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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>Thom Donovan</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>Thom Donovan</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, June 07, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><o:p>&nbsp;</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"; 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://media.sas.upenn.edu/pennsound/authors/Donovan/Cy-Press-2011/Donovan-Thom_Cy-Press-Reading-Series_Thundersky_Cincinnati_11-21-11.mp3"><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"'>Thom Donovan</span></a><br> <span style='mso-spacerun:yes'> </span>reading in the <br> <a href="http://cypresspoetry.com/"><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"'>Cy Press</span></a> <a href="http://writing.upenn.edu/pennsound/x/Cy-Press.php"><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"'>Reading Series</span></a><br> Cincinnati, 2011<o:p></o:p></span></p>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/search/label/Thom%2520Donovan' rel='tag'>Thom Donovan</a>
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<h2 class='date-header'><span>Tuesday, November 12, 2002</span></h2>

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<span style="font-family: Arial;">Thinking more about the
problem <span class="GramE">of how one reads truly new poetry</span>, writing by
people whose work one doesn&#8217;t know. Let&#8217;s try another example. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Underneath the stack of <i style="mso-bidi-font-style: normal;">Mirage #4 / Period(ical)s </i>&#8211; that&#8217;s a
tough one to pluralize &#8211;<i style="mso-bidi-font-style: normal;"> </i>from which I
picked yesterday&#8217;s example, has been sitting the first-ever issue of <i style="mso-bidi-font-style: normal;">Kiosk</i>, published by three people I&#8217;ve
never heard of before who would appear to be students at SUNY Buffalo. It&#8217;s a
gorgeously done publication &#8211; visually the best first issue of anything hard
copy that I&#8217;ve seen since <i style="mso-bidi-font-style: normal;">The Germ.</i>
The table of contents lists many writers whose I work I follow: Alice Notley,
Kristen Gallagher, Fiona Templeton, Leslie Scalapino, Patrick Durgin, Catherine
Wagner, Michael Magee, Martin <span class="SpellE">Corless</span>-Smith, Jerome
Rothenberg, Gregg Biglieri, </span><st1:personname><span style="font-family: Arial;">Steve McCaffery</span></st1:personname><span style="font-family: Arial;">,
Lyn Hejinian, Raymond Federman, </span><st1:personname><span style="font-family: Arial;">Nick Piombino</span></st1:personname><span style="font-family: Arial;">,
Marjorie Perloff &amp; Charles Bernstein. <o:p></o:p></span></div>
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<span style="font-family: Arial;">One name that is new to me
is Thom </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan, about whom I have as little information as I
did for Richard Deming yesterday. Maybe he&#8217;s a student at </span><st1:city><st1:place><span style="font-family: Arial;">Buffalo</span></st1:place></st1:city><span style="font-family: Arial;">, but maybe not.* His text is entitled <i style="mso-bidi-font-style: normal;">&#8220;towards </i>24 Stills,&#8221; carrying forward
the mixed typographic elements I found in Deming&#8217;s title also. It&#8217;s possible
that this is a trend, something I should start keeping my eyes open for, but
it&#8217;s also possible that it really means that the text below is excerpted <i style="mso-bidi-font-style: normal;">from</i> a larger, possibly book-length
sequence or series entitled <i style="mso-bidi-font-style: normal;">24 Stills</i>.
Thumbing through the rest of the issue reveals no consistency, contributor by
contributor, in typographic styles for titles. So this ambiguity will just have
to linger.<o:p></o:p></span></div>
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<span style="font-family: Arial;">To the look at the first
page, with three one-paragraph prose sections separated by a simple left-margin
dash, my immediate instinct tells me that this will be a series of interrelated
short prose poems. The first one strikes me as intense &amp; problematic: <o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in; text-align: justify;">
<span class="GramE"><span style="font-family: Arial;">For marking museums.</span></span><span style="font-family: Arial;"> <span class="GramE">Birds, mid-flight, portrayed in
glass.</span> <span class="GramE">A stuffing that was wasted.</span> <span class="GramE">A way to enter and exit.</span> Roll film the way you found it. <span class="GramE">In a dark <span class="SpellE">dark</span> canister &#8211; traveling
through the dead throat.</span> To an aorta: blurt. Then the other side:
neutral children. <span class="GramE">Neutral, but built.</span> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The first four sentences are
truncated &#8211; all resonate with verbs (<i style="mso-bidi-font-style: normal;">marking,
portrayed, was wasted, to enter </i>&amp; <i style="mso-bidi-font-style: normal;">exit</i>)
shifted away from the normal predicate function, which in turn is left vacant.
