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Showing posts with label <b>Tony Trehy</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>Tony Trehy</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>Saturday, August 20, 2011</span></h2>

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<h2 class='date-header'><span>Tuesday, May 01, 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'>One of the questions I have about some of the categories I&#8217;ve concocted in my own head over the years, such as </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'>School</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'>Quietude</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> (SoQ) or post-<span class=GramE>avant,</span> has to do with what good Marxists once would have called the National Question. Are these U.S.-specific categories? Is it possible, for example, for a British poet, regardless of how conservative, to be a true anglophile in the same way that many U.S. SoQ poets so clearly are. If Anglophilia is a defining feature for SoQ poetics in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, what does one make of the recent &#8220;Irish turn&#8221; in <span class=GramE>SoQ<span style='mso-spacerun:yes'>  </span>letters</span>? And how does one address the question of such post-avant poets from </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Britain</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, such as Jeremy Prynne or Allen Fisher or Thomas A. Clark or Redell Olsen or <span class=SpellE>or</span> <span class=SpellE>or</span>? That list is rather endless, suggesting that the anglophilia of U.S. SoQ writing isn&#8217;t abject subservience to British writing per se, but rather to a certain cultural tradition that is only one strand of what </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>U.K.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> writing truly is &#8211; and, if the Irish turn means anything, a waning one at that. <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'>Post-avant is no less problematic. The defining moment in the transition from avant to post- is, as I read  it, the recognition that the so-called avant <span class=SpellE>garde</span> is itself a tradition, that it has communities &amp; that community itself is a value. This shift becomes visible when Don Allen makes the decision to organize <i style='mso-bidi-font-style:normal'>The New American Poetry </i>around such <span class=GramE>communities&#185;,</span> however loosely defined they might have been in that anthology. Indeed, of that generation, only the <span  class=SpellE>projectivists</span> really put program ahead of community &#8211; Larry Eigner was a &#8220;</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'>&#8221; poet, tho he never once set foot there, because he followed the prescriptions of Olson&#8217;s toward a speech-based poetics. Of course, at the time, the severely palsied Eigner was barely able to speak at all. The </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>New  York</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'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; the Beats were pretty explicit in putting community first &amp; the San Francisco Renaissance really had no meaning at all other than community.<span style='mso-spacerun:yes'>  </span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>So how does this play out in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>United Kingdom</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>? Are we to read the work of Eric <span class=SpellE>Mottram</span> and others as attempts to create a parallel phenomenon in </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Great Britain</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>? Or is it simply that <span class=SpellE>Mottram</span>, Stuart Montgomery, Tom Raworth, J.H. Prynne, Tom Pickard et al represent a poetry as attached to the literary history of the United States as Edward Hirsh &amp; Dana Gioia are to the literary history of Oxbridge? Having seen </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Britain</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> only from the air, it&#8217;s impossible for me to know. <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'>Tony Trehy is a poet from </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Manchester</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, one of those cities in the north of </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>England</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> about which geography-deprived Americans tend to be terribly ignorant. Those who have heard of it probably think of the name as an adjective, describing the noun United. <span class=GramE>(Or, if they were around in the 1960s, perhaps the noun Guardian).