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<h2 class='date-header'><span>Friday, September 12, 2003</span></h2>

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<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Coromandel</span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> is an Indian term referring
originally to the coastal region of </span><st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Southeastern India</span></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> along the </span><st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Bay of Bengal</span></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> &#8211; essentially the coast facing out
towards </span><st1:country-region><st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Sri Lanka</span></st1:place></st1:country-region><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;"> &#8211; the term derived apparently from <i style="mso-bidi-font-style: normal;">Cholomandalam</i>, the land of the Chola, the
Indian dynasty that ruled, between the 9<sup>th</sup> and 12<sup>th</sup>
centuries, what is now Tamil Nadu. The word <i style="mso-bidi-font-style: normal;">Coromandel
</i>was generalized by the British into something akin to <i style="mso-bidi-font-style: normal;">coastal, </i>which meaning then spread to other parts of the empire,
notably </span><st1:country-region><st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">New Zealand</span></st1:place></st1:country-region><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">. Somewhere in the process the word
also became a popular name for hotels, though so far as I can make out, it&#8217;s
neither a corporate chain in the sense, say, of Westin, nor a term with the
concept linguistically implicit, the way <i style="mso-bidi-font-style: normal;">Patel,
</i>a Gujurati term for innkeeper, has become a surname for so many in the
Indian diaspora. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Coromandel </span></i><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">also is the name for </span><st1:personname><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Thomas Meyer</span></st1:personname><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">&#8217;s newest book, a 64-page poem
issued as a fat chapbook from La Révolution Opossum in skanky </span><st1:place><st1:city><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">Austin</span></st1:city><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">, </span><st1:state><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">TX</span></st1:state></st1:place><span style="font-family: &quot;arial&quot;; font-size: 10.0pt;">. This is the poem I referenced in
passing <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2385147325">in
a discussion</a> of the format of Kenneth Warren&#8217;s <i style="mso-bidi-font-style: normal;">House Organ, </i>which had printed an excerpt from &#8220;Book Two.&#8221; My
footnote read &#8220;<span style="color: black;">Suggesting of course the presence of
&#8216;Book One&#8217; &amp; the possibility of others. Is there a new Tom Meyer long poem
in the works?&#8221; As it turns out, I was half right &#8211; there was such a poem in the
works, but, interestingly enough, no Book One. Therein lies a tale.<o:p></o:p></span></span></div>
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<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Meyer
could rightly be characterized as a 3<sup>rd</sup> generation projectivist
poet, having studied with </span><st1:personname><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Robert Kelly</span></st1:personname><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;"> at Bard &amp; having
lived at least part of the year within driving distance of Black Mountain
College itself for 30 years whilst living with one of its best known grads, the
peripatetic logodaedalist himself, Jonathon Williams. As is the case with the
third generation anything, the hard won victories of the forefathers (&amp;,
save for Levertov, fathers is exactly what they were) become as self-evident
&amp; fully absorbed as the sun, enabling the writer to do whatever it was he
intended all along. Thus if the beloved moment of projectivism occurs at the
end of the line, that point at which meanings &amp; rhythms turn &amp; twist,
Meyer has virtually never written a line anywhere in his work that was
unconscious or poorly executed. But at the same, he also has never written a
line where the break itself was the point. <o:p></o:p></span></div>
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<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Literary
history being the history not of poems &amp; prose, but of change, third
generation writers often go underappreciated even as they produce some of the
very best &amp; most satisfying works of their respective periods. At least the
NY School&#8217;s third class had some geographic sense of cohesion &#8211; though look at
the history of <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382632146">Actualism</a>
to see what might happen in its absence &#8211; but after the transformation of <i style="mso-bidi-font-style: normal;">Caterpillar </i>into not a butterfly, but <i style="mso-bidi-font-style: normal;">Sulfur, </i>projectivism went for over a
decade really without a journal or press seriously devoted to its development
&amp; evolution, before it began to show up again as one of several focuses for
Ed Foster&#8217;s Talisman, &amp; then with sharper focus in <i style="mso-bidi-font-style: normal;">House Organ&#8217;s </i>rough-&amp;-ready format &amp; finally the superb
volumes being put forward by Devin Johnston&#8217;s Flood Editions. It&#8217;s an integral
part of the Skanky Possum program as well. <o:p></o:p></span></div>
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<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Structurally,
<i style="mso-bidi-font-style: normal;">Coromandel </i>has five sections, each
shorter than the one that preceded it. The first, the aforementioned &#8220;Book II&#8221;
(19 pages in this chapbook), is composed of unrhymed couplets. The second
section, &#8220;This is the House&#8221; (17 pages), is a long single stanza, individual
lines generally running anywhere from one to nine words. The third, &#8220;Quincunx&#8221;
(14 pages), is composed of five line stanzas. The fourth, &#8220;Part 4&#8221; (6 pages in
this format, although it would telescope down considerably with a wider page
that didn&#8217;t require so many hanging indents), treats each long line as an
individual stanza. The last, &#8220;Trikona&#8221; (2 pages), has eight three-line stanzas.
