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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>theme poetics</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>theme poetics</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>Sunday, October 06, 2002</span></h2>

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<span style="font-family: Arial;">The reduction or narrowing
of discourse that is a fundamental dynamic of the thematic exists for publications
as it does for poems. One project in which I once participated, chronicling the
first hundred days of the Jimmy Carter </span><st1:personname><span style="font-family: Arial;">admin</span></st1:personname><span style="font-family: Arial;">istration, was almost luridly obsolete before the ink dried. The present
spate of literary publications &#8220;in response&#8221; to 911 are themselves doomed to
the same sad fate.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Two journals have shown that
the ability to concentrate can be expansive and inclusive rather than
restrictive. <i style="mso-bidi-font-style: normal;"><a href="http://www.temple.edu/chain/home.htm">Chain</a></i> demonstrates how to
avoid this impoverishment largely by focusing on programmatic themes:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Gender and
editing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Documentary<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Hybrid genres
&amp; mixed media<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Processes &amp;
procedures<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Different
languages<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Letters<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Memoir/Anti-memoir<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Comics<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; 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;">Dialogue<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Chain</span></i><span style="font-family: Arial;">
characterizes these not as themes but as topics. Each, in the description posed
on the journal&#8217;s website, is<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-align: justify;">
<span class="GramE">a</span>
yearly issue of writing and art gathered loosely around a topic. The topic
serves as an editorial limit and changes the question asked of each piece
submitted from "is this a great piece of art" to "does this
piece of art say something about the topic that is not already known."
This makes <i>Chain </i>a little rougher around the edges, a little less
aesthetically predictable.<span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Only the initial 1993 issue
on &#8220;gender and editing&#8221; can be said to completely focus on a topic as such, in
the sense of content. The others can be more accurately characterized as
identifying a genre or strategies of writing, without specifying </span><st1:city><st1:place><span style="font-family: Arial;">furth</span></st1:place></st1:city><span style="font-family: Arial;">er where any given project might choose to focus. One
might say anything in a dialogue, write anything in a letter, remember (or
anti-remember) anything, draw a comic on any subject whatsoever. <i style="mso-bidi-font-style: normal;">Chain&#8217;s </i>strategy maximizes its
contributors&#8217; degree of freedom, one reason that it has become, as previously
noted here, &#8220;the premier American literary journal.&#8221;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">An interesting comparison
might be made to <i style="mso-bidi-font-style: normal;">Poetics Journal</i>, the
publication edited by Barrett Watten &amp; Lyn Hejinian between 1982 and 1998.
With its commitment to serious in-depth critical discussion, <i style="mso-bidi-font-style: normal;">Poetics Journal </i>is <i style="mso-bidi-font-style: normal;">Chain&#8217;s </i>most direct ancestor. From its second issue onward, <i style="mso-bidi-font-style: normal;">PJ</i> also organized each issue around a
theme:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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philosophy<o:p></o:p></span></div>
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language<o:p></o:p></span></div>
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public &amp; private language<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">With the exception of
&#8220;non/narrative,&#8221; <i style="mso-bidi-font-style: normal;">Poetics Journal&#8217;s</i>
topics were more thematic than formal.* But the topics were so global &#8211; the
last three could be read as primary ontological categories &#8211; that any sense of
limitation was minimal. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The two issues that come
closest to one another are &#8220;Woman &amp; Language,&#8221; the fourth issue of <i style="mso-bidi-font-style: normal;">Poetics Journal, </i>and &#8220;Gender &amp;
Editing,&#8221; <i style="mso-bidi-font-style: normal;">Chain&#8217;s </i>focus in its first
issue. The proportional scale that each theme proposes &#8211; <i style="mso-bidi-font-style: normal;">Chain</i> conjoins a broader first term to a narrower second one &#8211;
seems completely accurate to the editorial inclinations of that journal. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Both publications show what
can be accomplished via an organized, topic-driven strategy to editing. My own
hesitation toward this approach is not fully resolved, however, simply because
two exceptional teams of editors demonstrate that it can be done right. Because
mostly in the world of little magazines (and big), it&#8217;s not done very well at
all. To some degree, my own sense reverses the questions staked out in <i style="mso-bidi-font-style: normal;">Chain&#8217;s </i>website: Would this text have
been written without the artificial stimulus of pre-assured publication? Is the
work, on its own terms, necessary? <i style="mso-bidi-font-style: normal;">Chain </i>&amp;
<i style="mso-bidi-font-style: normal;">Poetics Journal</i> exemplify what can
achieve when only the highest standards of writing &amp; thinking are accepted.