</span> Trehy has been doing interesting things in &amp; around his home grounds, most recently publishing a book entitled <i style='mso-bidi-font-style:normal'>50 Heads. </i>Or, to be exact, <b style='mso-bidi-font-weight:normal'>50 <i style='mso-bidi-font-style:normal'>Heads</i></b><i style='mso-bidi-font-style:normal'>, </i>just out from Apple Pie Editions. The front cover has no lettering on it whatsoever, simply a close-up color photo of the side of a high-rise building. The binding is the kind of stiff-cover paperback that one finds from publishers aiming to place all their stock on library shelves. The interior feels almost as austere: 49 (<i style='mso-bidi-font-style:normal'>not </i>50) one-paragraph prose poems, each with a one-word title, each beginning with a 0, then a period, then a sentence with no capitalization, concluding a few sentences later with a colon followed by the number 1. The poems are presented almost in alphabetical order, the first being &#8220;Content,&#8221; the next-to-last being &#8220;Yggdrasill.&#8221; Seeing that the 49<sup>th</sup> &amp; last of these prose poems is entitled &#8220;Apology,&#8221; one turns to it out of sequence, anticipating perhaps some explication:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.7in;margin-bottom:12.0pt;margin-left:.7in;text-align:justify'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>0. pollarded. <span class=GramE>Inert with targets.</span> Told and giving up within the week is the easy Victorian option now; generally orchestra is diminished by the demand for youthful understanding &#8211; a case fatality ratio. Ragnarök partial orders merely travel change, the most successful vertebrates that ever lived. Time for <span class=SpellE>irreflexivity</span>: <span class=SpellE>iff</span> I can be the collapsing material straight away rotations are not commutative. <span class=SpellE>Drippling</span> to the end weakly, you don&#8217;t want to think any more. <span class=SpellE>Hadja</span> wished, it can&#8217;t be hermetically sealed: false to worldly, false but this <span class=SpellE>equiconsistent</span> with heroism, without being able to prove <span class=GramE>it(</span>,) can always be commuted to not(,) waiting for the: 1. <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'>This explains everything. <span class=GramE>That there won&#8217;t be any explanations in the usual sense of that word, for one.</span> This text can be understood in so many different fashions. For example, with the word / sentence <i style='mso-bidi-font-style:normal'>pollarded, </i>my first thought was not of the pruning technique, but of the Israeli spy, his surname transformed into a verb. Similarly, I hear Ragnarök as the mythic Norse battle, tho the language into which it is imbedded suggests the commerce of software. How much of this is a montage of found language? <span class=GramE>How much of it actually constitutes argument, as such.</span> What are we to make of the twin disruptions in the final sentence of the parenthetical commas? <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 hear this writing as focusing very much on the cognitive movement from word to word, phrase to phrase, in that sense quite close to certain kinds of language writing &#8211; the work of Jean Day, for example, or Leslie Scalapino, but Bruce Andrews or Erica Hunt as well. While there are poets in the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>U.K.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> who <span class=GramE>are</span> close to langpo personally &#8211; Tom Raworth in particular &#8211; there has never really been anything you could call a language school, as such, in </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Britain</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. I hear this equally as a techno descendant of someone like Prynne, a concept that strikes me as very odd indeed. And a sign that Trehy isn&#8217;t really like anyone else at all. <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'>Trehy is an eminently readable poet, tho you have to pay attention as you proceed through each work. He promotes this further with a vocabulary that is large and sometimes technical &#8211; <span class=SpellE><i style='mso-bidi-font-style:normal'>auxetic</i></span><i style='mso-bidi-font-style:normal'> discrete <span class=GramE>breathers,</span> no two <span class=SpellE>prosopagnosics</span> are the same &#8211; </i>but full of wit &amp; more than a few echoes: <i style='mso-bidi-font-style:normal'>Discrete breathers <span class=SpellE>parametrise</span> <span class=SpellE>pseudogenes</span>, But <span class=SpellE>Vitruvian</span> children stalk with charges of religious defamation tastier than a plateful of every number looks like nineteen.  </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'>Concerning Trehy and the concept of community: he gave <a href="http://tony-trehy.blogspot.com/2007/04/50-heads-read.html"><span style='color:black'>a reading</span></a> to launch <b style='mso-bidi-font-weight:normal'>50 <i style='mso-bidi-font-style:normal'>Heads </i></b>just last Friday. Tho it was invitation only, poets other than Trehy did the actual reading of the work. Both, I would suggest, are pretty clear signs that he lines up as a post-avant. <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; One might read the history of the Objectivists as an incomplete, perhaps thwarted gesture in exactly this direction, but it is worth remembering that when <i style='mso-bidi-font-style:normal'>The New American Poetry </i>was published, that community wasn&#8217;t visible at all in American verse. <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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