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Showing posts with label <b>post-avant</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>post-avant</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, October 26, 2002</span></h2>

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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Narrative Drive would make a good name for one of
those winding streets up in the hills around </span></tt><st1:city><st1:place><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Los
  Angeles</span></tt></st1:place></st1:city><tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">. But for post-avant
writing, it&#8217;s a conundrum. Jena Osman proposes the category in her poem <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2383345778">&#8220;Starred
<span class="GramE">Together</span>.&#8221;</a> I think it&#8217;s definitely worth
exploring.<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;">Kevin Davies writes:<o:p></o:p></span></tt></div>
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<tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">The blog asks
if the narrative drive that </span></tt><st1:city><st1:place><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Jena</span></tt></st1:place></st1:city><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">
proposes is related to eros or the death drive or what. I don't know either.
But last week I was reading a book by the classicist <span class="SpellE">Yun</span>
Lee Too. Socrates, in Plato's Symposium, recounts a speech by the prophetess <span class="SpellE">Diotima</span>. Her story is about the birth of Eros:<o:p></o:p></span></tt></div>
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<tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">At
the divine [drinking] party the deity <span class="SpellE">Penia</span> (whose
name means "poverty" or "lack") enters uninvited to find <span class="SpellE">Poros</span> (whose name means "resource" or "plenty")
lying in a drunken stupor. Contriving to remedy her condition as lack, <span class="SpellE">Penia</span> sleeps with the god of plenty and conceives and
begets Eros, the supernatural being (<span class="SpellE">daimon</span>) who
partakes of both his parents' natures. . . . Eros is accordingly a being of
middles and in-betweens. He is neither god nor mortal, but a <span class="SpellE">daimon</span> who moves between the immortal and mortal spheres. .
. . He is <span class="GramE">neither simply good and</span> beautiful, nor for
that matter base and ugly, but something between these extremes. <span class="SpellE">Daimonic</span> Eros is poor . . . squalid, unshod, and homeless.
But in relation to others, he is resourceful, providing counsel to good and
beautiful people. He is brave, a clever hunter, a weaver of tricks, a
practitioner of philosophy, a clever sorcerer, and a sophist.* (66)<o:p></o:p></span></tt></div>
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<span class="GramE"><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">Death
drive?</span></tt></span><tt><span style="font-family: &quot;Times New Roman&quot;; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;"> For Lacan = <span class="SpellE">Antigone</span>.
<span class="GramE">Eros and <span class="SpellE">Antigone</span>?</span> <span class="GramE">In a tree?</span> <span class="GramE">The combination of barefoot in-<span class="SpellE">betweeness</span> and steely-eyed, suicidal refusal of <span class="SpellE">Creon's</span> tyranny?</span> Not sure it's a drive. <span class="GramE">Definitely a story.</span><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;">I searched around on the Net for references to narrative
drive but could find nothing that spoke of it in terms of psychological drives.
<span style="mso-spacerun: yes;">&nbsp;</span>Most of what I found has to do with plot
fluidity, dramatic construction or character motivation in fiction or cinema, mostly
used in a judgmental fashion: <o:p></o:p></span></tt></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
But whereas<i>
Distant Voices, Still Lives</i> had at least the central conflict between the
abusive father and his long-suffering wife and children to sustain audience
interest, <i>The Long Day Closes</i> lacked even the rudiments of any narrative
drive. The result was self-indulgent and tedious, as well as a critical and
commercial failure<span class="GramE">.*</span>*<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;"><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;">Where it does show up constructively from time to
time is on creative writing &#8220;how-to&#8221; sites &amp; ancillaries thereof. Thus <a href="http://www.scriptzone.com/serv.htm">Literary &amp; Script Consultants</a>
offer, as one aspect of their screenplay analysis service, a critique that
includes this category:<o:p></o:p></span></tt></div>
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<b>STORY</b>: Plot,
sub-plots, and story dynamics - story holes - narrative drive, logic, and focus
- momentum - pace - theme - &nbsp; subject matter - freshness - narrative and
dramatic power<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;"><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;">In an interview I found on <a href="http://www.randomhouse.com/knopf/authors/ellroy/qna.html">Borzoi Reader
Online</a>, suspense novelist James <span class="SpellE">Ellroy</span> claims:<o:p></o:p></span></tt></div>
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Language, style,
narrative drive and characterization are a novelist's basic tools; they must
always be deployed to the limits of their power.<o:p></o:p></div>
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<tt><span style="font-family: Arial; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">But even in this frame of reference, nobody seems to
define it. <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;">But if narrative drive is a category without
definition even in the best of circumstances &#8211; a James <span class="SpellE">Ellroy</span>
novel&#8211; what does it mean to apply the concept to Bruce Andrews or Clark
Coolidge or Lee Ann Brown? What, literally, motivates the eye &#8211; &amp; the mind
behind the eye &#8211; left to right along the line &amp; down again until the page
itself has been consumed? To use the category I borrowed from cognitive
linguistics in <i style="mso-bidi-font-style: normal;"><a href="http://roofbooks.com/Book/index.cfm?GCOI=93780100484640">The New Sentence</a></i>,
the Parsimony <span class="GramE">Principle,</span> doesn&#8217;t seem adequate either.
