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Showing posts with label <b>Zach Barochas</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>Zach Barochas</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>Wednesday, April 05, 2006</span></h2>

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<p class=MsoNormal><span style='color:black'><img height="313" id="_x0000_i1025" src="//photos1.blogger.com/blogger/4332/910/320/fixedcovercut.jpg" width="200"><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'>It was only when I began to put together this note that I realized that <a href="http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&amp;friendid=31199112"><span style='color:black'>Zach <span class=SpellE>Barochas</span>&#8217;</span></a> book, <i style='mso-bidi-font-style:normal'><a href="http://www.culturalsociety.org/aotinfo"><span style='color:black'>Among Other Things</span></a>, </i>was not published by <a href="http://www.floodeditions.com/"><span style='color:black'>Flood  Editions</span></a>, but in fact by his own press, <a href="http://www.culturalsociety.org/"><span style='color:black'>Cultural Society</span></a>. It has the look and feel of a Flood Editions book, both print wise and design wise, and &#8211; most important of all &#8211; in terms of the poetry contained therein. Indeed, <a href="http://www.octopusmagazine.com/issue03/peter_oleary_interview.html"><span style='color:black'>Peter O&#8217;Leary</span></a> (whose brother Michael co-edits Flood) is one of the collection&#8217;s three <span class=SpellE><i style='mso-bidi-font-style:normal'>blurbistes</i></span>. It&#8217;s an interesting &#8211; perhaps telling &#8211; association for a poet who has made a living, it would seem, as a post-punk drummer for much of the past 15 years, but who lists Hayden Carruth, Denise Levertov &amp; Muriel Rukeyser among his &#8220;heroes&#8221; on his <span class=SpellE>MySpace</span> page.<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'>But it&#8217;s not the design of the book that made read it as tho it were a Flood Edition effort, it&#8217;s the values expressed in the poems themselves. Here is a case in point:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>On </span></b><st1:City><st1:place><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Reading</span></b></st1:place></st1:City><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> a Book of Poems</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
<br>
Pick a color, any<br>
color (remember, black<br>
<br>
is not a color; white<span class=GramE>,</span><br>
too, is not a color).<br>
<br>
Keep your selection in<br>
mind &amp; on the tip of<br>
<br>
your tongue; hold it, let it<br>
sit, savor its warmth or<br>
<br>
cool. Make it primary<br>
&amp; don&#8217;t blend it away.<br>
<br>
Know oblivion&#8217;s no<br>
place for color. Vivid-<br>
<br>
ness is key, clarity<br>
is key, exactitude<span class=GramE>,</span><br>
<br>
like purity, is key.<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'>Right down to the use of the semi-colon to structure a complex, joined statement &amp; the use of the ampersand to nod to his post-avant heritage, this poem enacts the very values for which it argues. It is, in that sense, almost perfect.<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'>But <i style='mso-bidi-font-style:normal'>perfect </i>&#8211; in this sense &#8211; is not necessarily a superlative. Rather, it&#8217;s a desire for precision that reminds me of nothing so much as certain bug fanciers&#8217; preference for pinned specimens under brilliant lighting to the whizzing critters of the garden. The result, as in this piece, is an open poetics striving for a closed &#8211; which is to say highly finished &#8211; poem. There is a tension in all this that can be &#8211; as this is &#8211; fascinating, precisely because <a href="http://www.zachbarocas.com/"><span class=SpellE><span style='color:black'>Barocas</span></span><span style='color:black'>&#8217;</span></a> sense of craft is so high that the strain of the impossible comes through as compressed energy. It&#8217;s a dynamic I find in a lot of the poems in this book &amp; my reaction to it is positively visceral &#8211; I&#8217;m compelled to read the poems but almost want to shout <b style='mso-bidi-font-weight:normal'>No</b> as they come to their hard-edged conclusions. I can&#8217;t think of a poet whose work has set off quite this same reaction in me since William <span class=SpellE>Bronk</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'>It&#8217;s as if <span class=SpellE>Barocas</span> has tapped into this contradictory vein one finds in certain members of the post-avant, notably along the <span class=SpellE>Zukofskyan</span> side of things. On the one hand, here is a poet with considerable skills and a great sense of craft. On the other, the focus of all this feels so constrained as to be maddening. Just as Zukofsky himself bemused &amp; befuddled his admirers with both his willingness to pursue open-ended innovation with great rigor, but proved so anal retentive that each copy of every book his house is said to have been stored separately in its own clear plastic cover, <span class=SpellE>Barocas</span> seems to be heading in two directions at once. In general, in <i style='mso-bidi-font-style:normal'>Among Other Things, </i>the person who would think to equate exactitude and purity is the one who wins outs. But in fact, I think the more interesting <span class=SpellE>Barocas</span> is (or would be) the other, the writer who would use this sense of craft to kick out the jams and boogie more. <o:p></o:p></span></p>
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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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<li><a href='http://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
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<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
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<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>
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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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