Would that more journals were like this. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* &#8220;Close
reading&#8221; could be characterized as formal, but on the side of the reader rather
than the writer. Given its appropriation &amp; reframing of the major
methodological device of the New Critics, one could argue that this was <i style="mso-bidi-font-style: normal;">Poetics Journal&#8217;s</i> most radical
intervention.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Saturday, October 05, 2002</span></h2>

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<span style="font-family: Arial;">One point that I&#8217;ve made
three times* since I began the Blog a little over a month ago is that themes, for
me at least, don&#8217;t work. That is to say, I literally can&#8217;t read them. <span class="GramE">Them, in this instance, being <i style="mso-bidi-font-style: normal;">poems
with a point.</i></span><i style="mso-bidi-font-style: normal;"> </i>When I try,
the poem invariably loses my interest before I complete the text. My experience
as a reader is that it feels like coercive sentiment &amp; I find myself
physically repelled by the poem. The affect is nausea. It doesn&#8217;t matter
whether I agree with the sentiment or not. Nor for that matter does it need to
be about war or politics &#8211; I&#8217;ve had the same problem with any number of other
noble topics, from AIDS to the environment to love. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Great political poetry &#8211;
&amp; by extension thematic poetry &#8211; is not impossible. I would point to Allen
Ginsberg&#8217;s &#8220;Wichita Vortex Sutra, Part II&#8221; and Robert Duncan&#8217;s &#8220;The Fire, <i style="mso-bidi-font-style: normal;">Passages </i>13&#8221; as two of the finest works
of the past fifty years, let alone two of the best political poems. In each
instance, the devastation &amp; viciousness that is the essence of war**
functions as no more than one axis around which a much wider range of reference
is organized. The experience of each poem is to move outward, incorporating a
broader &amp; much richer cross-section of the world than, say, just the
political. In the process, each contextualizes (thus making a case for the
importance of) the underlying theme itself. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">With its massive deployment
of parallelisms invoking a tone right out of the Old Testament and the
call-&amp;-response oral traditions of the black Baptist church, Amiri Baraka&#8217;s
&#8220;<a href="http://diversity.uoregon.edu/SomebodyBlewUpAmerica.htm">Somebody Blew
Up America</a>&#8221; is neither great poetry nor simply another commemorative bauble
by Pinsky, Collins or Angelou. At one level, the poem is about the palpable but
nonetheless abstract presence of evil in the world itself. At another, the
dizzying juxtapositions that are yoked together via the constant question &#8211;
&#8220;Who? Who? Who?&#8221; &#8211; play with the concept of paranoia itself. Anti-Semitism runs
throughout the poem, not simply in the few lines that have been scattered
widely about the media. So do anti-capitalism, anti-authoritarianism and a
limited version of anti-racism. But ultimately it is the referential range of
Baraka&#8217;s juxtapositions &#8211;<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Who
need fossil fuel when the sun ain't <span class="SpellE">goin</span>' nowhere<br />
<br />
<span class="GramE">Who</span> make the credit cards <br />
Who get the biggest tax cut <br />
Who walked out of the Conference <br />
Against Racism <br />
Who killed Malcolm, Kennedy &amp; his Brother <br />
Who killed Dr King, Who would want such a thing? <br />
Are they linked to the murder of </span><st1:city><st1:place><span style="font-family: Arial;">Lincoln</span></st1:place></st1:city><span style="font-family: Arial;">? <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">&#8211; <span class="GramE">that</span>
restricts the poet&#8217;s impulse. The poem exists entirely at the level of public
discourse. There may be moments of referential opacity if you don&#8217;t get a
reference, but none of intimacy. It may help some readers to know that &#8220;Little
Bobby&#8221; is Bobby Hutton, the first person to sign on with Huey Newton &amp;
Bobby Seale in </span><st1:city><st1:place><span style="font-family: Arial;">Oakland</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s Black Panther Party, gunned down at the age of 18
by the police there on </span><st1:date day="6" month="4" year="1968"><span style="font-family: Arial;">April 6, 1968</span></st1:date><span style="font-family: Arial;">, but the poem does nothing to suggest that Hutton,
or anyone for that matter, has any reality or meaning beyond the headlines from
which the poem is constructed. Private life is reduced to the mention of a tax
cut.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The public reactions to this
poem have generally missed its playful elements as well as the way in which
that reiterated baseline <i style="mso-bidi-font-style: normal;">who <span class="SpellE">who</span></i> echoes a genuine howl of grief that is also present
&amp; perfectly audible in the text. It is in the nature of public discourse to
miss just such elements of life, poetic justice of sorts for a text that is so </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">ebted to this same discourse. But the ineluctable
problem of any thematic </span><st1:state><st1:place><span style="font-family: Arial;">tex</span></st1:place></st1:state><span style="font-family: Arial;">t
almost invariably has to do with its reduction of discourse. Duncan &amp;
Ginsberg could not be more radically opposed to Baraka. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* With
respect to <i style="mso-bidi-font-style: normal;"><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381448405">Chain</a></i>,
<a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2381947753">Louis
Cabris &amp; Ted Berrigan</a>, and <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382510403">Kit
Robinson</a>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** It
matters little whether or not the war can be &#8220;justified.&#8221; <o:p></o:p></span></div>
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<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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<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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