The Parsimony Principle may well explain how the reading mind invariably will make
sense even from a phrase such as Wittgenstein&#8217;s &#8220;milk me sugar&#8221;***, but it
doesn&#8217;t speak to the problem of why the mind joins words in the first place,
moves through them, carries on. <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;">What, I ask, is that about?<o:p></o:p></span></tt></div>
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<tt><span style="font-family: Arial; font-size: 10.0pt;">*Too, <span class="SpellE">Yun</span> Lee. <i style="mso-bidi-font-style: normal;">The
Pedagogical Contract: The Economies of Teaching and Learning in the Ancient
World</i>. </span></tt><st1:place><st1:city><tt><span style="font-family: Arial; font-size: 10.0pt;">Ann Arbor</span></tt></st1:city><tt><span style="font-family: Arial; font-size: 10.0pt;">, </span></tt><st1:state><tt><span style="font-family: Arial; font-size: 10.0pt;">MI</span></tt></st1:state></st1:place><tt><span style="font-family: Arial; font-size: 10.0pt;">: The University of </span></tt><st1:state><st1:place><tt><span style="font-family: Arial; font-size: 10.0pt;">Michigan</span></tt></st1:place></st1:state><tt><span style="font-family: Arial; font-size: 10.0pt;"> Press, 2000.<o:p></o:p></span></tt></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** <a href="http://www.thestranger.com/2001-01-18/film.html">Drowning in Style: Terence
Davies Smothers Another Story</a>,<b> </b>by <span class="SpellE">Caveh</span> <span class="SpellE">Zahedi</span>, at TheStranger.Com.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** Philosophical
Investigations, translated by G.E.M. <span class="SpellE">Anscombe</span> (New York:
<span class="SpellE">MacMillan</span>, 1953):<o:p></o:p></span></div>
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<span style="font-size: 10.0pt;">498.<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>When
I say that the orders &#8220;Bring me sugar&#8221; and &#8220;Bring me milk&#8221; make sense, but not
the combination &#8220;Milk me sugar&#8221;, that does not mean that the utterance of this
combination of words has no effect. And if its effect is that the other person
stares at me and gapes, I don&#8217;t on that account call it the order to stare and <span class="GramE">gape,</span> even if that was precisely the effect I wanted to
produce. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">But this
phrase can be entirely meaningful in a sexual context &#8211; one can hear it as a
line from a rap song without much difficulty. &amp; that interpretation is even
more evident in the German where the capitalization of nouns &#8211; &#8220;<span class="SpellE">Milch</span> <span class="SpellE">mir</span> <span class="SpellE">Zucker</span>&#8221;
&#8211; insinuates at one level that Sugar is a nickname. Thanks to Alex Young for
bringing this passage to my attention (even though he was trying to debunk my &#8220;reading&#8221;
of Bruce Andrews!).<o:p></o:p></span></div>
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<h2 class='date-header'><span>Friday, October 04, 2002</span></h2>

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<span style="font-family: Arial;">For a very long time, </span><st1:personname><span style="font-family: Arial;">Kit Robinson</span></st1:personname><span style="font-family: Arial;"> has been one of the finest writers of the lyric
around, very possibly <i style="mso-bidi-font-style: normal;">the</i> finest. In
an age that, for reasons more social than literary, has not been particularly
kind to the lyric, </span><st1:personname><span style="font-family: Arial;">Kit
 Robinson</span></st1:personname><span style="font-family: Arial;"> might well be
the most underappreciated writer of my generation. There ought to be a large
Selected Poems and a fat festschrift or two devoted to his accomplishments, but
instead Robinson has slipped quietly under the radar.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">There are several plausible
reasons for this &#8211; Robinson has stayed out of the academy*, seems genuinely to
dislike the hustle of self-promotion, doesn't haunt internet discussion lists &#8211;
but I would suggest that focusing on the lyric has itself been a contributing
factor.<span style="mso-spacerun: yes;">&nbsp; </span>To the degree that this form of
poetry is too often not recognized as serious or "weighty," readers
miss out on what </span><st1:personname><span style="font-family: Arial;">Kit
 Robinson</span></st1:personname><span style="font-family: Arial;"> has also
become: the most acute chronicler of the white-collar office environment we
have.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Like the best poetry
anywhere, this does not mean that Robinson focuses solely or obsessively on
work or the office. Rather, he employs a discourse deeply informed by these
vocabularies and terrains. It percolates up again &amp; again. In this sense
Robinson is truly a labor poet at a time when, with a few notable exceptions
like Rodrigo Toscano &amp; Kevin Magee, class has been largely erased from the
post-avant landscape:<o:p></o:p></span></div>
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<span style="font-family: Arial;">The
sun is like an X-ray<br />
that deletes old voicemail messages<o:p></o:p></span></div>
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<span style="font-family: Arial;">This simple passage works on
so many levels &#8211; as humor, as science**, &amp; finally as the incorporation of
this intense "natural" Other into a scale of cultural minutiae on a
par with answering machines.<span style="mso-spacerun: yes;">&nbsp; </span>It's just
one moment among many in <i style="mso-bidi-font-style: normal;">The Crave</i>,
Robinson's new collection from Atelos, which I wish I'd written. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* An
interesting choice for the son of an English professor.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** The sun
really does give off rays &amp; solar storms can erase data from magnetic media<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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