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Showing posts with label <b>Todd Swift</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>Todd Swift</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, October 20, 2002</span></h2>

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<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">A third question posed by the
new anthology <i style="mso-bidi-font-style: normal;"><a href="http://www.rattapallax.com/fusion.htm">Short Fuse</a></i> has to do with
the volume's underlying agenda. Its ambition can be gauged by the fact that
Swift &amp; Norton's intervention works in two directions simultaneously.
First, the book attempts to situate oral and performance poetries, aligned in
this particular case most closely to the slam &amp; spoken word scene rather
than to, say, sound poetry, well within the legitimated borders of text-based
work, placed alongside neoformalism, langpo &amp; McPoetry as an equal, not
just something quaint done by wannabes at your local slam tavern. Secondly
&amp; most ambitiously, <i style="mso-bidi-font-style: normal;">Short Fuse</i>
argues at least implicitly that oral poetries offer the "missing
link" between contending traditions of verse. Thus <i style="mso-bidi-font-style: normal;">Short Fuse</i> offers to transcend the poetry wars by placing itself
front &amp; center.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">Although <i style="mso-bidi-font-style: normal;">Short Fuse</i> is hardly the first anthology to suggest the breadth
&amp; diversity of oral &amp; performance poetries, it succeeds at its first
task. The book clearly demonstrates a phenomenon that is more global than any
other tendency within English-language poetry &amp; with a lot more pizzazz
than some.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">But to succeed at the second,
the performative poetries of <i style="mso-bidi-font-style: normal;">Short Fuse</i>
would have to overcome some serious limitations. This version of oral poetry
would have to become, for example, a genuine poetic tradition whose sense of
long term historical memory consists of more than the occasional Robert Service
/ <span class="SpellE">Vachel</span> Lindsay imitation.* <o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">Close to half of the work
presented in this particular vision of oral poetries could be described as
stand-up comedy routines transcribed for the page, some better, some not.
Polysemy in such works is not only close to non-existent, it's often
counterproductive, in that this is a poetry aimed toward an audience that
doesn't identify as readers &amp; which places at least as much value on
agreement &amp; titillation as it does on meaning. Still, multiple levels of
signification are possible, as Guillermo Castro's wry, wonderful homage to
Allen Ginsberg, "A Deli on </span><st1:street><st1:address><span style="color: black; font-family: Arial;">First Avenue</span></st1:address></st1:street><span style="color: black; font-family: Arial;">," demonstrates. But as a rule it's
not evident that, in the context of performativity, richness in content
advantages the text.<o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">I think it&#8217;s important to
note that <i style="mso-bidi-font-style: normal;">Short Fuse</i> as a project
represents one possible step toward just such an increase in depth &amp; this
may be its major achievement. Oral poetries by their very nature tend to be
local. If you don't see what, say, Edwin Torres<span style="mso-spacerun: yes;">&nbsp;
</span>is doing, you have relatively little access &amp;, by itself, a
transcription on paper is seldom enough to suggest all the many layers that are
potentially active when the poem itself is understood first of all as a score.
At a party I attended for the anthology in the offices of CLMP, the Council of
Literary Magazines and Presses, one Toronto poet told me how much she
appreciated hearing the work from Montreal at a reading the previous evening at
the New School. The two scenes, according to this poet, seldom communicate,
even though both are involved in parallel activities within the same country.
In bringing together so many like-minded writers from different regions and
parts of the world, Swift &amp; Norton may ultimately be taking the first steps
toward the creation of a performance metalanguage, a shared vocabulary that
would enable such writers to begin to build on what one another are doing
elsewhere.<o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">The absence of this vocabulary
is a major weakness in many of the oral poetries gathered in <i style="mso-bidi-font-style: normal;">Short Fuse</i>. It explains, in part, why so
much of this work falls back on the stand-up comedy routine as a formal
framework from which to operate &#8211; it&#8217;s something to which all these poets and
their audiences have been exposed. The lack of a metalanguage is precisely the problem
that has kept conceptual art in a position of always having to start over from
scratch with each new work, regardless the worker, regardless the scene. And
the absence of a true sense of tradition, of historical memory, is itself as
much a consequence of this lack of shared vocabulary as it is a cause. It is
precisely this absence that an oral poetics must overcome if it is to become
more than an adjunct to the text-based poetries of the day, interesting more as
sociology than literature. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">All of which is to say that I
don't think that <i style="mso-bidi-font-style: normal;">Short Fuse</i>, the
anthology, is going to change the world of letters, not now, not yet, but that
by envisioning what such a project might look like, </span><st1:personname><span style="color: black; font-family: Arial;">Todd Swift</span></st1:personname><span style="color: black; font-family: Arial;"> &amp; </span><st1:personname><span style="color: black; font-family: Arial;">Philip Norton</span></st1:personname><span style="color: black; font-family: Arial;"> have upped the ante for performance
