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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>publishings</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>publishings</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, May 25, 2006</span></h2>

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<span style="color: black; font-family: Arial; font-size: 10.0pt;">Eliot Weinberger, who has himself attempted to persuade <a href="http://www.ndpublishing.com/home.html"><span style="color: black;">New Directions</span></a> to publish William Carlos Williams&#8217; <i style="mso-bidi-font-style: normal;">Spring &amp; All </i>as a separate edition; wrote to Andrew Schelling after I ran Andrew&#8217;s <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2006/05/new-directions-founder-james-laughlin.html"><span style="color: black;">meditation</span></a> on the role of New Directions as a post-avant publisher (and Andrew&#8217;s assertion that one could, in fact, base a bookstore&#8217;s poetry collection on New Directions, at least a couple of decades ago). Eliot <span class="SpellE">cc&#8217;d</span> me and the two of them eventually gave me permission to run Eliot&#8217;s email here. All ellipses are Eliot&#8217;s, and I corrected just one date, that of </span><st1:city><st1:place><span style="color: black; font-family: Arial; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="color: black; font-family: Arial; font-size: 10.0pt;">&#8217;s death. <o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Hi Andrew &#8212;<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">I read your letter about New Directions on Silliman&#8217;s blog, which got me wondering whether there really is a 20-year "gap" in ND&#8217;s commitment to "EP/WCW/HD" tradition. So off the top of my head, I made a list...<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Bearing in mind that they only publish about 40 books a year, mainly prose (they are not primarily a poetry press) and that they were publishing a lot of poetry in translation &#8212; the list seems pretty impressive. <o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">One problem was that it was difficult to take on new people while still keeping up with new books by their old people. In the 60's they added quite a few people &#8212; probably too many (in terms of ND&#8217;s size, not the worthiness of the individual poets) and a bunch of them ended up going to Black Sparrow.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">It&#8217;s safe to say they had no interest in the NY School and subsequent generations (Berrigan, Padgett, etc) &#8212; until Bernadette in the 90's. And they had no particular interest in Langpo &#8212; but let Messerli do that (pretty bad) anthology in the 80's. <o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">But what I don&#8217;t see is your idea that they neglected an entire generation. Certainly there are individuals they missed over the decades. Sometimes because they simply didn&#8217;t have the opportunity; sometimes because of a mix-up (Bunting, notably); sometimes because of personal animosity toward Laughlin, or vice-versa (Zukofsky) It would be interesting to know who they actually rejected. (The only poetry book Laughlin told me he made a mistake in rejecting was </span><st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Blackburn</span></st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">&#8217;s "<span class="SpellE">Proensa</span>."Around the office, they most regret the Niedecker and Rexroth <span class="SpellE">collecteds</span>.)<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">It&#8217;s true that the list loses steam in the 80's, in terms of new people. Perhaps this was because Rexroth was dead and Laughlin didn&#8217;t have anyone he really trusted to talk with about the new poetry. (Most of the new people in the 60's and 70's were Rexroth enthusiasms.) And of course he was getting old, and less receptive.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">So here&#8217;s the list. I&#8217;ve kept it to "EP/WCW/HD <span class="SpellE">trad</span>"and New Americans, ignoring some one-shots, and some odd regulars like Edwin Brock in the 60's and 70's, and Allen Grossman and John <span class="SpellE">Allman</span> later on. And I&#8217;ve probably forgotten some....<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">1960's:<o:p></o:p></span></div>
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<span class="GramE"><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Continuing: Pound (d. 1972), Williams (d. 1963), Rexroth, Levertov, Ferlinghetti, Merton (d. 1968).</span></span><span style="color: black; font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">New people: Oppen, Rakosi, </span><st1:city><st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Duncan</span></st1:place></st1:city><span style="color: black; font-family: Verdana; font-size: 10.0pt;">, Everson, Reznikoff, Olson (d. 1970), </span><st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Tarn</span></st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">, Snyder, Jonathan Williams, Corso, Bob Kaufman, Carruth.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">1970's:<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Continuing: Rexroth (d. 1982), Levertov, Ferlinghetti, Everson, Oppen (d.1984), Snyder, Corso, <span class="GramE">Carruth</span>.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">New people: Creeley, Rothenberg, Antin, HD (d. 1961, pub by ND posthumously), McClure, Corman.