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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>diversity</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>diversity</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, February 16, 2013</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:14.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.swarthmore.edu/SocSci/dharris2/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>K David Harrison</span></a><br> on<br> <a href="http://www.poptech.org/popcasts/k_david_harrison__poptech_2008"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Revitalizing Linguistic Diversity</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, November 15, 2007</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='color:black'><img height="308" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/kABGVvvGNwCc7_tlQujqf9l9olAr480IPzEh4rgpR3L2gIR2HsVfIGTNmhoR_ePrNjscC6-DfQpL3f6DoIpkMs4%3Ds0-d" width="421"><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'>The new issue of <i style='mso-bidi-font-style:normal'><a href="http://damnthecaesars.org/"><span style='color:black'>Damn the Caesars</span></a>, </i>Richard Owens&#8217; magazine out of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Buffalo</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>,<i style='mso-bidi-font-style:normal'> </i>technically vol. III, is worth reading, even if it also is troubling in some old familiar ways. Owens knows that the editorial positioning of content in a journal is, in and of itself, <span class=GramE>a syntax</span>, an exposition, an argument. He is masterful at this, indeed one of very best since, say, Clayton Eshleman in knowing what to put where. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>DtheC</span></i></span><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>starts off with a longish poem &#8211; a single 327-line stanza, the lines themselves stretching most of the way across the page &#8211; by Thomas Meyer. &#8220;The Magician&#8217;s Assistant&#8221; is so atypical of Meyer&#8217;s mature work that it is by definition a major publication. I can report also that it&#8217;s a terrific poem, dense, fresh, surprising, <span class=GramE>full</span> of wit, a great read. It more than justifies the $10 price of the magazine. <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'>The Meyer piece starts off the opening section of the journal, containing also work by Steve McCaffery, Karen Mac <span class=SpellE>Cormack</span> &amp; Dale Smith. All are given a substantial space to work with &#8211; excluding one Korean feature, the journal gives each contributor an average of 8.5 pages, and everyone seems to have taken advantage of this by sending in their very best work. <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'>The Korean feature is the volume&#8217;s second section, a selection of five major contemporary poets &#8211; <span class=SpellE>Ko</span> Un, Kim <span class=SpellE>Seung-Hui</span>, </span><st1:place><st1:PlaceName><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Ynhui</span></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'>Park</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, <span class=GramE>Lee</span> <span class=SpellE>Si</span>-Young &amp; <span class=SpellE>Chonggi</span> <span class=SpellE>Mah</span> &#8211; between the ages of 55 &amp; 77. <span class=SpellE>Ko</span> Un is of course world famous &amp; two of the others have significant </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'> connections (<span class=SpellE>Chonggi</span> <span class=SpellE>Mah</span>, having been an M.D. in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Toledo</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, lives part of the year in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Florida</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>). The English versions, by Brother Anthony of <span class=SpellE>Taizé</span> with the help of three native speakers, are first rate. Everything here reads like poetry &amp; can be judged on its own merits, rather than taken as an approximation. <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'>The third section again contains the poetry of four English-speaking poets &#8211; the late Bill Griffiths (who must have died while this was in press), Stan Mir, Peter Finch &amp; Thom Donovan. The selection by </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Griffiths</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, a long untitled poem in 22 parts and a short essay on David Jones&#8217; inscriptions, are quite wonderful. We&#8217;ve never had anyone quite like </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Griffiths</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>US</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, a one-time Hells Angel with a Ph.D., a terrific ear &amp; great love for detail. <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'>The fourth section consists of a 20-page selection of poetry by <span class=SpellE>Andrzej</span> Bursa, a brilliant Polish poet who died of congenital heart failure at <span class=GramE>the of</span> 25 in 1957 (that is him on the left in the image above, the cover of the issue). In a five-page introductory essay, Kevin Christianson, one of the two translators, compares Bursa variously to Dorothy Parker, Phillip Larkin, <span class=SpellE>ee</span> <span class=SpellE>cummings</span> &amp; the Beats, which mostly tells you that Christianson doesn&#8217;t read contemporary poetry. The poems here, however, sound like they were written just yesterday, maybe by a sharp young poet taking workshops at St. Marks. You&#8217;re more aware here of the scrim of translation between reader &amp; &#8220;original&#8221; than with the earlier Korean materials, but on the whole these are very good.<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'>The last general section contains the work of six poets &#8211; <span class=SpellE>Sotère</span> <span class=SpellE>Torregian</span>, Michael Kelleher, Richard Deming, Rachel <span class=SpellE>Levitsky</span>, Jonathan Greene &amp; <a href="http://en.wikipedia.org/wiki/Billy_Childish"><span style='color:black'>Billy Childish</span></a>. Only <a href="http://www.billychildish.com/home.html"><span style='color:black'>Childish</span></a>, one of the key figures of anti-conceptual British <a href="http://en.wikipedia.org/wiki/Stuckism"><span class=SpellE><span style='color:black'>Stuckism</span></span></a>, is new to me here. Since Childish appears to have published some 30 books, made many records &amp; painted over 1,000 paintings, my lack of familiarity suggests either (a) I need to get out more or (b) British work still has a terrible time with U.S. distribution. The <span class=SpellE>Torregian</span> is especially interesting, given this latter-day surrealist&#8217;s &amp; one-time NY School poet (he&#8217;s lived in </span><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Northern California</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> for decades) apparent reticence toward publishing. The piece is a photocopy of a &#8220;petite&#8221; essay on Mahmoud Darwish, &#8220;The Poet as Outlaw.