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<h2 class='date-header'><span>Friday, September 14, 2007</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><span style='font-size:8.0pt;font-family:Arial;color:black'><img height="384" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/Go7cwcvYXZuymLxcv8K_H6lk3x14tArohrHzPQ2gxzLqaSOSkmNlF6xW3PehxzPeKEOX5ioWhg8OIk8YJigyTcl53TQ%3Ds0-d" width="304"><br>
Brian Calvin&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.corvi-mora.com/"><span style='color:black'>Half Mast</span></a> </i>is the cover image <br>
for Graham Foust&#8217;s <i style='mso-bidi-font-style:normal'>Necessary Stranger<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This started out as a rave review for Graham Foust&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.floodeditions.com/new/foust_necessarystranger.html"><span style='color:black'>Necessary Stranger</span></a>, </i>a book that certainly warrants that response. Over successive books Foust has demonstrated that the easy brilliance of his first works was not in any sense a fluke, and that he is one of the best younger poets now writing. But then I thought about what I take to be the real risk in his work, that of recognizability. Foust&#8217;s works do things with language that are not quite like anything I&#8217;ve read before, but the poems themselves feel immediately familiar <i style='mso-bidi-font-style:normal'>as text. </i>Consider &#8220;Huffy&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>August, the thick end<br>
of summer where I&#8217;m<br>
from. I&#8217;ve a grill, shrewd<br>
tools, a bag of glue, <br>
some Neil Young. (The world<br>
eats what it orders.)<br>
My neighbors cough and<br>
wave and wave and frown.<br>
Your youngest cousin<br>
weaves by on a shit-<br>
to-bed ten-speed, two<br>
crutches tucked under<br>
her too-white right arm.<br>
This is to refer<br>
to almost falling<br>
from falling. It&#8217;s a <br>
dream I&#8217;m not ashamed.<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'>What in this poem makes me feel that it&#8217;s special? <span class=GramE>(Which I do feel.)</span> Certainly poems have presented dreamscapes before, even if not particularly this accurately. Poets have been writing this sort of single-stanza free verse affair now for decades. Think of David Ignatow and Alan Dugan, both masters of the form. Yet there are details here that seem out of place, or not explained by this readily recognizable framework. What&#8217;s the bag of glue for? It&#8217;s emphasized by running the vowel-consonant combination by in reverse order in the word <i style='mso-bidi-font-style:normal'>tools, </i>that same central vowel at the heart also of the prior adjective <i style='mso-bidi-font-style:normal'>shrewd. </i>Note even the hard <i style='mso-bidi-font-style:normal'>g </i>and trilled <i style='mso-bidi-font-style:normal'>l </i>in the earlier <i style='mso-bidi-font-style:normal'>grill. </i>That&#8217;s an awful lot of a set-up for a detail that goes by in passing with no further mention. <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'>Similarly, the reiteration of the phrase <i style='mso-bidi-font-style:normal'>and wave, </i>this time mid-line rather than over a linebreak alters the syncopation of the poem &#8211; it also sets up the later <i style='mso-bidi-font-style:normal'>falling / from falling</i>. Foust is brilliant with these little details that foreground certain elements almost in passing &#8211; it creates a tone to the poem that you can&#8217;t ever quite put your finger on, which is important in a text where the subject is never quite announced. Consider, for example, just how long the sentence goes that introduces the cousin before it gets to her gender, present only in a pronoun: <i style='mso-bidi-font-style:normal'>five <span class=SpellE>freakin</span>&#8217; lines. <o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There is, I think, a possible sequence of connotation that then builds from <i style='mso-bidi-font-style:normal'>too-white, </i>taken symbolically rather than, say, as an allusion to a recently removed cast, tying to the poem&#8217;s final word <i style='mso-bidi-font-style:normal'>ashamed. </i>The number of plausible schema available to the parsimony principle here is not small, ranging from having caused an accident that resulted in broken limbs all the way to child sexual abuse, real or simply imagined. One could likewise build back from that rather opaque title, &#8220;Huffy&#8221; &#8211; is that a description of the girl, I first thought, of the neighbors? &#8211; to the bag of glue (glue doesn&#8217;t come in bags, silly, unless you&#8217;re planning to sniff it), that suggests that the hidden word here is <i style='mso-bidi-font-style:normal'>huffing, </i>the process of getting high from fumes.