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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>syntax</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>syntax</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, January 11, 2003</span></h2>

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<div class='post-body entry-content' id='post-body-87261008' itemprop='description articleBody'>
<div class="MsoNormal">
<span style="font-family: Arial;">In an email response to the
first of my two blogs on his work, </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;"> remarks &#8220;I&#8217;ve never thought I was reading fast,&#8221;
commenting also that &#8220;I see all those 14 liners as dependent clauses.&#8221; Yet in
ordinary speech, dependent clauses, precisely because they are usually
bracketed by their &#8220;independent&#8221; brethren, often invoke a slight acceleration
in speaking. The return to an independent (or, more accurately, dominant)
clause is then marked by a return to the slower pacing of speech.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is an interesting
&amp; rather constant tension between how a poet reads aloud &amp; the text on
the page itself. In Raworth&#8217;s explanation, there is at least a cause &amp;
effect relation between syntax &amp; style. Listening to <a href="http://factoryschool.org/content/sounds/poetry/zukofsky/zuk-a12b.ram">Louis
Zukofsky</a> read aloud from <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;</i> &#8211; 12
on Joel Kuszai&#8217;s marvelous <a href="http://factoryschool.org/content/sounds/poetry/frontenac.html">Factory School</a>
website, I note that Zukofsky follows the start of his excerpt with a
relatively rigorous pause at every line break for about the first two stanzas
(starting with &#8220;The best man learns of himself / To bring rest to others,&#8221; p.
135 of the UC Press edition). Yet, only a few lines later, following Zukofsky&#8217;s
own pauses, I would transcribe one stanza as follows:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The time would be too short &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Throw some part of your life
after birds &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Eat and drink.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">What <span class="GramE">cry</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Tops older fame &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Far-sighted
not sure sense?</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Heart with mind quick to love,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Look to the real thing unfold
it within you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Turned there thru pleasure,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Bound
anew.</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Sweet thing,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Merry thing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Making your brow half an arch
of a bridge<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">So that all people there facing
round quicken their pace,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Fleet and lean<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Desire you but to thirst what
you have &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">On the page, this same
stanza appears more regular:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">The time would be too short &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Throw some part <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Of your life after birds &#8211;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Eat and drink.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">What cry tops <span class="GramE">older</span> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Fame &#8211; Far-sighted <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Not sure sense? Heart <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">With mind quick to love,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Look to the real thing <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Unfold it within you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Turned there thru pleasure,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Bound
anew.</span></span><span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Sweet thing, merry thing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Making your brow <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Half an arch of a bridge<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">So that all people there <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Facing round <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Quicken their pace,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Fleet and lean<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Desire you but to <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">Thirst what you have &#8211;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Lineated thus, some portions
of the text accelerate while others slow down. Zukofsky&#8217;s line breaks often
stress his Shakespearean phrasing. Read aloud, he mostly buries these little
twists mid-line, rapidly passed by. Thus the page maximizes the potential for
torque in Zukofsky&#8217;s language, whereas his voice, thin &amp; reedy as it is,
minimizes it. Whether this represents a conscious approach to reading aloud or
simply reflects Zukofsky relaxing into the moment of the reading itself is open
to speculation, but I&#8217;m really sure that such a distinction matters.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Beginning in the 1950s,
there was some real effort to equate the line with voiced phrasing &#8211; &#8220;breath&#8221;
is what Olson called it, even though it is the need to breathe that stops,
rather than propels, the line. The poets of that decade found the more casual
&amp; seemingly arbitrary approach of some high modernists to the question of
the voiced linebreak almost startling to hear. The rather hard line approach of
these younger writers would reach its apotheosis in Robert Duncan&#8217;s readings
around 1970, when he literally whispered a voiced count of three between every
single line as he read aloud. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Today, I think most poets
treat the text much more as though it were a musical <span class="GramE">score,</span>
the typed line breaks a possible, but not necessarily fixed, index of pauses or
timing. Raworth, in focusing on a syntactic type, generates a style. <span class="GramE">Or does so at least in part.</span> The second longest poem from <span class="GramE"><i style="mso-bidi-font-style: normal;">Clean</i></span><i style="mso-bidi-font-style: normal;"> &amp; Well-Lit</i>, &#8220;Emptily,&#8221; proceeds in a
rather different manner. On the surface, it appears to be a long centered poem
rather in the manner of Michael McClure. In fact, it contains 31 &#8220;units,&#8221;
unnumbered &amp; unseparated (&amp; visible as such only due to the formatting,
containing two such units per page, an approach that requires leaving a great
deal of white space in each page&#8217;s header). Each unit consists of three
stanzas, consisting of five lines, two lines &amp; one line, in that order.
