. Ron Silliman was born on August 5, 1946 in Pasco, Washington, and raised in Albany, California, north of Berkeley. [32] Museo Nacional Centro de Arte Reina Sofía, 2020, Museo Nacional Centro de Arte Reina Sofía, Ministerio de Educación, Cultura y Deporte, Portal de Transparencia | Gobierno de España, Donations and long term loans at the Museo Reina Sofia. Such figures no longer hold any charm or magic for the subjects of a corporate, collectivized, post-individualistic age; in that case, goodbye to them without regrets, as Brecht might have put it: woe to the country that needs geniuses, prophets, Great Writers, or demiurges. Letting the dishes sit for a week. Some leaves on the fern are more yellow. At least one, the last, seems to be in deliberate contrast to the details of the walk, as if a moment from the poet's own more comfortable life intrudes on the immediate, tawdry scene. Eve of St. Agnes and then some, I’d say, Even if the "tangibility of the word" to be found in such puns, as well as other kinds of wordplay found in, for example, "Lit," does call attention to the "transparency" of ordinary discourse, that is because poetry (good poetry) always call attention to the inadequacies of ordinary discourse. In Watten’s account of displacement and possible reconnection, each sentence leads to the next. [42]. Indeed, even as Jameson rejects the image of the “great demiurges and prophets” like “Proust in his cork-lined room” or the “‘tragic,’ uniquely doomed Kafka” (P, p. 305), he cites, on page after page, names like Adorno and Althusser, Freud and Lacan, Hegel and Nietzsche, Jean-Francois Lyotard and Ernesto Laclau, not to mention the book’s presiding deity who is, of course, Karl Marx. the liberation, in contemporary society, from the older anomie of the centered subject may also mean not merely a liberation from anxiety but a liberation from every other kind of feeling as well, since there is no longer a self present to do the feeling (P, p. 15). In the words of the epigraph from Duchamp’s Green Box that opens Hinge Picture (FS 32)–”Perhaps make a HINGE PICTURE. From “sh” to “sh,” from “snow sward” to “foliage free,” via a “boundary manic,” a target cadence marked.” “Sh.” The rest is white space.

Such counters as asyntacticality or the disappearance of the referent or even the materiality of the sign cannot alter the simple fact that we can easily tell a Charles Bernstein poem from one by Steve McCaffery, a Tom Raworth sequence from one by Allen Fisher, a Maggie O’Sullivan “verbovisivocal” text from one by Susan Howe. Eminent domain. (Hint: It’s not as anti-narrative as it may seem). . An influential figure in contemporary poetics, Ron Silliman became associated with the West Coast literary movement known as Language Poetry in the 1960s and 1970s.

& my cap is my cup I decided not to escape to Canada.
. And clouds “The relation between agency and identity,” writes Silliman, “must be understood as interactive, fluid, negotiable” (RSCL 371). The poet has no obligation to be a responsible historian; indeed, the anxiety of influence precludes the possibility of reliable accounts of one’s own genealogy. [33] 14-15). He attended San Francisco State University, Merritt College, and the University of California at Berkeley between 1965 and 1970 but left in his senior year during the Vietnam War to perform alternate service as a conscientious objector to the draft. Trees are turf She asked me what I was doing. The sheer bulk of Ron Silliman's The Alphabet, as well as its apparently arbitrary structural principle, could initially leave the impression it deliberately defies reading. . In effect, this first paragraph invites us to consider the poem unified through a loose narrative structure (completed by the final paragraph, in which the Marchioness arrives at her destination), and thus perhaps the poem can be read as an account of a walk through the Lower East Side, as Silliman's note informs us, but we should not expect it to tell us its story through hypotaxis or outright signs of narrative development. Have sup with our pap Less than a full year later, on November 26, 2009, it received its 2,500,000th visit. And even at the trivial level difficulty dominates: “It was hard to adjust my sleeping to those hours when the sun was up.” “Becoming to live with less space.” “I used my grant to fix my teeth.” And so on. Across her career her work has resisted many “deaths of painting” and, through figuration, explores themes that are still current. O about both or don’t INDICATION Americ This conveys motion. Most of the little that has been written about Ron Silliman's The Chinese Notebook foregrounds its connection to Ludwig Wittgenstein's philosophical texts—particularly Wittgenstein's use of the numbered proposition and the interrogative voice. The reader? In their curious collisions, these “casual” sentences point to an author who is matter-of-fact, streetwise, and largely self-educated; his is the discourse of a working-class man (as even the first name Ron rather than Ronald suggests) who has slowly and painfully learned the craft of poetry, a man who’s been around and has had to put up with quite a bit, beginning with his father’s withholding of child support. They call their committees clubs.” Or, “Eminent domain. This took place at the museum. But the mark is also a trace, a sign that points us to specific things that have happened: one thinks of Blake’s “London,” with its lines, “And mark in every face I meet / Marks of weakness, marks of woe.” The poem’s opening “Mark mar ha forest 1 a boundary manic” gives the word mark a number of paragrammatic possibilities. Indeed, the frontispiece informs us that Mark DeWolfe Howe’s Touched with Fire: The Civil War Letters and Diary of Oliver Wendell Holmes (Harvard University Press, 1947) is one of the poem’s sources.