poets everywhere. That is a huge achievement. And one from which we all benefit,
whatever our taste in poetry.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*If either
editor has read, for example, <i style="mso-bidi-font-style: normal;">Sound
Poetry: <span class="GramE">A</span> Catalogue, </i>edited by </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Steve McCaffery</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;"> and the late <span class="SpellE">bp</span>
Nichol (<span class="SpellE">Underwhich</span> Editions, 1978) or <i style="mso-bidi-font-style: normal;">The Poetry Reading: A Contemporary
Compendium on Language &amp; Performance</i>, edited by Stephen Vincent &amp;
Ellen <span class="SpellE">Zweig</span> (<span class="SpellE">Momo&#8217;s</span> Press,
1981), it&#8217;s not evident. The relative lack of sound poetry and Fluxus-inspired work
in the anthology &#8211; Penn Kemp is the notable exception &#8211; keeps <i style="mso-bidi-font-style: normal;">Short Fuse</i></span> <span style="font-family: Arial; font-size: 10.0pt;">from being truly definitive as a
gathering of oral poetics. <o:p></o:p></span></div>
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at
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<h2 class='date-header'><span>Saturday, October 19, 2002</span></h2>

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<st1:personname><span style="color: black; font-family: Arial;">Todd Swift</span></st1:personname><span style="color: black; font-family: Arial;">'s work in the poetry-music duo <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381766519">Swifty
Lazarus</a> allowed us to pose the question of how well intermedia presents
writing <i style="mso-bidi-font-style: normal;">as writing</i>. Now the anthology
he has edited with Philip Norton, <i style="mso-bidi-font-style: normal;"><a href="http://www.rattapallax.com/fusion.htm">Short Fuse</a></i> lets us turn
the question around and ask just how well the printed page can represent poets
whose work is primarily turned towards performance. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Arial;">Short Fuse</span></i><span style="color: black; font-family: Arial;">
is hardly the first book to pose this issue. <i style="mso-bidi-font-style: normal;">The All-Union Day of the Shock Worker</i>, by Edwin Torres (Roof, 2001)
is an in-depth collection by one of the most brilliant performance poets alive,
but I couldn't work through its use of typographic pyrotechnics until I had
actually heard Torres for myself. In ways that are not apparent from the text,
or at least were not to me, that experience opened up the work &#8212; I could <i style="mso-bidi-font-style: normal;">hear</i> it, even in poems that I had not
heard Torres perform.*<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">Some of these same issues
bedevil <i style="mso-bidi-font-style: normal;">Short Fuse,</i> but principally
for those poets not represented on the book's companion CD. The disc contains
roughly 70 minutes of work by an exceptionally diverse selection of writers,
from Torres and Bob Holman to Charles Bernstein to Simon Armitage to Billy
Collins.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">But Penn Kemp, to pick one
example, is a superb sound poet &amp; enormous fun to see on stage. Her texts
on the page offer no sense of the extraordinary phonemic overload that comes
with her words. Ditto, tho more in a jazz vein, <span class="SpellE">Adeena</span>
<span class="SpellE">Karasick</span>. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 0in; text-autospace: none;">
<span style="color: black; font-family: Arial;">Even though there are
performance poets whose work can be adequately represented on the page, such as
Holman or Willie <span class="SpellE">Perdomo</span>, <i style="mso-bidi-font-style: normal;">Short Fuse</i> is wise to include the CD even though it only contains
34 of the project&#8217;s 175 writers. But what it points to is the probability that
the future of representing such work may not be on the page, nor on the CD, but
rather in the fuller (tho more costly) medium of DVD<span class="GramE">.*</span>*<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* In retrospect,
this reminds me of something Josephine Miles once said to me about William
Carlos Williams, that writers of her generation literally did not know how to
read him at first, they could not <i style="mso-bidi-font-style: normal;">hear</i>
his poetry, its foundation in speech, which seems self-evident to somebody my
age, was not at all apparent. Yet over a couple of generations, Williams
literally changed what poets understand as &#8220;clarity.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">**Indeed, </span><st1:personname><span style="font-family: Arial; font-size: 10.0pt;">Ram Devineni</span></st1:personname><span style="font-family: Arial; font-size: 10.0pt;">, the publisher of Rattapallax Press,
tells me that if the anthology gets a sufficiently positive response, he and
its editors have discussed a bi-annual journal that might come out with a DVD. Rattapallax
already issues a CD with each book it publishes.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, September 18, 2002</span></h2>

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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Envelope, Please </span></i><span style="font-family: Arial;">by <span class="SpellE">Swifty</span> Lazarus, <span class="GramE">a collaboration</span> between Canadian expatriate poet </span><st1:personname><span style="font-family: Arial;">Todd Swift</span></st1:personname><span style="font-family: Arial;"> and composer Tom Walsh, is the latest attempt to wed
the impulses of poetry to sound recording in some format beyond the traditional
