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Showing posts with label <b>tricollage</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>tricollage</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>Monday, September 10, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.quale.com/Giannini.html"><span style='color:black'>David</span></a> <a href="http://www.lib.udel.edu/ud/spec/findaids/corman.htm"><span style='color:black'>Giannini&#8217;s</span></a> <i style='mso-bidi-font-style:normal'>Others&#8217; Lines (Series I and II) * <span class=SpellE>Tricollage</span>, </i>published by Peter Ganick as a small chapbook, really nothing more than a saddle-stapled photocopy, is a fascinating if flawed attempt at a new form. As envisioned by Giannini, the <span class=SpellE>tricollage</span> consists of three lines, each taken from the first line of a poem by another poet. Thus, for example,<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>As a child<br>
In cold hell, in thicket, how<br>
I cried because life is hopeless and beautiful<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>comes</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> Paul Pines, Charles Olson &amp; Howard <span class=SpellE>Nemerov</span>.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Make passage an age<br>
As under a vast squatting woman<br>
You come back to life pissed off<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>brings together Ronald Johnson, Robin Magowan &amp; Anne Waldman.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> Potentially, the combinations here are infinite: any poem by any poet in any combination of three would seem to be the game, tho I don&#8217;t believe that in practice Giannini uses translations in any of the seventy examples given here. Just from the first lines of these 70 poems, you could generate 9,129,120 possible <span class=SpellE>tricollages</span> (210 x 209 x 208). To these, you can another variable: spacing. While Giannini appears to preserve the indentation <i style='mso-bidi-font-style:normal'>within the line </i>of the material he recycles, he presents at least five different variations of the three-line poem. Thus, one might generate over 45 million different texts just from the lines in this slim chapbook alone. That puts a fair amount of pressure on the author to ensure that he or she has gotten the best 70 combinations to present. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There are, I think, two problems that Giannini doesn&#8217;t compellingly solve here. The first is the problem of famous or even just recognizable poems &#8211; the Olson in the first example cited above is a case in point. Olson actually pulled the title for one of the early <i style='mso-bidi-font-style:normal'>Maximus </i>volumes from that line. The impact over the space of three lines is like a giant foot kicking the gyroscope. It&#8217;s really a celebrity effect, like seeing a visual collage in which you suddenly recognize a context. While you might say that this is an effect that will vary from reader to reader, my sense is that the poem itself never survives the event. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The second, and more interesting, problem is that of first lines themselves. There&#8217;s <span class=GramE>a logic</span>, even a violence, in breaking silence, a threshold the first line of any poem must cross, regardless of which school, what topic, which period, even which language it may involve. In fact, relatively few of the first lines Giannini has chosen work <span class=GramE>so</span> well as second or third lines. This in turn gives <i style='mso-bidi-font-style:normal'>Others&#8217; Lines </i>much more of a static feel than it might otherwise have. I&#8217;d&#8217;ve loved to have seen this project use the second &amp; third of poems, even of the same poems as Giannini is using here. It would be a completely different book &amp;, I suspect, both more subtle &amp; quiet than the version here. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>A third question &#8211; I wouldn&#8217;t call it a problem &#8211; has to do with the nature of the literary itself. Why quote poems, say, rather than newspaper copy, advertising, things heard in the street? While Giannini&#8217;s text doesn&#8217;t have the precious feel, say, of John Cage&#8217;s literary tourism through James Joyce, it still carries the air of the book. If <span class=SpellE>tricollage</span> as a form is to have as much chance as <span class=GramE>hay(</span><span class=SpellE>na</span>)<span class=SpellE>ku</span>, people other than Giannini are going to need to explore all these realms. Still, here is a mode whose moment (and source) of origin you can point to.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>It&#8217;s a shame that this collection isn&#8217;t printed one to a page or given a cover with real cover stock, given really the much broader distribution it warrants&#185; in an edition with perfect binding. Giannini&#8217;s &#8220;dynamic triads&#8221; may not be quite the revolution in verse his own preface implies. But I don&#8217;t see how any close reader won&#8217;t come away learning a great deal about the potential in quotation, the distinctness of firs lines &amp; the possibilities of form. That&#8217;s a lot for a project of this scope to accomplish. <o:p></o:p></span></p>
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<h2>Email</h2>
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<li>silliman AT gmail DOT com</li>
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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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