Thus all but one section alludes in its title to some aspect of number. But the
&#8220;II&#8221; in &#8221;Book II,&#8221; if it has any referential or formal meaning seems to point
not to the position in the sequence but counterintuitively to lines per stanza.
Ditto &#8220;Quincunx&#8221; and &#8220;Trikona.&#8221; Yet &#8220;Part 4&#8221; is, in fact the fourth part. And
that section reflects no correlation between number &amp; internal form. <o:p></o:p></span></div>
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<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Walter
Benjamin&#8217;s distinctions between titles &#8211; terms or phrases that &#8220;name the entire
work&#8221; &#8211; and captions &#8211; terms or phrases that point into a work &amp; thus
organize our reception &#8211; is worth considering here, because at some level
Meyer&#8217;s work is doing something different altogether. Just as the &#8220;II&#8221; is not a
way to characterize the formal structure of the first section of the poem,
neither does &#8220;Quincunx&#8221; really function to identify the 102 five-line stanzas
that fall under it. &#8220;Trikona,&#8221; Sanskrit for triangle, has its origin as a term
in yoga, the theory of charkas and Indian abstract design. <i style="mso-bidi-font-style: normal;">Fiveness </i>&amp; <i style="mso-bidi-font-style: normal;">threeness</i>
are as much a part of these words&#8217; connotative undercoating as they are of
their denotative functionality. Each title stands rather as if at an angle with
regards to the work it envelopes or at least touches. <o:p></o:p></span></div>
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<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Meyer
is a poet who values precision, perhaps above any other aspect of his writing.
&amp; </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Coro</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">mandel </span></i><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">is the project of his that comes closest to a classic
configuration of the New Sentence. Just as the New Sentence functions not only
by what it may say but <i style="mso-bidi-font-style: normal;">even more </i>by
what gets configured in the blank territory between sentences, Meyer here creates
a work that comes alive through the constant deferral, reflection &amp;
refraction of meaning. &#8220;Not place, but position,&#8221; as he says at the end of this
passage in &#8220;This is the house&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">A train passes.
Stars<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">order<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">love&#8217;s<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">numbers.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Apparently us.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Measure.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Of all this.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Nothing but<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">sun<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">above trees.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Horus sucks his<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">thumb.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">They gather the
dark in baskets<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">the livelong day.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Maple leaf. Angel&#8217;s
wing.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Feather.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">This book&#8217;s leaves<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">fall from trees.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black; font-family: &quot;verdana&quot;; font-size: 10.0pt;">Not place, but
position.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">Periplum </span></i><span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">was the term Pound borrowed
from Greek sailors, negotiating a territory of constant reconfiguration.
Language likewise operates through a continual process of differentiation. The
space between words is, in fact, a distancing effect. Meyer throughout this
book is identifying exactnesses. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">As
the passage above suggests, Meyer prefers his effects to be subtle, the shifts
gradual rather than angular. The gap between sentences in &#8220;Measure. / Of all
this.&#8221; is hardly a canyon. It&#8217;s not that Meyer can&#8217;t or won&#8217;t move toward an
extreme &#8211; &#8220;Giordano Bruno&#8217;s charred body rises in my sleep&#8221; &#8211; but the reader
does not get the cognitive whiplash that is sometimes a feature of langpo. The
result is closer to the music of a Satie than, say, a Wagner. Or Johnny Rotten.
Or perhaps I should say simply that Meyer seems to have located the space in
the projectivist tradition that comes closest to the poetry of a writer like
Forrest Gander or Ann Lauterbach. In this sense, <i style="mso-bidi-font-style: normal;">Coromandel </i>feels very much to me like a poetry for grown ups.