These sentences carry the sound of captions or of definitions taken from a
curious dictionary. The sense is deliberately static, the lone visual image
self-consciously kitsch. Movement as such starts with the command of the fifth
sentence, creating an almost tectonic shift in the language. Initially, the
sixth sentence can be interpreted as &#8220;following&#8221; the fifth: film rolls are kept
in such canisters. The very possibility of meaning spreading outward beyond the
punctuated wall between sentences here is palpably felt in the reading. But the
latter half of the sentence, following the dash, seems spliced from another
linguistic source, although it also can be interpreted as leading the next
sentence<span class="GramE">.*</span>* In the process, we shift image schemes
away from film rolls &amp; toward the esophagus. This ends almost comically
after the colon with the lone syllable declaration: <i style="mso-bidi-font-style: normal;">blurt</i>. As such, a single word utterance, <i style="mso-bidi-font-style: normal;">blurt</i> could be a command, but, even more prominently, it stands for
the unique sonic bubble it is, bounded on either end by a hard consonant, next
to which lies a liquid surrounding that lone central vowel. It&#8217;s really a
beautiful word &amp; how often do we get to look &amp; listen to it like
this?<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The poem moves again after
that hard stop, the next word <span class="GramE"><i style="mso-bidi-font-style: normal;">Then</i></span><i style="mso-bidi-font-style: normal;"> </i>literally
marking sequence. Like so much else in this short piece, &#8220;the other side&#8221;
proposes a referent for which it offers no evidence. This is the third sentence
in a row to have some kind of hinge marked by punctuation, in this instance
leading to &#8220;neutral children.&#8221; This sentence harks back to the first &amp;
third as one that could have easily occurred in Stein&#8217;s <i style="mso-bidi-font-style: normal;">Tender Buttons</i>. Given that three sentences represents one-third of
the total paragraph, this can&#8217;t be accidental &amp; it raises the parallel
between Stein&#8217;s portraits of objects and the title of </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan&#8217;s work, &#8220;<i style="mso-bidi-font-style: normal;">towards </i>24
Stills.&#8221; The mysterious &#8220;neutral children&#8221; lead in turn to the first word of
the last sentence, also <i style="mso-bidi-font-style: normal;">Neutral</i>. This
leads one last time to a mid-sentence hinge, albeit one marked with the most
modest mode of punctuation, a lowly comma. The post-hinge segment <i style="mso-bidi-font-style: normal;">but built</i> echoes the previous hard stop
of <i style="mso-bidi-font-style: normal;">Blurt</i>. This short prose piece
literally ends on a variant of rhyme. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Reading through this 49-word
paragraph, all these thoughts flicker rapidly through my head during the 25
seconds or so it takes me to read it &#8211; it takes far longer to jot them down
here. It wasn&#8217;t, in fact, until that eighth sentence that the shadow of Stein
popped up for me &#8211; &#8220;neutral children&#8221; just sounds like her. To another reader,
her presence might have been evident from the very first. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">At this point in the
reading, two somewhat contradictory ideas are floating about in my head. One is
to recognize how carefully crafted this is. </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan clearly is in total control of his materials. The second, however,
is a lingering suspicion toward the larger project. I don&#8217;t yet have a good
enough concept of what he might be doing. Texts that lean too heavily on other
writers are something I don&#8217;t care for in avant or post-avant work. Regardless
of the source, it&#8217;s putting profound limits around the text. <span class="GramE">It&#8217;s</span>
why, for example, John Cage strikes me as at best a literary tourist, whereas
he is/was a real &amp; compelling composer. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It is, however, a perfectly
good strategy for any young poet trying to take on whatever might be going on
in the work of the source writer. Robert Duncan certainly had his Stein
imitations, for example, although they were not works he sought to save as part
of his mature oeuvre. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The next two sections of <i style="mso-bidi-font-style: normal;">&#8220;towards </i>24 Stills&#8221; proceed much as did
the first one, but when the reader turns the page, something akin to a new
world appears: six sections come into view, not one of which is in prose.
Unless the <i style="mso-bidi-font-style: normal;">towards </i>aspect of the
title is, in fact, an </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ication
of excerpting &amp; such excerpting was done with the specific idea of setting
up the drama of the turned page here, it&#8217;s simply a happy accident<span class="GramE">.*</span>** But each of the six sections on these pages &amp; the
four others on the next two greatly expand the work&#8217;s sense of range, tone
&amp; play. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are images &#8211;
conceptual schemas, really &#8211; that continue throughout these pieces: around film
as projection of imagery, as something driven on a track, as a mode of marking.
