dawson, two former students of Robert Lowell (both of whom had, at that point, &#8220;abandoned&#8221; writing&#185;, tho Tillinghast took it up again later). We had readings by Actualists (Darrell Gray &amp; Cary Gunn in one reading, G.P. Skratz, Victoria Rathbun &amp; Michael-Sean <span class=SpellE>Lazarchuk</span> in another), Latino activists (Luis <span class=SpellE>Talamantez</span> &amp; <span class=SpellE>Dorinda</span> Moreno), <span class=GramE>feminists</span> (Judy Grahn &amp; Paula Gunn Allen, the latter subbing for Pat Parker who was too sick to read). These were sometimes frustrating readings, in that I wanted the Piano&#8217;s regular audience to hear these poets, but if we strayed  too far from the post-avant our audience stayed home. <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'>A much better model was mixing poets from different, but compatible, aesthetics. Michael Palmer read with Lorenzo Thomas. We got Ted Berrigan to read with George Stanley, still the single most exciting reading with which I&#8217;ve ever been involved. Each seemed to bring their own audience of roughly 55 people &#8211; the Piano held maybe 80 people &amp; this one was way over the fire code I&#8217;m sure. Many in each audience, it seemed, had never even heard of the other poet. Both gave great readings, but followed this later on with two very separate parties.&#178; <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'>Solo evenings, an opportunity to hear somebody in some <span class=GramE>depth,</span> went to Norman Fischer, Johanna Drucker, Joanne Kyger, Clark Coolidge, Ronald Johnson, Robert Duncan, Andrei Codrescu, Larry Eigner, Kenneth Irby. Bob Perelman&#8217;s production of Louis Zukofsky&#8217;s <i style='mso-bidi-font-style:normal'>&#8220;A&#8221;-</i>24 (voices by Steve Benson, Barrett Watten, Kit Robinson, <span class=GramE>Lyn</span> Hejinian &amp; Carla Harryman) was one night&#8217;s event. Another night &#8211; the summer solstice of 1977 &#8211; was a reunion of poets active in the Haight during the Summer of Love a decade before. Still another was devoted to poets reading their &#8220;first&#8221; (or at least first saved) poems, which was honestly advertised as a &#8220;wonderful night of terrible poetry.&#8221; <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'>My sense at the time was that  I had a pretty good handle on what was going on in poetry around the Bay Area &amp; whatever I didn&#8217;t know firsthand Tom seemed to have been reading for years. For one thing, I&#8217;d been going to two readings a week for the previous five years I&#8217;d been in San Francisco &#8211; something I did pretty much without fail from, say, 1970 (when the readings I got to were mostly in Berkeley) right through to about 1990. In retrospect, that&#8217;s maybe 2,000 readings. If the internet is one thing that makes the lives of poets today different from what existed when I was in <i style='mso-bidi-font-style:normal'>my </i>twenties &amp; thirties, readings separated my age cohort from earlier generations of poets. How many readings did William Carlos Williams give over the course of his very long career? <span class=GramE>Or Ezra Pound?</span> <span class=GramE>Or Gertrude Stein?</span> <span class=GramE>Or Louis Zukofsky?</span> Even the New Americans &#8211; the poets who made the reading the center of poetic activity in the 1950s, both in New York (where the key figure was Paul Blackburn whose events turned eventually into the series that begat the Poetry Project) &amp; in San Francisco (where the reading at The Six Gallery in 1956 had proven pivotal) &#8211; never had the opportunity to go to as many decent readings as were available to poets from the late 1960s onward. Still, in all the years I lived in the Bay Area I saw Phil Whalen give a solo reading just once, in a bookstore on the occasion of the publication of <i style='mso-bidi-font-style:normal'>On Bear&#8217;s Head.</i><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'>Actually, when I returned to San Francisco in 1972 (I&#8217;d lived in the Haight in 1966 &amp; &#8217;67), there were just two regular long-lasting series in town, the mid-day readings out at San Francisco State &amp; the series at Intersection, which was then on Union Street in North Beach, just down from the San Francisco Art Institute. By the early 1980s, <i style='mso-bidi-font-style:normal'>Poetry Flash </i>was regularly listing five readings a night in the Bay Area, a number that proceeded to grow. I may have been more diligent (or at least more obsessive) about it than others, but poetry readings <i style='mso-bidi-font-style:normal'>were </i>my education as a poet, much more so than college had been. I felt ready to publish almost the instant I began writing &#8211; which meant in practice that I would be making all my mistakes in public &#8211; but I went through several stages of relating to readings before I felt ready to put one on or to coordinate a series.