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Showing posts with label <b>trade presses</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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          <div class="date-outer">
        
<h2 class='date-header'><span>Monday, January 20, 2003</span></h2>

          <div class="date-posts">
        
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<meta content='87721046' itemprop='postId'/>
<a name='87721046'></a>
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<div class='post-header-line-1'></div>
</div>
<div class='post-body entry-content' id='post-body-87721046' itemprop='description articleBody'>
<div class="MsoNormal">
<span style="font-family: Arial;">My copy of </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;">&#8217;s <i style="mso-bidi-font-style: normal;">Collected</i>
came straight from Carcanet, which tucked in a bookmark that was, as these
things often enough are these days, an advertisement for another poet, one <a href="http://www.contemporarywriters.com/authors/?p=auth187&amp;state=index=h">Sophie
Hannah</a>. It includes, on one side, a head shot of the poet and a poem
printed in red type, whose title (presented rather as though it were a
footnote) is &#8220;Occupational Hazard&#8221;:<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;">He has slept with accountants and brokers,<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;">With a cowgirl (well, someone from
<span class="SpellE">Healds</span>).</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with non-smokers and smokers<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;">In commercial and cultural fields.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with book-sellers, book-binders,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">Slept with auditors, florists, Pas,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">Child psychologists, even child minders,<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;">With directors of firms and of
plays.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with the stupid and clever.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">He has slept with the rich and the poor<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">But he sadly admits that he&#8217;s never<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;">Slept with a poet before.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">Real poets are rare, he confesses,<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;">While it&#8217;s easier to find a
cashier.</span></span><span style="font-family: Verdana; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">So I give him some poets&#8217; addresses<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt;">And consider a change of career.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Positioned directly below
the photograph, head tilted slightly, hair frizzed &amp; over-sized round
glasses, the poem is virtually an invitation (if not an incitement) to imagine
what it would be like sleeping with Sophie Hannah, all sort of a curious soft
porn approach to promoting the lightest of light verse. The photo apparently is
the official Sophie Hannah PR shot. A cropped version of it appears on her page
at the Contemporary Writers site linked at the top of this blog and the full
version can be found on <a href="http://www.gregoryandcompany.co.uk/pages/authors/index.asp?AuthorID=20">Hannah&#8217;s
page</a> at her agent&#8217;s site. Yep, this poet has an agent, as well as a long
list of books for somebody born in 1971, including fiction &amp; children&#8217;s
literature as well as light verse. The flip side of the Carcanet bookmark
contains quotes about her work, positioned next to thumbnail versions of the
covers of three of her collections of verse. One, credited to the <i style="mso-bidi-font-style: normal;">Poetry Review,</i> declares &#8220;Shall I put it
in capitals? SOPHIE HANNAH IS A GENIUS.&#8221; Another, credited only to the <i style="mso-bidi-font-style: normal;">Independent</i>, says simply, &#8220;The brightest
young star in British Poetry&#8221; (caps in the original).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Sleeping with Sophie Hannah
is apparently a theme. Googling around the web, I quickly found <a href="http://www.duffyandsnellgrove.com.au/extracts/Slenderex.htm">a site</a>
for one of her books that prints two poems, one of which announces <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; text-indent: .5in;">
<span style="font-family: Verdana; font-size: 10.0pt; mso-bidi-font-family: Arial;">I,
therefore, will expect<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;">Full
details of our sex life in the Sun.</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;">I will not sue you nor will I
object<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;">In any way &#8211; I&#8217;ll treat it as
good fun.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Like &#8220;Occupational Hazard,&#8221;
these works are rather long walks off short piers &#8211; a lot of verbiage &amp;
metrical padding given over to what are really one-line jokes. If these are
signs of the &#8220;brightest young star in British Poetry,&#8221; then <i style="mso-bidi-font-style: normal;">Benny Hill </i>is <i style="mso-bidi-font-style: normal;">Potemkin. </i>If you want to take &#8220;Occupational Hazards&#8221; seriously as
poetry, then you have to start asking questions like, why aren&#8217;t we told
anything about what &#8220;he&#8221; does, or what the value of such plodding form brings
to the occasion. You have to start treating decadence seriously, literally to
explore the pathology at the heart of this work. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A few days before Edward
Hirsch profiled <a href="http://www.washingtonpost.com/wp-dyn/articles/A973-2003Jan16.html">Wendy
