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Silliman's Blog
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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>Women writers</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>Women writers</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>Friday, March 01, 2013</span></h2>

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<i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://www.lesfigues.com/lfp/287/i-ll-drown-my-book-conceptual-writing-by-women"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">I&#8217;ll
Drown My Book:<br />
Conceptual Writing by Women</span></a><br />
</span></i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">reading
@ Writers House<br />
with<br />
<a href="http://www.wavepoetry.com/products/laynie-browne"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Laynie</span></a>
<a href="http://writing.upenn.edu/pennsound/x/Browne.php"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Browne</span></a>,
<a href="http://www.stjohns.edu/academics/undergraduate/liberalarts/departments/english/faculty/brown"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Lee</span></a>
<a href="http://epc.buffalo.edu/authors/brown/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Ann</span></a> <a href="http://writing.upenn.edu/pennsound/x/Brown.php"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Brown</span></a>,<br />
<a href="http://epc.buffalo.edu/authors/duplessis/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Rachel</span></a>
<a href="http://en.wikipedia.org/wiki/Rachel_Blau_DuPlessis"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Blau</span></a>
<a href="http://rachelblauduplessis.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">DuPlessis</span></a>,
<a href="http://en.wikipedia.org/wiki/Jena_Osman"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Jena</span></a>
<a href="http://jenaosman.com/jenaosman.com/Home/Home.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Osman</span></a>,<br />
<a href="http://trancepoetics.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Kristin</span></a> <a href="http://www.kayvallet.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Prevallet</span></a>
&amp; <a href="http://writing.upenn.edu/pennsound/x/Vicuna.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Cecilia</span></a>
<a href="http://www.ceciliavicuna.org/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Vicuña</span></a><o:p></o:p></span></div>
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<h2 class='date-header'><span>Monday, March 08, 2010</span></h2>

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<p class=MsoNormal align=right style='text-align:right'><span style='color: black;mso-themecolor:text1'><img alt="4408865121_c12a079b2e_o.jpg" height="314" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/q-pbkrpUroN6Mjut9xX4gAz4aT4V7nmFRL5ie75AI_3D4hGIH12oLMCqp4KynFHCdw1g3khO6B2ewG8szbNeNpO5jGxDC5SHhig_Ag8EIS_2FMU%3Ds0-d" width="475"><br> </span><span style='font-size:8.0pt;line-height:115%;color:black;mso-themecolor: text1'>The early editors of <i style='mso-bidi-font-style:normal'>HOW(ever), L to R: <br> Bev Dahlen, Susan Gevirtz, Rachel Blau DuPlessis, Frances Jaffer &amp; Kathleen Fraser</i><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'><a href="http://en.wikipedia.org/wiki/International_Women%27s_Day"><span style='color:black;mso-themecolor:text1'>International Women&#8217;s Day</span></a> is 101 today&#185;, a figure that reminds me that the Allen anthology, <i style='mso-bidi-font-style:normal'>The New American Poetry </i>&#8211; still the most influential single book of poems to have appeared in print in my lifetime &#8211; occurred pretty much at the halfway point in that history, gathering the post-avant poetries of the period between the end of the Second World War &amp; 1960. That book has been rightly criticized for having just four women contributors among its 44, and for ignoring Diane di Prima, Joanne Kyger, Hettie Jones, Ruth Witt-Diamant, Muriel Rukeyser, ruth weiss, Kathleen Fraser, Josephine Miles, Mary Fabilli, Laura Ulewicz &amp; others who could arguably have been included in that work.</span><span style='color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>I hate to admit that this situation was perceived, at least by myself &amp; the male poets I knew, as &#8220;normal&#8221; back in the 1960s, but it was. In the 1960s, Gertrude Stein was still considered a joke as a writer, an extra-literary phenomenon of those crazy between-war years in Paris. H.D. was not thought about at all, unless Robert Duncan was talking. <a href="http://en.wikipedia.org/wiki/Tillie_Olsen"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'>Tillie Olsen</span></a> read at San Francisco State &amp; gave away copies of <i style='mso-bidi-font-style:normal'>Tell Me a Riddle </i>because nobody had bothered to buy the book.