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">[Rakosi, Reznikoff, Everson, and </span><st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Tarn</span></st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;"> go to Black Sparrow. Oppen &amp; Laughlin decided "Primitive" was too small a book for ND &#8212; you can&#8217;t say he was "dropped" by ND, as they published everything else. Corman goes to many presses, comes back in 90's with one book.]<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">1980's:<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Continuing: Creeley, Rothenberg, Antin, Duncan (returns from silence; d. 1988), Levertov, Ferlinghetti, <span class="GramE">McClure</span>. <o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">New people: Sobin, Weinberger (since you mentioned me, though hardly a poet), R. Waldrop, David Hinton (as translator), Peter Dale Scott.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">[Snyder goes with his friend Shoemaker to North Point<span class="GramE">. ]</span><o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">1990's:<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Continuing: Creeley, Ferlinghetti, Rothenberg, Antin, Levertov, R. Waldrop, Weinberger, Sobin, Hinton, McClure, <span class="GramE">Peter</span> Dale Scott. <span class="GramE">[Plus one book by Corman.]</span><o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">New people: Palmer, S. Howe, </span><st1:city><st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Gander</span></st1:place></st1:city><span style="color: black; font-family: Verdana; font-size: 10.0pt;">, Brathwaite, B. Mayer. <span class="GramE">[Plus one-shot <span class="SpellE">Bronk</span> and Tomlinson <span class="SpellE">Selecteds</span>.]</span><o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">[Sobin is dropped after three books; d. 2005]<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">2000's:<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Continuing: Creeley (d. 2006), Ferlinghetti, Rothenberg, Palmer, S. Howe, </span><st1:city><st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Gander</span></st1:place></st1:city><span style="color: black; font-family: Verdana; font-size: 10.0pt;">, Brathwaite, R. Waldrop, Mayer, Weinberger, <span class="GramE">Hinton</span>.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">New people: Mackey, <span class="SpellE">Thalia</span> Field.<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Continuing posthumous publications: Pound, WCW, Rexroth, Oppen, Duncan, Levertov, HD, Merton. [Creeley, just before his death, bizarrely decided to go to </span><st1:place><st1:placetype><span style="color: black; font-family: Verdana; font-size: 10.0pt;">Univ.</span></st1:placetype><span style="color: black; font-family: Verdana; font-size: 10.0pt;"> of </span><st1:placename><span style="color: black; font-family: Verdana; font-size: 10.0pt;">California Press</span></st1:placename></st1:place><span style="color: black; font-family: Verdana; font-size: 10.0pt;">.]<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Adding the non-avants, and various strange one-shots, in any given decade they published about 15 living English-language poets, as well as unpublished/uncollected books by the dead, and many foreign poets. In the 60's there were maybe half a dozen more &#8212; but of course books were cheaper then. So it's hard to say that a "generation" is missing. Regardless of what one thinks of the individual choices, the living poets on the list right now are in their 40's, 50's, 60's, 70's, and (Ferlinghetti) 80's.&nbsp;<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Well, that kept me up!&nbsp; Hope you saw the anthology ("World Beat"<span class="GramE">) &nbsp;I</span> just did of all the foreign and some of the Americans ND has been publishing in the last 15 years...<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">all best &#8212;<o:p></o:p></span></div>
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<span style="color: black; font-family: Verdana; font-size: 10.0pt;">Eliot<o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, December 11, 2002</span></h2>

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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Poker </span></i><span style="font-family: Arial;">has
arrived in my mailbox, with an information rich (a.k.a. busy) blue cover that
lists, along with all the first issue participants, a roster of contributing
editors aiding chief poker Daniel Bouchard that by itself should raise some
great expectations: Beth Anderson, </span><st1:personname><span style="font-family: Arial;">Kevin Davies</span></st1:personname><span style="font-family: Arial;">, Steve Evans, Marcella Durand, Cris <span class="SpellE">Mattison</span> (the one person here whose work I really don&#8217;t
know), Jennifer Moxley, &amp; Douglas Rothschild. Interesting, edgy, brilliant
are all adjectives that come to mind with that list. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Poker </span></i><span style="font-family: Arial;">has
some terrific work in it &amp; a great interview with Kimberly Lyons that
includes an especially insightful &amp; sympathetic comment as to the
sacrifices that one must make to become an academic &amp; why she is
psychiatric social worker instead. The interview, conducted by Marcella Durand,
also includes some discussion of the resentment felt by younger </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> poets in the early 1980s toward language poetry:<o:p></o:p></span></div>
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M: Really?</div>
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K: Oh, God, yes. The
reaction against the Language school and against <i style="mso-bidi-font-style: normal;">L=A=N=G=U=A=G=E</i> magazine. Some sense of them taking over poetry &#8211;
what are they doing? That was really in the discourse at that time and it was