<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'>My first readings were part of an open <span class=SpellE>mic</span> affair that was held every Sunday afternoon at what was then <span class=SpellE>Rambam</span> Books on </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>Telegraph  Avenue</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>, now Shakespeare &amp; Company. Some of the other readers there at the time included Pat Parker, Richard <span class=SpellE>Krech</span>, John Oliver Simon, <span class=GramE>Gerard</span> van <span class=SpellE>der</span> <span class=SpellE>Luen</span>. It was when &#8220;our&#8221; open <span class=SpellE>mic</span> series was pre-empted for a &#8220;birthday&#8221; memorial reading of the work of Jack Spicer that I first heard Robin Blaser &amp; first discovered Spicer&#8217;s work. My own first &#8220;featured&#8221; reading was on a bill with radical right gadfly Stephen Schwartz at the Coffee Gallery on </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>Grant Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'> in  </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>North</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Beach</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. That was sometime in late 1965 or &#8217;66. I read around as much as I could in those days, <span class=GramE>then</span> stopped pretty much cold sometime in 1968 or early 1969. I was concerned that people were enjoying the humor in my poetry too much and I was watching other poets turn into literary standup comics (tho hardly to the degree I would see a decade later with the Actualists). I started reading again as part of the antiwar readings around UC Berkeley in the summer of 1970, where I found myself on bills with David Bromige &amp; Peter Dale Scott, Ken Irby &amp; Harvey Bialy. When I moved back to the City two years later, I was able to get a reading at Intersection because the organizers there were really interested in my proposed co-reader, Irby. For the next three years or so, I would read once a year with Barrett Watten, but it was not what you would call a regular process.<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 first reading I ever put on was a benefit for the prison movement group with which I was working at the time. They&#8217;d held a benefit in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Rafael</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> with the Tubes as headliners, thinking that the fact that the Tubes had a number one record that year ensured that they would rake in the cash. But the band was not well organized &amp; the event, which they controlled, wasn&#8217;t controlled at all. They gave away so many free tickets to this rented nightclub that it was impossible to recoup even the small outlay the group had put forward. Afterwards, disgusted with rock culture &#8211; I was not a Tubes fan to begin with &#8211; I said something like, &#8220;I could raise more money with a poetry reading.&#8221; And was challenged to do <span class=GramE>so on</span> the spot. I got Robert Creeley, Joanne Kyger &amp; Edward Dorn to read together at the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>San  Francisco</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Unitarian</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Church</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, sold 400 tickets at $4 each (a very high ticket price for 1973) and we ended up making over $1,000 net for the organization. You can still hear Edward Dorn&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://ubu.artmob.ca/sound/dial_a_poem_poets/disconnected/Disconnected_28_dorn.mp3"><span style='color:black'>Recollections of <span class=SpellE>Gran</span> Apachería</span></a></i>&#179; and Robert Creeley&#8217;s &#8220;<a href="http://ubu.artmob.ca/sound/dial_a_poem_poets/disconnected/Disconnected_11_creeley.mp3"><span style='color:black'>The Name</span></a>&#8221; from that very reading, thanks first to John <span class=SpellE>Giorno&#8217;s</span> <i style='mso-bidi-font-style:normal'>Disconnected </i>&amp; now Kenny Goldsmith&#8217;s <a href="http://www.ubu.com/"><span style='color:black'>Ubuweb</span></a>. <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'>So it&#8217;s worth noting that when Tom &amp; I ran the Piano series, I looked around as best I could to see if I could find any &#8220;new&#8221; poets to introduce to our audience. Even with the Piano every Tuesday night, I had time to get to at least one, if not two, other readings around town and I made a conscious effort to attend readings where I did <i style='mso-bidi-font-style:normal'>not </i>already know the work of the readers. There was just one reading that I attended, really over the two years that Tom &amp; I were co-coordinating the series, where I came back and said to Tom, &#8220;We <span class=SpellE>gotta</span> book these guys.