&#8221; As essay, the piece looks closer to notes for an otherwise impromptu talk, but it&#8217;s fascinating to watch the poet thinking, which is what this deeply annotated piece really is. <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 what really struck most in this issue is a tone that shows up almost satirically in <span class=SpellE>Childish&#8217;s</span> &#8220;I Come With Shin Bones Like Knives.&#8221; Here is its first stanza, the extra spacing part of the original:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in;line-height:150%'><span style='font-size:10.0pt;line-height:150%;font-family:Arial;color:black'>it is <span class=SpellE>wonderfull</span> being a man<br>
and<br>
washing your body down at the sink<br>
in the early morning<br>
with a flannel rough as a badgers <span class=SpellE>arse</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'>And here, a page later, is the final stanza:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in;line-height:150%'><span style='font-size:10.0pt;line-height:150%;font-family:Arial;color:black'>this<br>
is my shit<br>
and it smells good to me<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 is almost Archie <span class=SpellE>Bunkerville</span> in its <span class=SpellE>masculinist</span> take on the world. It does, however, serve to call attention to the rest of <i style='mso-bidi-font-style:normal'>Damn the Caesars </i>as a whole. And here I note that I misspoke above when I suggested that the issue led off with work by Thomas Meyer. There is, in fact, a short epigraph facing Meyer&#8217;s first page with a quote from Michael Palmer&#8217;s &#8220;The Flower of Capital&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Politics seems a realm of power and persuasion that would like to subsume poetry (and science, and fashion, and &#8230;<span class=GramE>)under</span> its mantle, for whatever noble or base motives. Yet if poetry is to function &#8211; politically &#8211; with integrity, it must resist such appeals as certainly as it resists others.<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'>Editor Owens makes something of the same point in a final essay that looks at the editing process under the belligerent heading of &#8220;Take It or Leave It.&#8221; Pointedly, Owens writes:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>This journal is no different. It is implicated in precisely the thing it aims to critique &#8211; exclusion and the willful production of scarcity. This is, after all, a print journal, and, as a print journal, limits are immediately imposed upon the range of things it can do. <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 let&#8217;s take a quick peek at who is being limited through exclusion. Mostly it&#8217;s women. The current issue has 15 contributors outside of the Korean selection, of whom just two are female, 13 percent. One of the five Koreans is female. By page count, it&#8217;s even worse &#8211; Karen Mac <span class=SpellE>Cormack</span>, Kim <span class=SpellE>Seung-Hui</span> and Rachel <span class=SpellE>Levitsky</span> have just 13 pages or eight percent of the 162 pages given to content. Let me put <span class=GramE>this another</span> way: 92 percent of the content is by men.<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'>Nor is volume III exceptional in this regard, going back through the archives, one quickly realizes that of the 101 contributors to the journal&#8217;s history (a big second volume, plus all four issues of the first) whose gender can be identified (I failed in the case of Jan Bender), only 18 have been women. Volume II, with 24 percent of its contributors being women, is the best <i style='mso-bidi-font-style:normal'>Damn the Caesars </i>has ever done. <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 know that this plays into Stephanie Young &amp; Juliana <span class=SpellE>Spahr&#8217;s</span> critique of a gendered poetry world (<a href="http://humanities.uchicago.edu/orgs/review/CR_532_Spahr_Young.pdf"><span style='color:black'>PDF</span></a>) in the new <i style='mso-bidi-font-style:normal'>Chicago Review </i> as well as the statistical analysis (<a href="http://humanities.uchicago.edu/orgs/review/CR_532_Kotin_Baird.pdf"><span style='color:black'>PDF</span></a>) done there by <i style='mso-bidi-font-style:normal'>ChiRev </i>editors Joshua <span class=SpellE>Kotin</span> &amp; Robert P. Baird. In general, <span class=SpellE>Kotin</span> &amp; Baird focus on more institutional publications, <i style='mso-bidi-font-style:normal'>The Nation, New Yorker, </i></span><st1:City><st1:place><i style='mso-bidi-font-style:normal'><span   style='font-size:10.0pt;font-family:Arial;color:black'>Paris</span></i></st1:place></st1:City><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> Review, Poetry, Southern Review, TriQuarterly, </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>than they do the likes of <i style='mso-bidi-font-style:normal'>Damn the Caesars, </i>tho Spahr &amp; Young are kind enough to include <i style='mso-bidi-font-style:normal'>Silliman&#8217;s Blog </i>where they&#8217;ve done some impressive work counting noses &amp; calculating percentages. <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 one thing to suggest, as I have at times, that we are in the midst of a long historic transformation between the roles played by various genders and <span class=GramE>that different moments</span> and/or stages are discernible along the way, and a journal like <span class=SpellE><i style='mso-bidi-font-style:normal'>DtheC</i></span> that behaves as if the 1950s were still the present. <span class=GramE>Eight percent?</span> At least the Allen anthology 43 years ago got to nine with its four contributors out of 44. <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'>All of which leaves me with this very uneasy feeling &#8211; a sense that Owens&#8217; afterward may in fact be as much a prophylactic against such criticism <span class=GramE>than</span> a statement in &amp; for itself. On the one hand, this is a wonderful issue with much great stuff worth reading. On the other, I have a hard &#8211; impossible &#8211; time imagining any woman ever wanting to buy this issue &amp; I have to confess that I myself come away from it feeling very sad indeed. And I don&#8217;t think that was the editor&#8217;s intent. <o:p></o:p></span></p>
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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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