Cope</a> in yesterday&#8217;s <i style="mso-bidi-font-style: normal;">Washington Post </i>column*,
<span class="SpellE">Nate</span> <span class="SpellE">Dorward</span> asked me about
the inroads that British new formalism is making in the United States &#8211; you are
hereby put on notice that someday soon we are likely to be seeing &amp; hearing
more from Ms. Hannah on this side of the water. The answer I think lies less in
the poetry of those small islands off the coast of </span><st1:place><span style="font-family: Arial;">Europe</span></st1:place><span style="font-family: Arial;"> than it does in a parallel phenomenon, the concept of amateurism in
sports. Amateurism, you will recall, came seriously into being in the 19<sup>th</sup>
century as a means of keeping the unwashed classes from competing with the
neo-macho boys of the elite. The poor could not devote the time needed to train
&amp; prepare without support, so the dividing line conveniently kept them out
without claiming that this was its true purpose<span class="GramE">.*</span>*
Every time I hear of some violation of the amateur rules of college basketball,
for example, I think back on what amateurism has always been all about &#8211;
setting up false boundaries to keep certain folks out.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The idea of treating a
Sophie Hannah or Glyn Maxwell or Michael <span class="SpellE">Hulse</span> as
though they were serious writers &#8211; let alone &#8220;bright young stars&#8221; &#8211; functions
in a similar fashion. Claims as outlandish as that involve a willful
forgetting. It&#8217;s a mechanism for acting as if the likes of a </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;"> (or any of a hundred other British poets) doesn&#8217;t
exist. It&#8217;s very much like the newspapers that only review poetry volumes from
the same three or four trade publishers &amp; the &#8220;prestigious awards&#8221; that do
likewise. <o:p></o:p></span></div>
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<span style="font-family: Arial;">One sees this behavior 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;">
rather often around </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;">, although there are outposts here &amp; there wherever
bad poetry is sold. I suspect that there must be people up there who still
adhere to the root word lurking behind the concept &#8220;</span><st1:place><span style="font-family: Arial;">New England</span></st1:place><span style="font-family: Arial;">&#8221; &amp; who live in perpetual fear that the world
will someday discover that the major </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;"> poet of the 20<sup>th</sup> century was Bill
Corbett. As indeed it was, unless you want to make a case for John Wieners. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I think that the welcome the
British &#8220;new gen&#8221; poets receive &#8211; I tend to think of them instead as &#8220;funny
formalism&#8221; &#8211; has a great deal to do with how little good poetry is coming out
of its equivalent strain here in the States. So rather than look at genuinely
witty writers &#8211; Frank O&#8217;Hara, Anselm Hollo or whomever &#8211; these &#8220;amateurs&#8221; of
Official Verse Culture import second rate material whose only true value is that
it extends a British tradition its advocates would like to endorse &amp;
encourage. Only they have to pretend that it&#8217;s not moribund in order to make
their case. <o:p></o:p></span></div>
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<span style="font-family: Arial;">That a Sophie Hannah
bookmark should be tucked into a volume of </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;"> underscores the fact that Carcanet has been
publishing her work since her early twenties, while it has only now deemed to
incorporate Raworth&#8217;s work into its list, part of the process of legitimating
its claim to represent poetry, rather than being what the trade publishing scene
appears to be in the U.K. as well as the U.S., just another small press scene,
but with great distribution. I certainly don&#8217;t fault Raworth any more than I do
Ginsberg, Koch or Ashbery for choosing distribution, knowing as they do its
limits &amp; compromises. Indeed, one wonders if a Jimmy Schuyler would ever
have met with the public recognition he was accorded had all his books been
published, say, by Black Sparrow or Adventures in Poetry. It makes one wish
that FSG would bring out a big Corbett volume, for example, just to see what it
would be like for a trade publisher to print good poetry from </span><st1:city><st1:place><span style="font-family: Arial;">Boston</span></st1:place></st1:city><span style="font-family: Arial;">. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* The only
poet reviewed in yesterday&#8217;s <i style="mso-bidi-font-style: normal;">New York
Times Book Review</i> was a collection of work by <a href="http://www.nytimes.com/2003/01/19/books/review/19NANDN.html">James
Merrill</a> edited by J.D. McClatchy.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Rather
the way W &#8220;promotes&#8221; diversity while attacking affirmative action &amp;
appointing racist judges, &amp; &#8220;promotes&#8221; health care reform while cutting
benefits for seniors &amp; protecting the insurance &amp; pharmaceutical
conglomerates<o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, October 17, 2002</span></h2>

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<span style="font-family: Arial;">Michael Rosenthal came to
visit last weekend &#8211; he is the senior member of the collective that runs Modern
Times, one of the four large independent bookstores that remain in </span><st1:city><st1:place><span style="font-family: Arial;">San Francisco</span></st1:place></st1:city><span style="font-family: Arial;">. That&#8217;s a preciously small number, and it pushes me