<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>So that when Kathleen Fraser wrote about accepting her legs, Denise Levertov put a plaque on her washing machine crediting the Guggenheim Foundation for the machine&#8217;s ability to free up her time to write, and when Diane Wakoski began to create poems about &#8211; of all things &#8211; male sexism, these were all received quite differentially depending on what you had between your legs. Nor were these women alone &#8211; Florence Howe&#8217;s <i style='mso-bidi-font-style: normal'><a href="http://www.poets.org/viewmedia.php/prmMID/5678"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>No More Masks</span></a> </i>dates from 1973, Judy Grahn&#8217;s <i style='mso-bidi-font-style:normal'>The Psychoanalysis of Edward the Dyke </i>stunningly all the way from 1964 (just two years after the then-LeRoi Jones put out <i style='mso-bidi-font-style: normal'>Four Young Lady Poets, </i>featuring Wakoski, Carol Bergé, Barbara Moraff &amp; Rochelle Owens). <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>When I was a student at San Francisco State in the 1960s, there was exactly one woman on the creative writing faculty there, Kay Boyle, &amp;, after I&#8217;d left, I was not surprised to hear that Boyle fought hard (tho unsuccessfully) to keep it that way, resisting the addition of Fraser to the full-time tenure-track elite. At Berkeley, the only women writers during my time there (Levertov, Lillian Hellman) were visiting faculty. And some of the women who taught literature (as distinct from writing) at Berkeley bought into the very male game that professors could have their pick of grad students as sexual partners. The good old days those were not.</span><span style='color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>So that when Kathleen Fraser &#8211; that name again &#8211; joined with some like-minded friends in 1983 to create <i style='mso-bidi-font-style:normal'><a href="http://www.asu.edu/pipercwcenter/how2journal/archive/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>HOW(ever)</span></a></i>, the timing was perfect: it proved to be an epoch-making event. Women&#8217;s writing already had a long, remarkable progressive history: it was not simply quietist poetry (with all of the politics of conformity that implies) written by women. I recall Kathleen telling me at one point that she was surprised at just how much support she got from male post-avants compared with the deafening silence that greeted the publication from the female quietists of that decade, some of whom had become quite famous as feminists. From my perspective, that made perfect sense.<o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>Still, nothing has done more to change &#8211; blur, to some degree even erase &#8211; the faultlines for poetry in my lifetime than the mass emergence of women writing. For all of the problems that I have with the concept of hybridity in poetry, I can&#8217;t escape the fact that for many writers, especially those younger than myself, the bifurcation of poetry into two counter-posing traditions is experienced as a quarrel among men (white men at that), and that the landscape of poetry in the English language now looks entirely different. </span><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>Not that all is perfect. Far from it. It is still possible to have a major award shortlist that consists entirely of men, even though everyone now seems to concede that the absolute majority of poets writing in English are women. Further, this disparity continues to turn up in some of the ways women writers express themselves. Of the 1192 active blogs on my blogroll, 392 are written by women, slightly under 33 percent. For the next week, the top list on <a href="http://sillimanslinks.blogspot.com/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'>my new links page</span></a> will consist of nothing but these women (and, knowing Blogger, that may be the only list visible). Now, it&#8217;s conceivable that one of the reasons for this disparity is me &#8211; if I&#8217;m missing anyone, send me an email and let me know. It&#8217;s also true that not all of the collective blogs are exclusively by men &#8211; <i style='mso-bidi-font-style:normal'><a href="http://lesfigues.blogspot.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Give a Fig</span></a> </i>missed this list because one of its 13 contributors is male. But the distance between the 25 percent figure that marked the participation by women in <i style='mso-bidi-font-style:normal'>In the American Tree </i>in 1986 and the 32.9 percent in my blogroll 24 years later is not the sign of a successful revolution so much as it is of one still very much in process. <o:p></o:p></span></p>

<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><span style='font-family:"Comic Sans MS";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'><a href="http://sillimanslinks.blogspot.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Women who blog about poetry, poetics &amp; the arts</span></a><o:p></o:p></span></b></p>

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<p class=MsoNormal><span style='font-size:8.0pt;line-height:115%'>&#185; First observed February 28, 1909 by the Socialist Party of America, it was fomally adopted by the Second International in 1910 &amp; <span style='mso-spacerun:yes'> </span>celebrated <i style='mso-bidi-font-style:normal'>internationally</i> for the first time in 1911. Some organizations will celebrate its centennial next year. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, March 05, 2009</span></h2>

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<span style="font-size:8.0pt;font-family:Arial">Pam Rosenthal</span></p>