Which, for example, Rimbaud is not. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: &quot;arial&quot;; font-size: 10.0pt;">If
I have a hesitation or aesthetic difference with this book, it&#8217;s only in its
sequence of successively shorter segments, a movement that grates against my
own bias for a form that spirals from the innermost part of the mollusk toward
its outer rim. Meyer&#8217;s process in this sense feels anti-narrative in a way that
I&#8217;m not certain he intends. I could, I suspect, make an argument for the logic
of it, not unlike the way the titles deploy number. Or like Zeno&#8217;s footsteps
growing successively shorter on their way to the door. Yet no amount of
intellectual justification will ever fully mute that tiny scratching on the
blackboard of my soul. Underneath this complex &amp; quite gorgeous tour de
force, I hear it still. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Friday, November 15, 2002</span></h2>

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<span style="font-family: Arial;">On Tuesday, I noted <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2384413017">my
confusion</a> as to whether Thom </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan&#8217;s &#8220;<i style="mso-bidi-font-style: normal;">towards </i>24 Stills&#8221; in <i style="mso-bidi-font-style: normal;">Kiosk </i>no. 1 should be read as a complete
work or as an excerpt. In a footnote, I suggested that such confusion wasn&#8217;t
restricted to just </span><st1:personname><span style="font-family: Arial;">Don</span></st1:personname><span style="font-family: Arial;">ovan&#8217;s work or to my own experience as a reader.
Mulling it over further in the days since, I have been reminded of <i style="mso-bidi-font-style: normal;">A Technographic Typography,</i> a poem
reportedly of more than 800 pages that was being produced by Thomas Meyer back
in the 1960s when he was still a student at Bard.* Anyone who has read the
crisp, clean, short work of Tom&#8217;s mature poetry in books such as <i style="mso-bidi-font-style: normal;">At Dusk Iridescent </i>(Jargon, 1999) will
find it hard to believe that there was once was a sprawling, potentially
endless text, even if, line by line, it showed that same attentive care for
craft that has become Meyer&#8217;s signature. In somewhat parallel fashion, the teenager
who was the late Frank Stanford completed the 15,283 line <i style="mso-bidi-font-style: normal;">The Battlefield Where the Moon Says I Love You </i>&#8211; nearly five times
the length, say, of <i style="mso-bidi-font-style: normal;">Beowulf </i>&#8211; went
off to college &amp; transformed into a writer of much tamer short poems by the
time he put a gun to his head at the age of 29. At some point during each of
their careers, both Meyers &amp; Stanford appear to have shifted their idea of
the scope of a poem. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I on the other hand seem to have
gone in the opposite direction. Before I wrote the booklength prose poem <i style="mso-bidi-font-style: normal;">Ketjak, </i>let alone <i style="mso-bidi-font-style: normal;">Tjanting </i>or the on-going <i style="mso-bidi-font-style: normal;">Alphabet</i>
(800 pages in manuscript &amp; counting), I published <span class="SpellE"><i style="mso-bidi-font-style: normal;">nox</i></span><i style="mso-bidi-font-style: normal;"> </i>with Burning Deck in 1974, a collection of 60 poems that use a
total of 135 words. Here is the only poem in <span class="SpellE"><i style="mso-bidi-font-style: normal;">nox</i></span><i style="mso-bidi-font-style: normal;"> </i>that stretches out to four lines:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">cabin</span></span><span style="font-family: Arial;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">quilt</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">river</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">latch</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">More typical are:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">ease</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial;">awes</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;">Or:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="SpellE"><span class="GramE"><span style="font-family: Arial;">bolism</span></span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Because <span class="SpellE"><i style="mso-bidi-font-style: normal;">nox</i></span><i style="mso-bidi-font-style: normal;"> </i>is set in a series of fifteen quadrants, four poems to a page,
I&#8217;ve heard some <span class="GramE">readers</span> report that they could not
tell if each page was one poem or even if the book was a single work. It&#8217;s not
an unfair question, even if an answer in the negative seems transparently
obvious to me. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This question of scope or
scale is not precisely the same as the question of when (or how) a poem ends,
although I sense that the two are closely intertwined. The problem of endings,
of closure, is even more complex &amp; difficult than that bit of magic through
which a poem begins. That fact alone accounts for any number of phenomena,
including the trouble readers, myself included, have deciding what the
boundaries of a given text might be. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">At one level, one of, &amp;
perhaps <i style="mso-bidi-font-style: normal;">the</i>, strongest attraction of
closed forms in poetry lies not simply in the pale pleasures of pattern recognition
(real though they may be), but in the fact that the end point is <i style="mso-bidi-font-style: normal;">déjà toujours</i> determined before a single
letter has been committed to paper. Since the poet knows in advance where he or
she is going &#8211; on a journey of three or fourteen or however many lines &#8211; the
opportunities for getting lost along the way are proportionately fewer.