to think of my situation here just south of </span><st1:place><st1:city><span style="font-family: Arial;">Valley Forge</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">Pennsylvania</span></st1:state></st1:place><span style="font-family: Arial;">. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">When I first moved here in
1995, there were three independent bookstores in the immediate region large
enough to carry new volumes of poetry &#8211; Genes in the King of Prussia Mall, a
reasonably large and well-stocked bookstore that took up the space normally
allotted to a sporting goods emporium in that vast mall, which also had a
couple of Daltons &amp; <span class="SpellE">Waldens</span> tucked in among its
365 shops; Forum Books, your classic overcrowded jumble in a hole-in-the-wall
bookshop in otherwise very chi-chi downtown Wayne; &amp; the West Chester Book
Company in a mall on the outskirts of that small city. The West Chester Book
Company is a sprawling emporium literally connected to a decent Cajun lunch
place and a Rainbow Records outlet. It&#8217;s the kind of store that a couple of
years ago had a visible campaign (displays in the windows &amp; in the store)
for National Poetry Month <i style="mso-bidi-font-style: normal;">in March</i>.
When I asked why not April, one of the employees said that they&#8217;d set up the
displays before they&#8217;d realized their error, but then just assumed none of the
customers would recognize the difference. Unfortunately, their poetry selection
shows that same attention to detail. The only other new bookstores in the
region in 1995 were a pair of Encore Book outlets, a chain that specialized in
remainders. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Arial;">Encore suffered the fate of
any small chain forced to compete against megachains &#8211; the middle market just
gets squeezed out of existence. A couple of years ago, the couple that owned
Genes decided to retire and closed their shop. The store was apparently
modestly profitable, but they were unable to find a buyer and if there was any
attempt on the part of the workers to buy the store, it wasn&#8217;t visible to the
casual consumer. Then about a year ago, the owner of Forum Books passed away.
The store continues to operate much as before right now, but those of us who
shop there are holding our breath. It&#8217;s hard to imagine Forum lasting forever
amidst that row of jewelers and expensive restaurants. Its poetry section is a
table top with books piled together into stacks that are modestly alphabetical.
John Krick tells that he discovered language poetry in that bookstore years
ago. My last &#8220;find&#8221; there was an audiotape of Beowulf and other old English
texts in the original, read by J.B. <span class="SpellE">Besinger</span>, <span class="SpellE">Jr</span> in the Caedmon Audio series. It&#8217;s enough to cure you of
the Seamus Heaney version that reads like the sports section of your newspaper.
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">To the mix, however, have
come a Barnes &amp; Noble in </span><st1:place><span style="font-family: Arial;">Devon</span></st1:place><span style="font-family: Arial;"> the size of a supermarket, which also happens to be
one of the few places in the region where one can find a cappuccino or latte.
The King of Prussia Mall has recently added <span class="GramE">a Borders</span>,
less than two miles from B&amp;N. The new Borders <span class="GramE">is</span>
roughly twice the size of the old Genes. Both of these chains carry the larger
independent presses in a maddeningly inconsistent fashion. Smaller poetry
presses like Chax or micropresses like Skanky Possum are simply not to be
found. What&#8217;s particularly frustrating about this is that one cannot depend on
the independents to do much better. Like so many poets outside of the Bay Area,
I too depend a great deal on </span><st1:personname><span style="font-family: Arial;">Rod Smith</span></st1:personname><span style="font-family: Arial;">&#8217;s
email poetry lists from Bridge Street Books in </span><st1:place><st1:city><span style="font-family: Arial;">Washington</span></st1:city><span style="font-family: Arial;">, </span><st1:state><span style="font-family: Arial;">D.C.</span></st1:state></st1:place><span style="font-family: Arial;">? But what if Rod didn&#8217;t exist or decided to do
something else?<o:p></o:p></span></div>
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<span style="font-family: Arial;">The biggest problem
confronting independent bookstores today, according to Rosenthal, is
succession. The ones that have survived the advent of the megachains have done
so because they focus on customer service, know their customers, and can market
to a local audience with much greater precision than some centralized buying
office. However, most of the owners of independent bookstores tend to be
boomers who are now starting to think about retiring. The question is how to do
so when your business is a bookstore. Finding people who want to compete with
Borders and Barnes &amp; Noble is hard enough but banks and other lenders have
concluded that independent bookstores themselves are doomed investments, so
they&#8217;re seldom willing to lend the necessary capital. This puts the owner into
the position of having to finance any sale of the store in order to keep it
alive. Some people will be able to do this, but many others, like the owners of
Genes, will not. What this means is that the next round of contraction for
independent bookstores will be a serious one, driven less by profitability and
more by the problem of how a retiring owner can exit the business.<o:p></o:p></span></div>
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<span style="font-family: Arial;">If you look at the history
of many of the independent publishers of the past, the way that they got sucked
into the publishing conglomerates was basically through the same problem.