definitely in the social interactions, a kind of charge. It was a really
charged time. Those were not such productive years for the <st1:place><st1:placename>New
  York</st1:placename> <st1:placetype>School</st1:placetype></st1:place>.</div>
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<span style="font-family: Arial;">I&#8217;ve commented <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382734255">before</a>
on how that same phenomenon was perceived from the other side of the fence,
including the anger people felt at the <i style="mso-bidi-font-style: normal;">Poetry
Project Newsletter&#8217;s</i> habit in those days of &#8220;<span class="GramE">disappearing</span>&#8221;
certain language poets from lists of contributors in its Magazines Received
columns. While langpos clearly tended to see the older, far more established
&amp; institutionalized NY School as all powerful &amp; totally unwilling to <span class="GramE">share,</span> younger NYS poets might well have had a very
different fantasy about these dynamics. The problem of how to develop a scene
without generating such paranoia on all sides remains an unfinished task for
poetry as a collective &amp; shared activity. <o:p></o:p></span></div>
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<span style="font-family: Arial;">All of which makes it
interesting to read the following first paragraph of Chris McCreary&#8217;s review of
Rachel Blau DuPlessis&#8217; <i style="mso-bidi-font-style: normal;">Drafts 1-38, Toll</i>:<o:p></o:p></span></div>
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Lately I find myself
groaning at the announcement of yet more books from many of the poets who&#8217;ve
been publishing for several decades &#8211; more of the same, I often think, as what
was once innovative is now being rehashed again and again throughout these
careers. And it&#8217;s one more book <i style="mso-bidi-font-style: normal;">not </i>getting
published by a younger up and comer, too!</div>
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<span style="font-family: Arial;">McCreary goes on to except
DuPlessis from this desire for all older poets to hurry up please &amp; die,
which makes it an even more bizarre note to start the review on, ungenerous
&amp; replete with an implicit ageism that can only come back, if McCreary is
lucky, to haunt him.* In fact, I like McCreary &amp; his poetry. <i style="mso-bidi-font-style: normal;">The Effacements </i>(Singing Horse, 2002)<i style="mso-bidi-font-style: normal;"> </i>is an exciting book. What he is doing,
I think, is expressing an all too human emotion, one aspect of that same
&#8220;charge&#8221; Kimberly Lyons is referring to in her interview, an emotional
exhaustion that is a consequence of the absolute difficulty any poet has &amp;
how it is experienced, how it is <i style="mso-bidi-font-style: normal;">felt</i>
<i style="mso-bidi-font-style: normal;">&amp; framed</i> when the writer is
relatively young. In a sense, I almost suspect that this &#8220;charge&#8221; is also what
is intended by the otherwise cryptic tagline <i style="mso-bidi-font-style: normal;">The Poker</i> runs underneath its title: &#8220;Half with loathing, half with
a strange love.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">The truth is that it <i style="mso-bidi-font-style: normal;">is </i>difficult &amp; it is getting harder
daily. From 1911 through 1955 &#8211; roughly the age of modernism &#8211; the number of
books published annually in the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;"> remained relatively static at 12,000. But since
1955, that rate of publication has ramped up dramatically. By 1975, that number
had more than tripled to 39,000. According to <a href="http://www.nytimes.com/2002/12/06/business/media/06BOOK.html"><span class="SpellE">Dinitia</span> Smith&#8217;s</a> column in the December 6 <i style="mso-bidi-font-style: normal;">New York Times, </i>the figure for 2001 was
114,287 titles. In short, a book by Ezra Pound or Gertrude Stein in 1912, or
even <i style="mso-bidi-font-style: normal;">Howl </i>by Allen Ginsberg in the
mid-1950s, represented just eight one-thousandths of one percent of the titles
in the new book market for that year. Today, a book by Chris McCreary, Rachel
Blau DuPlessis or Kimberly Lyons has to compete with more than <i style="mso-bidi-font-style: normal;">14 times</i> that number of titles for
attention. <o:p></o:p></span></div>
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<span style="font-family: Arial;">What nobody to my knowledge
has done is to calculate in any reliable fashion whether this same rate of
growth in the number of titles overall applies proportionately to poetry. It
wouldn&#8217;t particularly shock me to discover than there are more than 14 times
the number of poetry books now than there were in the mid-1950s. Also
unexplored, let alone answered, is the question of whether or not the absolute
number of poetry books &#8211; books, not titles &#8211; bought &amp; read has grown over
that same period. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There is a hidden
presumption behind McCreary&#8217;s groaning, </span><st1:city><st1:place><span style="font-family: Arial;">Lyons</span></st1:place></st1:city><span style="font-family: Arial;">&#8217; &#8220;charged atmosphere&#8221; &amp; the mutual paranoia of
the </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> &amp; langpo in the 1980s &#8211; and this is a gut feeling that poetry is a
zero sum game, that there is only a fixed amount of poetry attention to go
around. By that logic, a book such as Chris&#8217; <i style="mso-bidi-font-style: normal;">The Effacements</i> must have &#8220;won out over&#8221; or &#8220;shoved aside&#8221; some
other possible volume, either in publication, in reading attention, or in both.