<p class="MsoNormal" style="margin-bottom:12.0pt"><span style="font-size:10.0pt;font-family:Arial">The &#8220;20 women poets&#8221; who have had the most profound influence on my writing, in alphabetical order &#8211;<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Kathy Acker<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Rae Armantrout<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Sandy Berrigan<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Elizabeth Bishop<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Lee Ann Brown<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Abigail Child<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Jan Clausen<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Beverly Dahlen<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Tina <span class="SpellE">Darragh</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><st1:country-region><st1:place><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Lydia</span></st1:place></st1:country-region><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial"> </span><st1:city><st1:place><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Davis</span></st1:place> </st1:city><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial"><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Jean Day<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Emily Dickinson<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Lynne Dreyer<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Hilda Doolittle<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Rachel Blau DuPlessis<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Kathleen Fraser<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Judy <span class="SpellE">Grahn</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Carla Harryman<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Lyn Hejinian<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Joyce Holland<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Fanny Howe<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Susan Howe<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Erica Hunt<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Lisa <span class="SpellE">Jarnot</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Beth Baruch <span class="SpellE">Joselow</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Joanne <span class="SpellE">Kyger</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Lynn <span class="SpellE">Lonidier</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Bernadette Mayer<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Laura Moriarty<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span class="SpellE"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Harryette</span></span><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial"> Mullen<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Rochelle <span class="SpellE">Nameroff</span><o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Pam Rosenthal / Molly Weatherford<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Leslie Scalapino<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Gertrude Stein<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Cole Swensen<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span class="SpellE"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Rosmarie</span></span><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial"> Waldrop<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Diane Wakoski<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Diane Ward<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">Hannah Weiner<o:p></o:p></span></p>

<p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in"><span style="font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial">C.D. Wright<o:p></o:p></span></p>
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<h2 class='date-header'><span>Sunday, September 29, 2002</span></h2>

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<span style="font-family: Arial;">In 1969, Jonathon Williams&#8217;
Jargon Society published a volume of Lorine Niedecker&#8217;s poetry entitled <i style="mso-bidi-font-style: normal;">T&amp;G</i>. The book&#8217;s subtitle was <i style="mso-bidi-font-style: normal;">The Collected Poems (1936-1966)</i>.
Unpaginated, the text ran all of 60 pages, a number of which were devoted to A.
Doyle Moore&#8217;s plant prints. Thirty-three years hence, it seems stunning that we
can now have a book entitled simply <i style="mso-bidi-font-style: normal;">Collected
Works</i> (University of California, 2002) whose gathering of Niedecker&#8217;s poems
and prose totals 362 pages, with over 100 additional pages of notes and indices
to lend the volume heft. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">In
my mind, I had linked Niedecker with <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2382087760">Besmilr
Brigham</a>, connecting the pair to a larger <span class="SpellE">Dickinsonian</span>
tradition of women writing in isolation. But now I think that the parallel
feels forced. Brigham &amp; Niedecker share two important dimensions:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 75.0pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 75.0pt; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Each lived
precariously on the economic margins at a considerable geographic distance from