Other rules are visible: <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.25in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.25in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">the last line of
the first stanza consists of two syllables, which may be spread out over one
word or two<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.25in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.25in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">the first line
of the second stanza in each unit consists only of one single-syllable word<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.25in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.25in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">the fourth line
of the first stanza, the second line of the second stanza &amp; the sole line
of the third stanza will be relatively long<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It&#8217;s a curious fact about
the centered line that, by virtue of having its linebreak visibly marked at the
start as well as the end, linebreaks are thereby minimized &amp; any
variability in line length is muted, since the &#8220;overhang&#8221; now juts out only
half as far, albeit in both directions. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Combined with the plasticity
of the lines themselves, this centered text can be read almost as rapidly as
prose &amp; certainly as rapidly as &#8220;Survival.&#8221; So while there are more
subject-verb combinations here than in &#8220;Survival,&#8221; they do little if anything
to slow the propulsion of the reader through the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t. Thus it&#8217;s no accident that Colin <span class="SpellE">MacCabe</span>, quoted on the <a href="http://www.obooks.com/anoz.htm">O Press site</a> in a blurb for <i style="mso-bidi-font-style: normal;"><a href="http://www.obooks.com/tottering.htm">Tottering
State</a></i>, chooses terms such as &#8220;quickest&#8221; &amp; &#8220;mercurial&#8221; to
characterize Raworth&#8217;s writing. &#8220;As a reader,&#8221; <span class="SpellE">MacCabe</span>
writes, &#8220;his delivery is the fastest in the business.&#8221; </span><st1:place><st1:placename><span style="font-family: Arial;">Factory</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;"> offers evidence in the form of a <a href="http://www.factoryschool.org/content/sounds/poetry/raworth/raworth1.ram">Raworth
reading</a>, although of more recent work.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Tuesday, December 10, 2002</span></h2>

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<span style="font-family: Arial;">Dalkey Archive has always
been an interesting project. While its track record publishing poetry has been
more erratic than not &#8211; there is a book Cecil Giscombe, another by Gerald
Burns, but mostly it has printed books of poetry written by novelists, even if one
is by Harry Mathews &amp; another by his Oulipo colleague Jacques Roubaud &#8211; and
its record on critical writing even spottier &#8211; Viktor Shklovsky&#8217;s <i style="mso-bidi-font-style: normal;">Theory of Prose </i>is one of the great
critical texts &#8211; Dalkey&#8217;s track record on publishing innovative fiction is
unassailable. It is flat out the best publisher of innovative fiction 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;"> has ever had.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">David Markson&#8217;s <i style="mso-bidi-font-style: normal;">Wittgenstein&#8217;s Mistress </i>is a novel, a booklength
monolog by a woman who might (or might not) be the only surviving person on the
planet. It&#8217;s an enjoyable book that I would happily encourage you to read. But
that&#8217;s not really my intent here at the moment. Rather, I want to look at what
a book like this tells me about writing &amp; thus about poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Fiction&#8217;s primary trick is
to convince a reader than the syntax of its sentences integrates up not just
grammatically or logically into an argument, but ultimately into an extra-linguistic
phenomenon: a character or narrated world. This leap, from syntax to &#8220;voice&#8221; &amp;
through it to &#8220;character,&#8221; a nebulous concept at best, is the displacement that
accounts for much of fiction&#8217;s reality effect. The power of grammar is thus transferred
and felt by a reader as the power of the world &#8220;coming through&#8221; the emptied
vessel of language. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Wittgenstein&#8217;s Mistress </span></i><span style="font-family: Arial;">plays with these possibilities. For one thing, the
narrator suggests that the book is being composed, rather like a letter. She
announces the passage of days between paragraphs, many of which are only a
single sentence long. Also, right at the end, in ways that I won&#8217;t go into here
(so as to limit the number of &#8220;spoilers&#8221; I might inadvertently insert), Markson
(or the narrator) also plays around with the possibility of who she in fact is.