<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'>Foust&#8217;s poems often present just this sort of conundrum &#8211; at one level a suburban still-life, on another a tale of depravity just below the surface &#8211; the economy with which all this is accomplished can be startling, and is why I feel no hesitation in praising this work to the skies. Yet the frame of this poem, its presentation of a lyric dreamscape, something akin to a daydream, is so familiar that you can&#8217;t tell if Foust is the most avant-garde of writers, packing meaning in as densely as any writer we have, or the quietest of the </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Quietude</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>? Yes, he is doing all these many things at once, and yet it&#8217;s all so recognizable, familiar, <span class=GramE>even</span> comfortable. <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 an aspect of Foust&#8217;s work that he shares with Rae Armantrout, the poet of whom he most reminds me. (The one time I met him was at one of Rae&#8217;s readings.) It&#8217;s something I see as well in the writing of Michael Palmer and Fanny Howe, among those of my own generation. I&#8217;m sure it&#8217;s why Billy Collins seems so ravishingly fond of the work of Ron Padgett, among the poets in the generation immediately before mine. Or why many readers and more than a few critics preferred Robert Creeley or Denise Levertov among the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Black</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'>Mountain</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> poets, rather than Robert Duncan or Charles Olson. <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 a question that Armantrout gets at obliquely in her famous essay, &#8220;Why Don&#8217;t Women Do Language-Oriented Writing?&#8221; which leads off her new <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/yp96f6"><span style='color:black'>Collected Prose</span></a> </i>just out from Singing Horse Press. The implication in that question, of course, is that her work is comprehensible, whereas the likes of <span class=GramE>myself</span> or Bruce Andrews will drive a reasonable reader to tears. Armantrout&#8217;s essay is hardly any longer than this note as she demonstrates how Susan Howe, Carla Harryman &amp; Lyn Hejinian all write work that brings &#8220;the underlying structures of language/thought into consciousness.&#8221; Their work is no less &#8220;language-oriented&#8221; than David Melnick or P. <span class=GramE>Inman,</span> it just takes something of a different form.  <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 it&#8217;s not an accident that Armantrout and Fanny Howe have appeared in <i style='mso-bidi-font-style:normal'>The New Yorker </i>and <i style='mso-bidi-font-style:normal'>The Nation, </i>where Foust also recently turned up. While I don&#8217;t think it&#8217;s impossible any more for the likes of a Christian Bök or Kenny Goldsmith to turn up in these venues, it&#8217;s certainly less likely. <span class=GramE>And P. Inman or Geof Huth?</span> Don&#8217;t hold your breath.<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'>There are two kinds of risk at play here, perhaps more. The first is that a young poet who discovers in him- or herself the capacity to write in such a manner that their work succeeds in reaching both traditions in American letters will decide ultimately to do only that, which then turns into a kind of holding back, atrophying the writing. This is, I think, the problem with the later work of George Oppen, for example, which is sentimental &amp; lax in comparison to his earlier books. And I think it&#8217;s what ultimately kept <span class=SpellE>Gustaf</span> Sobin from becoming more than a footnote to expat literature. It&#8217;s an active element in the increasingly rapid production of self-similar books, all modeled on <i style='mso-bidi-font-style:normal'>The Double Dream of Spring, </i>in the writing of John Ashbery, and why, I think, his poetry is most likely to known not for that, but for the exceptions, the earliest books plus <i style='mso-bidi-font-style:normal'>Three Poems, Vermont Notebook, Flow Chart, </i>even <i style='mso-bidi-font-style:normal'>Girls on the Run. </i><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 second of risk is broader and <span class=GramE>effects</span> us all. As MFA programs pop up like mushrooms in a damp forest climate, and the number of publishing poets in the USA moves beyond 10,000 toward the 20,000 mark or thereabouts, nobody will have any hope whatsoever of reading even a fraction of what is being written and American verse, which has suffered from its two competing visions now since the middle of the 19<sup>th</sup> century, will fragment that much further, so that there will be one audience that reads only the likes of Graham Foust, Lee Ann Brown, Laura Sims &amp; Linh Dinh, another that reads only the next generation of Quietists, some of whom &#8211; take Daisy Fried and Alice Jones as examples &#8211; are terrific, while a third lives entirely in a world of performance, flash poetics &amp; vispo. <span class=GramE>Plus a hundred or so metro scenes, poets who prefer their audiences face-to-face.</span> <span class=GramE>Etc. Etc.</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'>To some degree, what I see as the promise of a Graham Foust is that I think he works from any perspective. If you&#8217;re a fan of Wendell Berry, you will like Foust. If you&#8217;re a fan of Billy Collins, you will like Foust. If you like C.D. Wright, or Charles Bernstein or Lynne Dreyer, you will like Graham Foust. In this sense, he is one of the younger poets who strikes me as having moved toward a post-militant American poetics, neither post-avant nor Quietist. <span class=GramE>Which in a way is what  </span></span><st1:Street><st1:address><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Third   Way</span></span></st1:address></st1:Street><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'> poets, from Bob Hass to Forrest Gander to Ann Lauterbach to Jorie Graham have been advocating for years now.