major literary centers<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 75.0pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 75.0pt; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">Both held a
visible relation to the Pound/Williams tradition &#8211; more to Williams than to
Pound &#8211; and connected to the scene primarily through the mail.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Beyond
that, though, they are profoundly different poets. Part of it may just be
generational &#8211; Niedecker was ten years older, having been born in 1903, with
her earliest poems have been written in the 1920s and her connection to
Zukofsky and the Objectivists dating from the early 1930s. Brigham may have
been a late starter by comparison &#8211; her first publication in <i style="mso-bidi-font-style: normal;">El <span class="SpellE">Corno</span> <span class="SpellE">Emplumado</span> </i>in 1966 occurs when she is 53 (although
apparently telling people that she was ten years younger). <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">It&#8217;s
worth considering what the curious history of the Objectivists meant not just
to Niedecker but to all of the writers usually associated with that rubric &#8211;
active and working together in the early 1930s, but not quite jelling in terms
of public response, followed by an erasure from public view in the 1940s &amp;
&#8216;50s, only to return again, this time triumphant, in the 1960s. For one thing,
Niedecker&#8217;s own position vis-à-vis the participants in the famous February 1931
issue of <i style="mso-bidi-font-style: normal;">Poetry</i> &amp; subsequent anthology
had changed by the mid-1960s. Fully mature as a poet, she was in no way outside
the circle by the time of their collective re-emergence. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Furthermore,
Niedecker had benefited from the long silence as did several of the
Objectivists as they became a far more disciplined and cohesive group of poets
than they had been in the early 1930s. Without any wider audience for so many
years, the Objectivists had only themselves and a few others as readers for
nearly 20 years.* The work that came out of the long silence was more spare
than that which had gone before. Consider the florid tone of this passage by
Carl Rakosi, which actually led off the Objectivist issue of <i style="mso-bidi-font-style: normal;">Poetry, </i>the first stanza from a piece
entitled &#8220;<span class="SpellE">Orphean</span> Lost&#8221; from a larger serial poem
called &#8220;Before You&#8221;:<o:p></o:p></span></div>
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<span style="font-family: Arial;">The
<span class="SpellE">oakboughs</span> of the cottagers<br />
descend, my lover<span class="GramE">,</span><br />
with the bestial evening.<br />
The shadows of their swelled trunks<br />
crush the frugal herb.<br />
The heights lag<br />
and perish in a blue vacuum. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">This
overwrought text, which initiated a revolution, is not to be found in Rakosi&#8217;s <i style="mso-bidi-font-style: normal;">Collected Poems.</i>** If anything, the text
reflects a love-hate relationship with surrealism that shows up both in <i style="mso-bidi-font-style: normal;">Poetry,</i> which included two Rimbaud
translations by Emanuel <span class="SpellE">Carnevali</span> as well as a little
symposium on the &#8220;gratuitous and arbitrary&#8221; poetry of Parker Tyler and Charles
Henri Ford, and in the anthology where Zukofsky literally rearranged the lines
of a Kenneth Rexroth work in seemingly random order, to the latter&#8217;s
considerable vexation. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">All
that deliberate excess is gone by the 1960s. Thus we can identify a second
factor separating First and Third Phase Objectivism*** &#8211; a new emphasis on a
spare, unadorned style not always evident during the 1930s. This was reinforced
by the return to writing of George Oppen, who had had the most austere
aesthetic during that first decade<span class="GramE">.+</span> <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Niedecker
may have been isolated geographically, but she was integrally part of this
literary cabal and it is this community that created the foundation for her
broad acceptance, especially after her death in 1970. Brigham never had this &#8211;
the poets with whom she is said to have corresponded, Duncan &amp; Creeley, were already famous
by the 1960s. Older than either of them, Brigham never made the transition from
correspondent to peer. While the work of those two men was associated with </span><st1:place><st1:placename><span style="font-family: Arial;">Black</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Mountain</span></st1:placetype><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">College</span></st1:placetype></st1:place><span style="font-family: Arial;">, where each had taught, they had always been completely different poets
and, by the 1960s, each was evolving according to impulses and demands that had
little to do with one another, regardless of their mutual admiration. So it
turns out that it is Brigham far more than Niedecker who was truly the Outsider
poet.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">This
is true in other ways as well. Place is important to both of Niedecker &amp;
Brigham, but Niedecker inhabits the Wisconsin of her poems with a sense of its presence,