But that&#8217;s an untested &amp;, I would argue, suspect presumption. Suspect not
only because with the absolute number of titles expanding, it is reasonable
that the list for poetry should increase as well, but also because the
inference of this presumption, that eliminating some future book by, say, </span><st1:personname><span style="font-family: Arial;">Michael Palmer</span></st1:personname><span style="font-family: Arial;"> or </span><st1:personname><span style="font-family: Arial;">Ron Silliman</span></st1:personname><span style="font-family: Arial;">
will lead to more readers for X, has no basis in fact.**<o:p></o:p></span></div>
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<span style="font-family: Arial;">But if the other possibility
is true, that the number of poets, poetry readers &amp; poetry books is
expanding in the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;">, a very different economy &amp; set of issues would
then follow. The problem would not be one of competing over a fixed ration of
assets &#8211; books, readers, awards, stars on the Poetry Walk of Fame, whatever &#8211;
but rather a question of how best<span style="mso-spacerun: yes;">&nbsp; </span>to
generate &amp; organize an actually existing audience for one&#8217;s own poetry. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Kimberly Lyons has a
wonderfully insightful perspective on this, which, in her interview, she
ascribes to the poet &amp; composer Franz <span class="SpellE">Kamen</span>:<o:p></o:p></span></div>
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Franz <span class="SpellE">Kamen</span> was an influence and friend. He was on the scene in
the &#8216;80s in <st1:state><st1:place>New York</st1:place></st1:state> and was
collaborating with Mitch [<span class="SpellE">Highfill</span>] on the <st1:street><st1:address>10
  Leonard Street</st1:address></st1:street> reading series when I met Mitch. He
writes prose work like <i style="mso-bidi-font-style: normal;">Scribble Death </i>(Station
Hill, 1986) and poetry, and put on performances &#8211; he is a natural teacher and a
really original thinker and a really useful thinker about how to be an artist
and he lived like an artist, in a German romantic sense and suffered greatly
particularly in those days. So Franz was been somebody who&#8217;s been very helpful,
somebody you could call any time of the night or day and jump right into your
conflict or problem, your agony, and he was able to think through a set of
dilemmas, as well as all those soulful problems of &#8220;why bother?&#8221; and how to
keep going. And Franz always had this great idea that there is no need anymore
for <i style="mso-bidi-font-style: normal;">the </i>poet or three contending,
competing poets, or whatever, that there can be poets and poets can have their
constellation around them, He even thought that no poet need more than 75
engaged, interested readers, which I thought was really a nifty way of thinking
about it, that your work could be useful to those people.</div>
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M: What about 7
engaged readers?</div>
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K: We&#8217;ll take it!</div>
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<span style="font-family: Arial;">All humor aside, </span><st1:city><st1:place><span style="font-family: Arial;">Lyons</span></st1:place></st1:city><span style="font-family: Arial;"> &amp; <span class="SpellE">Kamen</span> are absolutely
correct. Further, that need for a core group of engaged, interested readers
also points out what in a way always seemed so sad about the giant poetry
readings that Allen Ginsberg was forced to give by virtue of his celebrity. I
remember thinking, although not necessarily in these words, at some point
during almost every reading I ever heard Ginsberg give, just how very few of
the people in the audience really were engaged &amp; interested in his writing
itself. All that fame did relatively little to expand that base of serious
readers beyond what it would be for any of the senior New Americans &#8211; Michael
McClure, for example, or Phil Whalen &#8211; but it did ensure that he would never be
allowed to just read to his core audience. He was forever the satirical poet
forced by circumstance to play the oracle, the Gandalf of Naropa &amp; the </span><st1:place><span style="font-family: Arial;">Lower East Side</span></st1:place><span style="font-family: Arial;">. I&#8217;m not convinced that Ginsberg&#8217;s experience of
poetry in </span><st1:country-region><st1:place><span style="font-family: Arial;">America</span></st1:place></st1:country-region><span style="font-family: Arial;"> was any less lonely than that identified by Chris
