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Showing posts with label <b>the invisible</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>the invisible</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>Friday, December 06, 2002</span></h2>

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<span style="font-family: Arial;">Carl Boon, in his very first
question during <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_11_01_ronsilliman_archive.html%2384811259">the
interview</a> that ran here a few weeks back, asked me to position my work towards
what he calls</span> <span style="font-family: Arial;">&#8220;the &#8216;clash zone,&#8217; the
space where technology meets nature,&#8221; to which I responded:<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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Now for reasons that
are much more social than natural, I&#8217;m somewhat obsessed with documenting &#8220;the
invisible&#8221; in our lives. If there&#8217;s an enduring theme in my work, that&#8217;s it.
And in urban environment especially, nature is one of those dimensions that
recedes. One tends to forget that sparrows are great urban foragers, or how
weeds fit into the ecological chain, but they&#8217;re there. </div>
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<span style="font-family: Arial;">This
response provoked another question for Carl, as follows:<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;">Why
is it so important to document &#8220;the invisible in our lives&#8221;? Do you have some sense
that sparrows and weeds are vanishing in our increasingly urbanized, &#8220;parking-lot&#8221;
landscape?<o:p></o:p></b></div>
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<span style="font-family: Arial;">This goes right back to the
motivation for writing in the first place, or at least my motivation. When one
is raised, as I was, in a household in which one of the adults has repeated,
lengthy &amp; fairly severe psychotic episodes &#8211; the apotheosis for me was
being chased around a table at knifepoint &#8211; and no one in the family is able to
speak the words &#8220;mental illness,&#8221; the question of the invisible comes up front
&amp; center. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Not that I would have
articulated it as such. From the perspective of me at the age of ten, I had simply
found a way &#8211; creative writing &#8211; that I discovered would cause most of my
teachers to let me replace any major homework assignment that I found
difficult, boring or otherwise repellant: I would offer to write a story or
report on the general subject. Writing also gave me a safe place to be, and an
acceptable reason for not interacting with that same adult, my grandmother, if
I wanted some space, literally, for myself. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Although I didn&#8217;t recognize
at the time, writing was also giving me a series of tools that were of
exceptional value in terms of organizing the world as I was experiencing it &#8211;
beginning by dealing with such obvious questions as why my family life seemed
so different from that of so many (though not all) of the kids around me. I
didn&#8217;t deal with those questions directly, at least not as a kid &amp; really
in many ways not until I got to the age at which my own father had died &#8211; 38. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Somewhere in the process,
though, I got the idea that there was an awful lot of the contemporary world
that was hidden from many, perhaps most, of the people around me. When I was a
kid, I would have articulated that in terms of civil rights, and the individual
rights of people &#8211; especially artists &#8211; struggling in </span><st1:place><span style="font-family: Arial;">Eastern Europe</span></st1:place><span style="font-family: Arial;"> against the censorship of the state. If Jonathan
Mayhew thinks I&#8217;m <a href="http://jonathanmayhew.blogspot.com/2002_11_01_jonathanmayhew_archive.html#84584024">earnest</a>
now, he should have seen me at the age of 15 or thereabouts. I&#8217;m sure that I
was insufferable.* <o:p></o:p></span></div>
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<span style="font-family: Arial;">That equation &#8211; that the
civil rights marchers had much in common with the Hungarian rebels in 1956 and
that Eugene &#8220;Bull&#8221; Connor had even more in common with the heirs of Stalin &#8211;
stuck with me &amp; proved essential in not only giving me an orientation
toward such basic terms as justice, but also gave me the ability &amp;
willingness to be the only member of my high school graduating class to file
immediately for conscientious objector&#8217;s status, which I did within 48 hours of
my 18<sup>th</sup> birthday. Whenever I look at the Vietnam memorial wall in
Washington &amp; see the names of people I grew up with like Ray Nora and Chris
Martinez etched into that marble, it reminds me that writing might very well
have saved my life on more than one occasion. <o:p></o:p></span></div>
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<span style="font-family: Arial;">So while I&#8217;m less concerned
with weeds &amp; sparrows, I am always conscious of how the invisible manifests
itself, again &amp; again in life. Certainly any man of my generation will
recall just how radically differently the relations between genders were back
in the early 1960s. It was exactly the &#8220;obviousness&#8221; of sexist patterns that
seemed invisible to men back then, just as many people today have no clue of
all the homophobic systems we have in place throughout our lives, the ways in
which &#8220;daily life&#8221; could seem an active campaign for heterosexuality,
especially to anyone who doesn&#8217;t share in that common myth. So I would
articulate my interest in the invisible in terms of the social, more than the
natural &#8211; especially since I think &#8220;nature&#8221; is a cultural category, rather like
&#8220;God,&#8221; something we impose on the universe as we live in it &#8211; but I often feel
that the commitments I felt when I was ten years old are an awful good test of
not only my writing, but my life, &amp; bringing the unseen into the foreground
is central to those commitments.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* Memo to
self: write a piece someday on the importance of insufferable people.
Insufferability is deeply underappreciated, just because it&#8217;s <i style="mso-bidi-font-style: normal;">déjà toujours</i> so obnoxious. <o:p></o:p></span></div>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></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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<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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