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> But the </span><st1:Street><st1:address><span style='font-size:10.0pt;font-family:Arial;color:black'>Third Way</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'> has always struck me as predicated upon the existence of the other two. Younger poets today I think have more of an opportunity of learning from all worlds without having to sign up &amp; pick sides. And that in turn will itself impact how writing gets done, going forward. <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'>One of the more interesting moments in the history of the School That Shall Not Be Named is the revolt of many of its younger stars in the 1950s when confronted with the reality of the New American Poets. Look, for example, at the poems Robert Bly published in <i style='mso-bidi-font-style:normal'>Poetry </i>in the early 1950s, or the first books of Bill Merwin or Adrienne Rich, or the magazine verse that James Wright was turning out until Bly recruited him. All were clearly little <span class=SpellE>Lowells</span>, little <span class=SpellE>Wilburs</span> &amp; then, <span class=SpellE>whammo</span>, they were penning <i style='mso-bidi-font-style:normal'>The Lice, </i>discovering surrealism, doing all manner of things not heretofore admissible on the campuses of Kenyon or Harvard. The one book I know that really touches on this is David <span class=SpellE>Ossman&#8217;s</span> <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/3co6c5"><span style='color:black'>The Sullen Art</span></a>, </i>published by </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Corinth</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> in 1963. A member of the famed Fire Sign Theater in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Los Angeles</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, <span  class=SpellE>Ossman</span> interviewed a number of postwar American poets for the Pacifica Radio station there, <span class=GramE>then</span> transcribed the interviews for publication. In addition to New Americans such as Paul Blackburn, Robert Creeley, Gilbert Sorrentino, Denise Levertov, LeRoi Jones (now Amiri Baraka), Ed Dorn and Allen Ginsberg, plus even Kenneth Rexroth &amp; Paul Carroll, <span class=SpellE>Ossman</span> thought to interview the new Deep Image poets who were then emerging as their own literary revolt, including Bly, Jerry Rothenberg &amp; Robert Kelly. He also interviews Merwin and John Logan, then two of the major young stars of the Quietist landscape. But he&#8217;s very conscious of the turmoil Quietists are experiencing. Bly is already in full revolt, while Merwin is already proposing something akin to </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>a Third  Way</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>: <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'>I don&#8217;t know what either &#8220;school&#8221; is supposed to consist of, but I don&#8217;t think I&#8217;ve ever been a part of either.<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'>That&#8217;s disingenuous to the point of dishonest, but in fact <span class=SpellE>Merwin&#8217;s</span> already trying to imagine something beyond, tho he&#8217;s not very clear exactly what that might mean. <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 interesting that the only one of this first generation of disaffected Lowell protégés to ever come close to the New American Poetry, as such, has been Adrienne Rich, who has long been a friend and advocate for the work, editorial &amp; literary, of Clayton Eshleman, not necessarily whom you might think of if you were free associating from the conjunction of &#8220;New American&#8221; and &#8220;feminist.&#8221; <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 others, including the non-Brahmin Quietists at </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Iowa City</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, who borrowed from Williams without ever really grasping the implications of his work (hence Open Poetry)<span class=GramE>,</span> all seem to have already crossed the New Americans off their list of possible places to go. At least once Bly, Kelly &amp; Rothenberg came to realize just how incompatible their concepts of Deep Image really were. The long-term result of these revolts within Quietism was a pluralizing of the tradition. But one of the difficulties of participating in the School That Shall Not Be Named is that it&#8217;s difficult to discuss trends with That Which We Shall Pretend Does Not Exist. <span style='mso-spacerun:yes'> </span>Thus one-time Stanley <span class=SpellE>Plumly</span> student &amp; University of George Press poetry series editor <a href="http://mysite.du.edu/~bramke/"><span class=SpellE><span style='color:black'>Bin</span></span><span style='color:black'> <span class=SpellE>Ramke</span></span></a> gets characterized as a member of the avant-garde by <i style='mso-bidi-font-style:normal'>Poets &amp; Writers </i>in its September issue when he&#8217;s never really had a direct connection with the Pound-Williams-Stein-Zukofsky tradition at all &#8211; he&#8217;s a Quietist, an interesting one at that, who&#8217;s moved into some other directions altogether. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Ramke&#8217;s</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> problem is exactly the opposite of Foust&#8217;s: <span class=SpellE>Ramke</span> <i style='mso-bidi-font-style:normal'>seems </i>to have become unrecognizable where Foust&#8217;s recognizability is apparent to any reader even if he turns out not to be quite what he seems. <o:p></o:p></span></p>
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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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