Theater, television &amp; video are all introduced. It&#8217;s not that the text moves
from non-referential toward something akin to figuration, but rather that there
are veins throughout the work that rein in the range of possible meanings,
rather like a collage that takes all of its imagery from a related set of
journals. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Some of the sections work
very well:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Drives
a stake, drives a wedge<br />
<span class="GramE">A</span> wedge, a stake<br />
into <br />
What it means to produce<br />
<span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>A train that will show<br />
The spectators themselves<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-tab-count: 4;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp; </span>And able to critique<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But others seem narrow,
suggesting that their justification as writing depends on their place within
the total project, rather than directly on what is at hand:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">With
infancy in his robes<br style="mso-special-character: line-break;" />
&lt;![if !supportLineBreakNewLine]&gt;<br style="mso-special-character: line-break;" />
&lt;![endif]&gt;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Patches<span style="mso-tab-count: 3;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>tense garment<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Disrobes<span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>Hello<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">My
ghost<span style="mso-tab-count: 2;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class="GramE">My</span> ghost<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Overall, I come away from
this </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t feeling unsettled. For one thing, even at the end
I&#8217;m uncertain if I&#8217;ve read the entire work or just 14 sections of something
larger+ (and, if it is the latter, where there really only 10 other sections
&amp;, if so, why weren&#8217;t they included here?). The theme, to call it <span class="GramE">that,</span> seems to me a structural device &amp;, as such, isn&#8217;t
compelling. But a lot of the writing here is excellent. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Deming had some advantages &#8211;
the presentation of multiple works, for instance &#8211; that </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan does not have here. But I might have been more persuaded if I had
read 14 works that seemed thoroughly </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ependent &#8211; which is to say dependent on themselves &#8211;
rather than 14 that &#8220;<span class="SpellE">sorta</span>&#8221; go together. <span class="GramE">In that sense, the film schema in </span></span><st1:personname><span class="GramE"><span style="font-family: Arial;">Don</span></span></st1:personname><span class="GramE"><span style="font-family: Arial;">ovan&#8217;s text actually seems to me to
weaken the work overall rather than strengthen it.</span></span><span style="font-family: Arial;"> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The next time I see work by </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan, I&#8217;m certain to start reading it. But where I know that I&#8217;ll read
Richard Deming&#8217;s poems when I see them next to their conclusion, </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan&#8217;s will still have to convince me. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">ovan, it seems, is the author of one
1999 chapbook from Potes &amp; Poets entitled <i style="mso-bidi-font-style: normal;">Sudden Miles</i>. He recently collaborated with Barbara Cole on a <a href="http://epc.buffalo.edu/ezines/rust/8/index">Rust Talks</a> event in </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Buffalo</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> on the subjects of video, video
games, porn, virtual reality &amp; related issues &#8211; suggesting that there is
more to this film schema than shows up in this text. He may be the same Thom </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">ovan who graduated from Oberlin in
1999, but does not appear to be any of several professional musicians who show
up under that name in a search on Google, nor the one-time associate pastor of
St. Marks Church. I did that search <i style="mso-bidi-font-style: normal;">after</i>
I wrote all of the above, largely because this is how I proceed with a poem I
find in a mag. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** With the
reiterated <i style="mso-bidi-font-style: normal;">dark </i>in the previous sentence,
it&#8217;s plausible that </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">ovan intends for us hear the echo of William Stafford&#8217;s poem
&#8220;Traveling Through the Dark,&#8221; in &#8220;traveling through the dead throat,&#8221; but, if
so, there&#8217;s no other evidence for it. It remains as an echo, possibly
unintended. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*** But how
happy is it? One of the things that <span class="GramE">makes</span> this </span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">tex</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;">t unsettling for me is the set of
expectations set up on the first page that are then undercut, but not
decisively redefined, by the next four. I wonder if it might not have been a
better strategy to see the prose amid the verse sections rather than to run
them all at the front, only to follow with the verse &#8211; something that always
bothers me about the </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Japan</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;">ese <span class="SpellE">haibun</span>
form, for example. See, for instance, Michael McClintock&#8217;s &#8220;The Face on the
Floor,&#8221; the first piece in his <i style="mso-bidi-font-style: normal;">Anthology
of Days</i> (Backwoods Broadsides Chaplet Series, No. 70) where a riveting
piece of prose is followed with three very <span class="SpellE">unriveting</span>
lines of poetry that feel &#8220;tacked on,&#8221; sort of a limp bow on an otherwise
bright package. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">+ This is
by no means a problem restricted to </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Don</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">ovan&#8217;s text, nor necessarily a sign
of any problem in the writing. When I taught a graduate course in writing at </span><st1:place><st1:placename><span style="font-family: Arial; font-size: 10.0pt;">San Francisco</span></st1:placename><span style="font-family: Arial; font-size: 10.0pt;"> </span><st1:placetype><span style="font-family: Arial; font-size: 10.0pt;">State</span></st1:placetype></st1:place><span style="font-family: Arial; font-size: 10.0pt;"> in 1981, I had students &#8220;read a
poem&#8221; aloud from Robert Grenier&#8217;s </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Oakland</span></i></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;"> (Tuumba Press, 1980) only to discover that the members of
this seminar &#8211; which included Jerry <span class="SpellE">Estrin</span>, Cole
Swenson, Susan Gevirtz &amp; Margaret Johnson &#8211; were almost uniformly unable to
tell when individual pieces began &amp; ended, even though many of them had
titles. The same assignment with Bruce Andrews&#8217; <i style="mso-bidi-font-style: normal;">Sonnets (Memento Mori)</i> (This Press, 1980) produced a similar
result, again in spite of titles &amp;, in this instance, a table of contents.
The question of a poem&#8217;s boundaries obviously is worth exploring </span><st1:city><st1:place><span style="font-family: Arial; font-size: 10.0pt;">furth</span></st1:place></st1:city><span style="font-family: Arial; font-size: 10.0pt;">er. <o:p></o:p></span></div>
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<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
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<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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<h2 class='title'>Ketjak</h2>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></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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