reading. The major influences &#8211; &amp; they&#8217;re right out front &amp; center &#8211;
include Laurie Anderson; the Bill Burroughs of <i style="mso-bidi-font-style: normal;">Towers Open Fire</i>; the Brian <span class="SpellE">Eno</span>-David
Byrne project, <i style="mso-bidi-font-style: normal;">My Life in the Bush of
Ghosts</i>; touches of <span class="SpellE">Brecht</span> &amp; <span class="SpellE">Weill</span>; <span class="SpellE">Godard&#8217;s</span> sound tracks; and
just maybe the backwards-talking dwarf from David Lynch&#8217;s <i style="mso-bidi-font-style: normal;">Twin Peaks.</i> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is some good writing
here, but mostly you have to read the liner notes to get to it. The problem is,
I think, inherent in the medium. To carry over as anything other than pure <i style="mso-bidi-font-style: normal;">reading,</i> the text as literary signifier
must choose to do one of three things:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">focus solely on
itself as signifier, becoming sound poetry<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">enter into a
collaboration with other media and genre expectations, or<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">subordinate
itself to another form altogether<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Ultimately, those aren&#8217;t
such attractive alternatives. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Collaborations between media
are less common than those within one. The major challenge for any
collaboration, regardless of the genre involved, is the surrender of control
between players and between the conjoined forms. But whereas, within any single
medium, two participants or players must arrive at a position that enables each
to function, often enough something no one individual involved could have
conceived of on his or her part alone, between media the gap can yawn so large
that ultimately their interaction may not matter all that much.* It does matter
in <i style="mso-bidi-font-style: normal;">The Envelope, Please</i> as a
gathering of diverse poems (all by Swift, save for one by <span class="SpellE">Adeena</span>
<span class="SpellE">Karasick</span> that is buried deep in the found-language
layers of a 12 minute track) are transformed into the sonic shadows of
recordings we already know, avant-garde as nostalgia. Several of the texts
appear to have been written for Lazarus: there are generalizations so bald that
they could not have been intended for consumption by a reader &#8211; &#8220;<i style="mso-bidi-font-style: normal;">If History is dead, why do things still
happen? / <span class="GramE">If</span> there is no Truth, why do I bother lying?</i>&#8221;
But the title piece is a quiet surreal lyric that gets lost as a sort of
preface in its 30-second format. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Texts that are subordinated
within another form often work best when they immerse themselves without
looking back. The poets who have had the most success with careers in popular
music &#8211; Anderson, Jim Carroll, Patti Smith, Leonard Cohen &#8211; produce words for
music that share relatively little with their best known writing. Similarly,
the finest musical texts in recent years &#8211; the work, say, of Dave Carter or <span class="SpellE">Townes</span> Van Zandt &#8211; don&#8217;t stand up well on the printed page,
precisely because they were never conceived as doing so.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">Containing sound, reference,
syntax, and context, language is <i style="mso-bidi-font-style: normal;">déjà
toujours</i> intermedia. The instant it combines with any form of instrumentation,
the entire history of song is invoked and the result, regardless of how well
intended, can never be innocent. Consider from the perspective of poetry the
comic inappropriateness of Steve Reich&#8217;s filigreed setting for the work of
William Carlos Williams as art song in <i style="mso-bidi-font-style: normal;">The
Desert Music </i>compared with the far more powerful use of found language a
much younger Reich demonstrated in tape loops such as <i style="mso-bidi-font-style: normal;">Come Out<span class="GramE">.*</span>*</i><span style="mso-spacerun: yes;">&nbsp; </span>In projects that recruit poetry into other
media, the ultimate question of context cannot be begged: <i style="mso-bidi-font-style: normal;">where is the language most itself?</i> Collaborators who forget or
ignore that question do so at their own risk.<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*The most
successful intermedia collaborations in recent years &#8211; between poets &amp;
painters and between poets &amp; dancers &#8211; have been in forms where the text
functions <i style="mso-bidi-font-style: normal;">alongside</i> the other medium,
rather than <i style="mso-bidi-font-style: normal;">within</i> it.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** A
participant in a riot explains on tape what he needed to do to convince the
police to get him medical attention:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; font-size: 10.0pt;">I had to, like,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial; font-size: 10.0pt;">open</span></span><span style="font-family: Arial; font-size: 10.0pt;"> the bruise up<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; font-size: 10.0pt;">and let some of the bruise blood<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial; font-size: 10.0pt;">come</span></span><span style="font-family: Arial; font-size: 10.0pt;"> out to show them.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">The tape
adds, then phases out of synch, multiple tracks of this last line until it
gradually evolves into a roar. <o:p></o:p></span></div>
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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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