Random House was once just two guys. As we saw earlier this year when Black
Sparrow sold the rights to three of its authors to Ecco Press, a division of
HarperCollins, its Wyndham Lewis books to <span class="SpellE">Ginko</span> and
rest of its stock to David Godine Press, that problem <span class="GramE">has</span>
not abated in the slightest. Godine is now responsible for the future
availability of Jack Spicer, Charles Reznikoff, David Bromige, Eileen Myles
&amp; Tom Clark. It&#8217;s impossible at this point to know what that will mean a
decade or two out. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Most small presses publish a
few books and then disappear. Even if the press stays around for awhile, such
as Geoff Young&#8217;s The Figures, individual titles are seldom kept in print once
the initial run is exhausted. Those few independents that do go on and become
substantial operations, from City Lights to Coffee House, are themselves
already exceptions to several rules. <span class="GramE">The bottom line?</span>
What is available today might not be tomorrow. For readers of poetry, that is a
law that subtly governs decisions as to which books to buy. For writers, it
creates a landscape of risks and probabilities that must be negotiated. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The market theory behind all
this of course is that the supposedly best poets may start out with small
presses, but when their work demonstrates its ability to reach a consistent and
profitable audience, it eventually moves &#8220;up&#8221; to a trade publisher who ensures
that it both stays in print and reaches the broad distribution it deserves.
Thus <span class="SpellE">Bukowski</span> to Ecco, Ginsberg to Harper (which in
turn owns Ecco as it does the Caedmon Audio series and many other &#8220;imprints&#8221;).
Many trade presses also often have their own house poets whose work they
promote &#8211; there is a trade publishers&#8217; scene that is functionally indistinguishable
from any other small press scene in the country, save for the distribution that
these writers get for their early efforts. Some of these poets can be excellent
&#8211; Ann Lauterbach or Jorie Graham would be good examples &#8211; but many more are forgettable.
However, because they are published by presses that routinely run advertising
in daily media, house poets are far more apt to be reviewed by those
publications. Add to this the poets who get published for entirely non-literary
reasons &#8211; from Leonard <span class="SpellE">Nimoy</span> &amp; Eugene McCarthy to
Jimmy Carter &amp; T-<span class="SpellE">Boz</span>. It is perhaps an irony that
Allen Ginsberg eventually gets to have the same publisher as David St. John
&amp; James Tate, but a far greater one that all three are also part of the
same publishing program that includes Jewel.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Ultimately, the problem with
the trade publishers is not so much whom they publish as it is whom they do
not, the degree of control they exert over the stock one sees on the shelves of
both the chains <i style="mso-bidi-font-style: normal;">and</i> the independents,
the over-concentration of reviews devoted to their books in major media based
not on quality or prominence but on advertising dollars (though, frankly,
relatively few of those dollars are ever actually spent on poetry directly),
and the various awards that are built up around this very same chain of
advertising &#8211; as are both the Pulitzers and National Book Critics Circle
Awards. Each link in this chain of concentration exacerbates the problem,
narrowing the rich &amp; vibrant gumbo of American poetry down toward a relatively
thin gruel of Dead Poets&#8217; Greatest Hits. How is a reader in this environment
ever going to find out about a book by a great new poet such as Pattie
McCarthy&#8217;s excellent <span class="SpellE"><i style="mso-bidi-font-style: normal;">bk</i></span><i style="mso-bidi-font-style: normal;"> of (h)<span class="SpellE">rs</span></i>
(Apogee Press, 2002), even though McCarthy herself grew up in the very same
triangle one might map around Forum Books, the West Chester Book Company and
the King of Prussia Mall?<o:p></o:p></span></div>
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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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