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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>outsider poets</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>outsider poets</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>Thursday, March 06, 2003</span></h2>

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<span style="font-family: Arial;">A couple of people wrote to
suggest that my general <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2003_02_01_ronsilliman_archive.html%2389899937">list
of outsider poets</a> was far too &#8220;inside.&#8221; Michael <span class="SpellE">Helsem</span>
notes that <o:p></o:p></span></div>
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<span class="SpellE"><tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Xexox</span></tt></span><tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"> Sutra
Editions (now <span class="SpellE">Xexoxial</span> <span class="SpellE">Endarchy</span>)
published several writers who must be considered bonafide
"outsiders", notably the artist/poet <a href="http://www.pipeline.com/~dada3zen/malok.htm"><span class="SpellE">Malok</span></a>
(who is now online); his drawings in particular bear comparison with anything
at </span></tt><st1:city><st1:place><tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Lausanne</span></tt></st1:place></st1:city><tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">...<o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Chris Sullivan, editor [if <i style="mso-bidi-font-style: normal;">bricolage </i>can be called editing] of the excellently weird <span class="SpellE">zine</span>, <i style="mso-bidi-font-style: normal;">Journal of
Public Domain, </i>comments:<o:p></o:p></span></tt></div>
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<span class="SpellE"><span class="GramE"><tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Todays</span></tt></span></span><tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">
discussion of "outsiders" got me to wonder [<i style="mso-bidi-font-style: normal;">sic] </i>if you are aware of the "song-poem" genre.<o:p></o:p></span></tt></div>
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<tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">There's a website devoted to
it, and I'm forwarding a link to a page about Thomas <span class="SpellE">Guygax</span><o:p></o:p></span></tt></div>
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<tt><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><a href="http://www.aspma.com/guygax.htm" target="_blank">http://www.aspma.com/guygax.htm</a><o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">To which I would note that, yep, these guys are so
far <i style="mso-bidi-font-style: normal;">outside</i> that they need to carry
sun block. In general, the writers I listed were successful poets who, for
various reasons, live or lived pretty marginally, at least in economic or
social terms. But, since the original note from Jason Earls to which I was
responding invoked <a href="http://www.saraayers.com/darger.htm">Henry Darger</a>
as its example, the hospital janitor &amp; pedophile <a href="http://users.rcn.com/outpost/darger/">painter/novelist</a> whose work
would have been lost had not his landlord been an art-savvy professional
photographer who discovered the paintings &amp; writing among <span class="SpellE">Darger&#8217;s</span> effects after this escapee from a &#8220;home for the
feeble minded&#8221; passed away, perhaps I should have been thinking further outside
the box. <o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">These notes harkened me back to my work with the
Tenderloin Writers Workshop in San Francisco between 1979 &amp; &#8217;81, and some
of the writers there, especially Harley Kohler, a bearded (!) cross-dresser who
wrote generally obscene sonnets in a language given almost entirely over to
neologisms, or &#8220;Spider&#8221; James Taylor, a young man who penned long, obsessive
novels with a gritty comic-book realism. The Workshop &#8211; which had a &#8220;no guns in
class&#8221; rule that I made up on the spot one evening &#8211; included an amazing
diversity of inner-city perspectives, from drug-addicted street people to
senior women who would crochet while listening to the different readers, then
simply comment something like, &#8220;Well, I think all junkies should be shot,
present company excepted.&#8221; A few of the writers who participated in the
workshop &#8211; Mary Tall Mountain, Bob Harrison, Charles <span class="SpellE">Bivins</span>
&#8211; went on to publish quite successfully. But one of the strongest memories I
have of the group was an evening in which Bob Holman, traveling through </span></tt><st1:city><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">San
  Francisco</span></tt></st1:place></st1:city><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">, dropped by in time to
watch two of the writers, one from </span></tt><st1:city><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">New
  Orleans</span></tt></st1:place></st1:city><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">, <span class="GramE">the</span>
other from the </span></tt><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Caribbean</span></tt></st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">,
disagree on the nature of Santeria &amp;, accordingly, cast curses upon one
another. <o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">There were even writers in the Tenderloin in those
years whose lives proved so far outside that even the notably free-ranging
workshop was far too confining. One man, whose name I only knew as </span></tt><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Douglas</span></tt></st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">,
would pen long, mostly unreadable texts in black magic marker on the
neighborhood&#8217;s few very scrawny trees. <o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">One of the things I like most about Cary Nelson&#8217;s <i style="mso-bidi-font-style: normal;">Repression and Recovery: Modern American
Poetry and the Politics of Cultural Memory, 1910-1945</i> (Wisconsin, 1989) is
how Nelson constructs a panorama of the entire range of between-wars poetry
starting with one of its most &#8220;despised&#8221; subgenres, leftwing doggerel published
in &#8220;non-literary&#8221; political tabloids. The idea that the whole of writing might
be continuous may be something of a theoretical fiction &#8211; it&#8217;s much more like
overlapping tectonic plates &#8211; but Nelson&#8217;s <i style="mso-bidi-font-style: normal;">tour-de-force
</i>(the book is a single long prose meditation on the violence hidden in
canonization, while the footnotes, which consume half or more of almost every
page, constitute a history of one period of American letters as detailed as any
written) does demonstrate just how much further beyond the traditionally
conceived boundaries <i style="mso-bidi-font-style: normal;">belle <span class="SpellE">lettre</span> </i>truly extends. <o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Everywhere, people write. My experience of the
Tenderloin was that I got to see manuscripts from perhaps two percent of the
adult community in any given year. Extrapolate that out across the population
of the </span></tt><st1:country-region><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">United States</span></tt></st1:place></st1:country-region><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">
&amp; you get a number in the millions. Indeed, the 1,000 actively publishing
writers in the </span></tt><st1:city><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Philadelphia</span></tt></st1:place></st1:city><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">
region that <a href="http://robinsbookstore.com/">Robin&#8217;s Book Store</a> claims
to have in its database would, at that rate, represent only one percent of all
the local people who actually write.<span style="mso-spacerun: yes;">&nbsp;
</span>Now, inner city communities with large populations of the retired as
well as the disabled may well prove to have more writers than the exurbs of
quiet desperation, simply because these segments of the population have that
rarest of commodities, surplus time, but the general principle itself still
stands. <o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Over the years, I&#8217;ve learned an enormous amount from
writers like Harley Kohler &amp; Spider </span></tt><st1:city><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Taylor</span></tt></st1:place></st1:city><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">.
These writers don&#8217;t necessarily connect to poetry as a social practice, though
they do, it seems, very much rely on its role as a personal one.* They make it
possible for me to see, however fleetingly, just which presumptions I might be
making with regards to my own poetry. How publishing <span class="GramE">itself</span>
is predicated on a long list of such presumptions. Should I count these people
in my roster of &#8220;outsider poets&#8221;? I think that may be a definitional question,
but I absolutely count them among my own significant influences.<o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; font-size: 10.0pt;">*Kohler
in particular got to know some of the other poets in the Bay Area, such as Lyn
Hejinian. His partner at one point was a caretaker in the first
board-&amp;-care home that Larry Eigner lived in when he first moved to </span></tt><st1:city><st1:place><tt><span style="font-family: Arial; font-size: 10.0pt;">Berkeley</span></tt></st1:place></st1:city><tt><span style="font-family: Arial; font-size: 10.0pt;">.<o:p></o:p></span></tt></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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