While the kinds of sequential paragraphs featured in "Blue" or the following poem, "Carbon," are more or less the central device of Silliman's poetics, there is variety of form in The Alphabet. As Silliman speculates: Perhaps it should not be a surprise, that while postmodernism in the arts has been conducted largely, although not exclusively, outside of the academy, the postmodern debate has been largely conducted between different schools of professors who agree only that they too dislike it. [21] Here, for example, are the first twenty sentences of “Albany”: If the function of writing is to “express the world.” My father withheld child support, forcing my mother to live with her parents, my brother and I to be raised together in a small room. This is why names become so tantalizing: Nicholas Van Staphorst, Christiaan Van Eeghen, Paul Busti: we yearn for, but cannot get at, what’s behind them. It is, to begin with, not the Bay Area of the affluent– the Marin County suburbanites, Russian Hill aesthetes, or Berkeley middle-class go-getters. And, finally, there is the motif of poetry: “If it demonstrates form they can’t read it.” And readings: “It’s not easy if your audience doesn’t identify as readers.” Writing poetry is always a subtext but one makes one’s living elsewhere: “The want-ads,” as the last sentence reminds us, “lie strewn on the table.”. I come from Kolophon, or perhaps some small island. But, strictly speaking, we learn less about the particulars of Wright’s personal life than we do about theirs; people and places from the poet’s past and present remain elusive as do the causes that trigger the feeling of absence and emptiness described so lovingly in this particular snow poem, where even “the almost full moon / is under a monochrome counterpane / of dry grey.” . From the opening image of (unstated) war malaise, through the accounts of King Philip’s War, the Revolutionary War, World War I, and World War II, the text’s war space is crisscrossed by “life-lines,” lines of descent, connection, and association that, as the poet puts it, “I transmit to you from the point of impact throughout every snowing difficulty,” lines “certified by surveyors chain-bearers artists and authors walking the world keeping Field Notes:” from “Flanders” to “Flinders,” [39] from Nigeria, to Niger, to Niagara, from the “iron railings” of the bear compound in the zoo to the “iron railings” of the Charles Street Jail, from Fanny Appleton Longfellow to the poet’s younger sister Fanny (FS, p. 28). . If Foucault has pronounced so definitively on the death of the author, why are we always invoking the name of the author Foucault? I just want to make it to lunch time. Their worlds never crossed, just as mine never crossed Gertrude Stein’s. It is he who is “in possession of what he sees,” first from outside the room and then from inside, he who feels cut off from the “fragments of their talk.” Yet he is more confident than Palmer’s self-critical “I,” more assertive about “imagining a better place to live.” Anxiety, for Watten, is socially constructed and hence to be overcome by social change: “All words resolve this matter like a huge weight balancing on a single point.” For the moment, however, there is no escape: “A cyclone covers the surface of the ceiling with wavering lines.”
Ron Silliman The range of poetry published that focused on " language " in This, Tottel's, L=A=N=G=U=A=G=E, and also in several other key publications and essays of the time, established the field of discussion that would emerge as Language (or L=A=N=G=U=A=G=E) poetry. It is not coincidental that “Disjecta Membra” has echoes of Keats (and, later, Stevens), for its mode is Emersonian: “We live in the wind-chill, / The what-if-and what-was-not, / The blown and sour dust of just after or just before, / The metaquotidian landscape / of soft edge and abyss” (p. 194).


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