Conversely, the old creative writing school saw that a novel is a &#8220;long
fictional <span class="GramE">prose work</span> with a flaw,&#8221; all but
acknowledges that a major engine of <span class="SpellE">flawedness</span> is
precisely the difficulty of locating the right end-point for an indeterminate
work, a potential problem that it shares with all poetry that is not defined in
advanced by a fixed form. More than one long poem has been started only to
disappear into in an inconclusive never quite finished state: <i style="mso-bidi-font-style: normal;">Leaves of Grass, <span class="GramE">The</span>
Cantos,</i> Beverly Dahlen&#8217;s <i style="mso-bidi-font-style: normal;">A Reading</i>,
&amp; the long untitled prose work from which Clark Coolidge managed to rescue
&#8220;Weathers&#8221; all demonstrate aspects of this issue. Only Celia Zukofsky&#8217;s
grafted-on <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;-24</i></span> <span style="font-family: Arial;">spares her husband&#8217;s epic that same fate. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The question of size or
scope impacts poems in all sorts of ways. Lines, sentence, even individual
words near the beginning or end carry a different sense of position than those
that appear to float &#8220;freely&#8221; in the middle. Indeed, one of the most
interesting moments in any poem, especially when one is reading a text on
paper, is that transition that occurs into an ending of the text, the moment at
which the logic of each word is dictated by how it will set up the final
phrase. It can occur in the last line or stanza, or even several pages from the
end, but you can almost always find it if you look closely. A poet such as
David Ignatow made a minor art form just out of this moment, the twist into the
conclusion &#8211; in some <span class="GramE">instances,</span> it&#8217;s the only thing
happening in the poem. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">An inverse transition occurs
near the start of a text, as it shifts from &#8220;setting out&#8221; to &#8220;settling in,&#8221; but
I think the reader is less apt to recognize its presence as the sense of
anticipation is quite different: it occurs at a point when the range of
reference in a text is still opening up. Most often it arrives at that exact
moment when the reader recognizes just how far &amp; wide the text itself can
go. At the far end of the text, just the opposite occurs: possibilities are
progressively stripped away until the poem arrives at an instant that is (or
should be) unavoidable. I would argue that these moments are as true for haiku
as for epics. In this sense, even the one-letter poems of Joyce Holland&#8217;s <i style="mso-bidi-font-style: normal;">Alphabet Anthology </i>(Iowa City: X Press,
1973<span class="GramE">)*</span>* have a beginning, middle &amp; end. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">These are not the only
changes that take place when works are <span class="SpellE">exceprted</span>. <span class="GramE">Part :</span> whole relations become entirely invisible. But it&#8217;s
just these transitional cues that are blurred whenever poems appear only in
part. Sometimes &#8211; though not always &#8211; other language in the excerpted text
takes over the role, assigned to it as much by a reader&#8217;s intuition as by the
text itself, surrogate transitions specific to the local occasion. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Thinking about it, it seems
entirely possible that <span class="GramE">neither Stanford or</span> Meyer did
change their sense of completeness when they shifted away from the epic-length
projects of their youth. In Meyer&#8217;s case especially, it may have been that he
wanted (or even needed) at that point to compose without the necessity of such
closure. I know in my own case that the transition from the microwriting of <span class="SpellE"><i style="mso-bidi-font-style: normal;">nox</i></span><i style="mso-bidi-font-style: normal;"> </i>to book-length projects, such as <i style="mso-bidi-font-style: normal;">Ketjak</i>, proceeded very quickly. At the
time it seemed that I was merely focusing in on the smallest elements in the
writing, without which I could not have attempted anything on a larger scale,
although in some very clear way in my head, I knew that I was a writer of long
poems almost a decade before I sat down &amp; started to write one. <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;">* I would
scarcely believe my own memory in this if I had not published &#8220;Fragment from
Graph 42&#8221; in <i style="mso-bidi-font-style: normal;">Tottels </i>4 back in July
1971. The engineering vocabulary, in both the work&#8217;s title and segmentation, is
another radical difference from Meyer&#8217;s later poetry. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Joyce
Holland is, or was, Dave Morice. <o:p></o:p></span></div>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<h2>Email</h2>
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<li>silliman AT gmail DOT com</li>
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<h2>Silliman Sites</h2>
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<li><a href='http://www.poets.org/poet.php/prmPID/1544'>Academy of American Poets</a></li>
<li><a href='http://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
<li><a href='http://www.facebook.com/ron.silliman'>Facebook</a></li>
<li><a href='http://www.goodreads.com/search/search%3Fsearch_type%3Dbooks%26search%5Bquery%5D%3Dron%2Bsilliman'>GoodReads</a></li>
<li><a href='http://www.english.illinois.edu/maps/poets/s_z/silliman/silliman.htm'>Modern American Poetry</a></li>
<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<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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<h2 class='title'>Other Books in Print</h2>
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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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