&#8221; It was a reading that <a href="http://www.yelp.com/biz/QLnYFOcuDuH1FyvA6VekGg"><span style='color:black'>David <span class=SpellE>Highsmith</span></span></a> put on at Third Floor Books, his attempt at an art book store up in a loft space just South of Market. Most of the floor was given over to an art gallery run by Carl <span class=SpellE>Loeffler</span> &#8211; there were quite a few similar spaces in the South of Market area during those years as businesses emptied out in advance on the forthcoming &#8220;urban renewal&#8221; that turned into the Moscone Convention Center &amp; all the surrounding venues, from the new art museum to the Marriott Jukebox. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Highsmith</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> had told me of these poets, neither of whom as new to the Bay Area, tho new to me. Just as Rachel Loden &amp; I can tell that we were around the same scenes in the region from the Berkeley Poetry Conference in 1965, which we both attended, thru at least the 1970s, but ultimately met over the web, I somehow had been in the same circles as both <a href="http://tinyurl.com/339cdz"><span style='color:black'>Keith <span class=SpellE>Shein</span></span></a> &amp; <a href="http://epc.buffalo.edu/authors/pearson/"><span style='color:black'>Ted Pearson</span></a> for years, but somehow had not bumped into either before. <span class=SpellE>Shein</span> was understandable &#8211; he was working as the tennis pro at </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>Dominican</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>College</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> in Marin and living in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Novato</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, sort of the anti-Bolinas of that county, the sort of bedroom suburb where lots of the residents worked in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> as police or firemen. I never did figure out how Ted &amp; I managed not to run into each other. We knew the same people at SF State &amp; his interest in the Objectivists &amp; the rigorous side of the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Black</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Mountain</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> thing was obvious the instant you heard him. <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'>So we booked Keith with Steve <span class=SpellE>LaVoie</span>, a lanky young poet who had some aspects of Actualism &amp; some of what would come to be called langpo about him, but who seemed to be steering his own way. The next week, we booked Ted with Alan Bernheimer, which got him introduced to a new audience. <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; We talked with them about this as we set the event up, since we didn&#8217;t want either to feel uncomfortable. Basically, the story as we got it was that the terms in which they&#8217;d learned writing &#8211; pure School of Quietude &#8211; proved not to apply in the &#8220;real&#8221; (read &#8220;off-campus&#8221;) world. Tillinghast was working with a Sufi orchestra at the time, </span><st1:City><st1:place><span   style='font-size:8.0pt;font-family:Arial;color:black'>Dawson</span></st1:place></st1:City><span style='font-size:8.0pt;font-family:Arial;color:black'> had become a photographer. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; I</span></span><span style='font-size:8.0pt;font-family:Arial;color:black'> attended both, tho they were in different parts of the city. When some of the Actualist poets started telling Berrigan how great he was in comparison &#8220;with that other guy,<span class=GramE>&#8221; <span style='mso-spacerun:yes'> </span>he</span> stopped them cold &amp; gave a great, and fairly lengthy, lecture on all the wonderful things there were to hear in the poetry of George Stanley, things he had heard that very evening, and of the whole importance of the Spicer Circle &amp; in the poets in that Circle beyond just Spicer. I had never heard Berrigan &#8220;lecture&#8221; before, but it was a terrific &#8211; and totally honorable &#8211; moment. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#179; Comment <span class=GramE>readers</span> who imagine that I&#8217;m out to &#8220;get&#8221; Ed Dorn, please note. <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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