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But what is most powerful
and telling about Markson&#8217;s book is that which goes palpably unsaid. In this way,
Markson is miles ahead of most other novelists who explicate way too many of
the details. Here Markson does just the opposite, raising other characters and
contexts that scream out for explication without ever offering any. It&#8217;s not
sloppy in the slightest &#8211; if <span class="GramE">anything,</span> his consistency
is an index of his meticulousness. The result gives Markson&#8217;s text the feel of
a real person to a degree almost unimaginable in fiction. It&#8217;s that old Zen
garden trick of making a circle of stones by pulling one out of position so
that the displacement forces the viewing mind to cognitively &#8220;make the circle.&#8221;
I&#8217;ve never seen it done better in a work of fiction than how Markson does it
here. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I bought <i style="mso-bidi-font-style: normal;">Wittgenstein&#8217;s Mistress </i>after reading
some extravagant review of one of Markson&#8217;s other novels, then let it sit for
awhile, put off I suspect by the idea of that title, given just how the entire
world knows Wittgenstein to have been gay. But the title works on multiple
levels &#8211; it is in fact explained in the narrative, but even more so alludes to
the narrator&#8217;s painful attempts to be exact with her language, not unlike
Wittgenstein&#8217;s own books of philosophy. But what for him is an investigative
method in a work of fiction becomes a series of extraordinary quirks. It&#8217;s
remarkable just how well this works. I have a friend back in </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;"> &#8211; not a part of the arts scene as such &#8211; who is a
great deal like this narrator &amp; I ended up hearing her voice throughout my
reading of the book. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Reading Markson&#8217;s novel made
me think of my late dear friend Kathy Acker &amp; how she used to worry during
the composition of her early books about such issues as the construction of
character. She was always clear in her own mind that character was just that &#8211;
a construction. Each chapter in her book, <i style="mso-bidi-font-style: normal;">The
Adult Life of </i></span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Toulouse</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> Lautrec, </span></i><span style="font-family: Arial;">presents a different conceptualization of truth &amp;
&#8220;the real&#8221; might be in fiction, which also includes the concept of character. It&#8217;s
what <span class="GramE"><i style="mso-bidi-font-style: normal;">Ulysses </i><span style="mso-spacerun: yes;"> </span>would</span> have been if Joyce had actually
felt some commitment to any of the styles he employed in each chapter. Well, maybe
if Joyce had been committed to the idea that plagiarism plus porn equals
autobiography. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is an entire stratum
of novels of course written with the idea that readers will identify with a
character. A second stratum of novels is written with the idea that the readers
will identify not with a character, but as readers &amp; will remain aware of
their own presence in front of the </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t, as though in a conversation with the author.*
Finally, there is a tiny stratum of fiction written with the idea that readers
will in fact identify with the author, not as a character, but as author. I
tend to think that many of the books that I would characterize as fiction for
poets &#8211; which would include works by Acker, Jack Kerouac, Bill Burroughs, Samuel
R. <span class="SpellE">Delany</span>, Gilbert Sorrentino, Kevin Killian, Fee
Dawson, Sarah Schulman &amp; Harry Mathews &#8211; fall into this final category, or
at least waver between it &amp; the second. That border is also where someone
like Markson, or W.G. Sebald, seems to fit.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">When I read a novel I&#8217;m
always think about how (or why) the author did this or that. Can Proust get the
Madeline into the cup of tea? Can Kerouac really imitate the tape in <i style="mso-bidi-font-style: normal;">Visions of Cody</i>? I found myself thinking
this way a lot with Markson, whom I&#8217;m not sure really expects that in the way
these other novelists-for-poets seem to, but for whom it&#8217;s a perfectly
reasonable &amp; rewarding approach. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">All of which made me think
of my conversation here on the blog with <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_12_01_ronsilliman_archive.html%2385425197">Daisy
Fried</a>. A lot of what I don&#8217;t care for in the school of quietude is that
presumption of readers falling principally, or only, into the first stratum when
it comes to poetry. Most post-avant writing falls into the second category &#8211; that&#8217;s
certainly where I would put Kelly &amp; O&#8217;Hara &amp; even Levertov. But much of
the writing that compels me most is that which falls into or nearest that third
stratum. And that&#8217;s where I would put Coolidge &amp; Watten &amp; Hejinian
&amp; Armantrout.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* I suspect
that Jonathan <span class="SpellE">Franzen&#8217;s</span> to do with Oprah <span class="GramE">had</span> very much to do with a concern on <span class="SpellE">Franzen&#8217;s</span>
part that his book not be confused with that first stratum of writing.<o:p></o:p></span></div>
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<h2>Silliman Sites</h2>
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<li><a href='http://www.poets.org/poet.php/prmPID/1544'>Academy of American Poets</a></li>
<li><a href='http://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
<li><a href='http://www.facebook.com/ron.silliman'>Facebook</a></li>
<li><a href='http://www.goodreads.com/search/search%3Fsearch_type%3Dbooks%26search%5Bquery%5D%3Dron%2Bsilliman'>GoodReads</a></li>
<li><a href='http://www.english.illinois.edu/maps/poets/s_z/silliman/silliman.htm'>Modern American Poetry</a></li>
<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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<h2 class='title'>Ketjak</h2>
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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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<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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