McCreary &#8211; it was just different in how it played out.<o:p></o:p></span></div>
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<span style="font-family: Arial;">These questions take on a
special poignancy for me in <i style="mso-bidi-font-style: normal;">The Poker</i>
with the inclusion of <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2385049898">George
Stanley</a> of all people, contributing a six-page excerpt from &#8220;Vancouver,
Book One,&#8221; a new poem that I&#8217;ve been told is on an epic scale. Here is a man
after all who turned his back, for all purposes, on precisely that which so
many other poets appear so hungry to obtain &amp; so fiercely defend. As a key
figure in the </span><st1:address><st1:street><span style="font-family: Arial;">Spicer
  Circle</span></st1:street><span style="font-family: Arial;">, </span><st1:city><span style="font-family: Arial;">Stanley</span></st1:city></st1:address><span style="font-family: Arial;"> is an all but official representative of Disappeared
Schools of Poetry. Yet he appears to have real fans &amp; advocates from </span><st1:place><st1:city><span style="font-family: Arial;">Cambridge</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">MA</span></st1:state></st1:place><span style="font-family: Arial;">, to </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;">, from </span><st1:state><st1:place><span style="font-family: Arial;">British Columbia</span></st1:place></st1:state><span style="font-family: Arial;"> to </span><st1:state><st1:place><span style="font-family: Arial;">Pennsylvania</span></st1:place></st1:state><span style="font-family: Arial;">. Allen Ginsberg may very well have sold far more
books than George Stanley, &amp; he certainly had more titles, but it doesn&#8217;t
necessarily follow that Ginsberg had that many more &#8220;engaged, interested
readers.&#8221; <span style="mso-spacerun: yes;">&nbsp;</span><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Poker </span></i><span style="font-family: Arial;">can
be reached via its editorial address at </span><st1:address><st1:street><span style="font-family: Arial;">P.O. Box 390408</span></st1:street><span style="font-family: Arial;">, </span><st1:city><span style="font-family: Arial;">Cambridge</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">MA</span></st1:state><span style="font-family: Arial;"> </span><st1:postalcode><span style="font-family: Arial;">02139</span></st1:postalcode></st1:address><span style="font-family: Arial;">. Individual copies are $10 <span class="GramE">each,</span> two-issue
subscriptions cost $16. Make checks payable to Dan Bouchard. <i style="mso-bidi-font-style: normal;">The Effacements </i>Chris McCreary is half of
a double book published by Singing Horse Press, the other half being <i style="mso-bidi-font-style: normal;">A Doctrine of Signatures </i>by <span class="SpellE">Jenn</span> McCreary. You can get it via <a href="http://www.spdbooks.org/">SPD</a>. We hear that Franz <span class="SpellE">Kamen</span>
will have a new recording out from <span class="SpellE">Innova</span> Records sometime
in early 2003. &amp; Kimberly Lyons&#8217; <i style="mso-bidi-font-style: normal;"><a href="http://www.granarybooks.com/books/abracadabra/abracadabra1.html">Abracadabra</a>
</i>(Granary Books, 2000) is a book you need to own. Click on the link &amp;
take a look.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* The most
difficult position for a poet to be in is not among the young &amp;
unpublished, but the mid-career (or older) writer who finds that the scene has
somehow moved on &amp; that interest in his or her work appears to have waned.
Anyone who knew Ronald Johnson will remember his mass mailings of angry, bitter
letters denouncing what he felt to be his exclusion. Yet his situation was
better than that of many poets. One of the reasons why I began this blog with a
reconsideration of Actualism &amp; the lost poets of the 1970s was precisely to
highlight this issue. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** Where
does the audience of a poet go if &amp; when he or she dies? Do they continue
to read the poet, the way I still read Olson, Stein, Berrigan or Spicer? Do
they turn to other poets? Do they stop reading poetry or eventually die off
themselves? The answer I think is a little of all of the above, but there is no
reason to believe that those who turn to some degree to other poets would not
be doing that anyway, which is, after all, how everybody already reads. <o:p></o:p></span></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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