very nearly its omnipresence++<span style="mso-spacerun: yes;">&nbsp; </span>compared
with the far more tentative landscapes the peripatetic Brigham confronts in
Mississippi, Texas, Mexico &amp; Arkansas. I sense Niedecker truly in her
environment whereas Brigham carries the perspective of someone who appears to
have been an observer more than a participant, regardless of the context&#8230;just
passing through, taking notes. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">My
impression of this is heightened by the fact that Brigham is a poet of the eye,
whereas Niedecker thinks and proceeds by ear. A distinction like that is simply
a part of one&#8217;s human chemistry &#8211; it&#8217;s not a question of right or wrong
decisions &#8211; but the distinction plays out in important ways for poetry.<span style="mso-spacerun: yes;">&nbsp; </span>There is a tonal logic in Niedecker&#8217;s work,
as there is, say, in the poetry of Larry Eigner, which is extraordinary to
read. The poetry as a result possesses a cohesion that communicates as total
life prosody &#8211; you are never in doubt that you&#8217;re in the presence of a major
poet with Niedecker. Brigham&#8217;s poems are no less intense or intelligent, but
tonally they&#8217;re more diverse &#8211; the range is from straightforward narrative,
rather like the piece I quoted on September 25, to highly enjambed. You can see
&amp; feel all of her directions, but never quite sense that presence of an overwhelming
unifying force. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">On
the other hand, a true <i style="mso-bidi-font-style: normal;">Collected Poems of
Besmilr Brigham</i> might tell as different a story as Niedecker&#8217;s <i style="mso-bidi-font-style: normal;">Collected Works</i> does from <i style="mso-bidi-font-style: normal;">T&amp;G: The Collected Poems (1936-66).</i><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* &amp; even this overstates the case. Oppen had dropped out
almost entirely, working as a political organizer, fight in the Second World
War, then choosing exile in </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Mexico</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> during the McCarthy era. Bunting,
more of a sporadic than a prolific poet, was off in the </span><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Middle East</span></st1:place><span style="font-family: Arial; font-size: 10.0pt;"> occupied with espionage. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: black; font-family: Arial; font-size: 10.0pt;">**
Two of the four sections of &#8220;Before You,&#8221; have been preserved: &#8220;<span class="SpellE"><span class="spelle">Fluteplayers</span></span> from <span class="SpellE"><span class="spelle">Finmarken</span></span>&#8221; and &#8220;Unswerving
Marine,&#8221; both of which show up in the section of the <i style="mso-bidi-font-style: normal;">Collected</i> entitled &#8220;Amulet,&#8221; albeit not in the order they appeared
in 1931.<o:p></o:p> All four sections can be found as separate poems in <i style="mso-bidi-font-style: normal;">Poems 1923-1941</i>, Andrew <span class="SpellE">Crozier&#8217;s</span> admirable excavation of Rakosi&#8217;s work from
Objectivism&#8217;s First Phase. </span><span style="color: black;"><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;">*** See &#8220;Third Phase Objectivism,&#8221; <i style="mso-bidi-font-style: normal;">Paideuma</i>, Vol. 10, No. 1, &#8220;George Oppen
Issue,&#8221; <span class="GramE">Spring</span>, 1981, National Poetry Foundation, </span><st1:place><st1:city><span style="font-family: Arial; font-size: 10.0pt;">Orono</span></st1:city><span style="font-family: Arial; font-size: 10.0pt;">, </span><st1:state><span style="font-family: Arial; font-size: 10.0pt;">ME</span></st1:state></st1:place><span style="font-family: Arial; font-size: 10.0pt;">, pp. 85-89.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ The noteworthy exception to the austere style is Zukofsky.
To a significant degree, the commitment to <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;
</i>pushed his own poetry in different directions than the rest of the
Objectivists, although his shorter pieces often reflect the stripped-down
aesthetic of his cohort.<span style="mso-spacerun: yes;">&nbsp; </span>A test of my
thesis about the impact of &#8220;disappearance&#8221; of Objectivism in the 1940s can be
seen in the work of the two younger poets from that issue of <i style="mso-bidi-font-style: normal;">Poetry </i>who continued to write and
publish: Rexroth and Ted Hecht. Their poetry evolved in ways different from the
core Objectivist group as well as different from one another &#8211; neither adopted
anything like a spare style. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial; font-size: 10.0pt;">++ Interestingly, when Niedecker turns to place as Other, in
the four-part poem &#8220;</span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Florida</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;">,&#8221; she too emphasizes the eye &#8211; both
opening and closing sections focus on the visual aspects of the state &#8211; the
birds, the older women wearing slacks. <o:p></o:p></span></div>
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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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