DOCSLIB.ORG

Ron Silliman Papers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/tf696nb4f8 No online items Ron Silliman Papers Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2005 Ron Silliman Papers MSS 0075 1 Descriptive Summary Title: Ron Silliman Papers Identifier/Call Number: MSS 0075 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 10.4 Linear feet(26 archives boxes) Date (inclusive): 1965-1988 Abstract: Papers of Ron Silliman, American writer and editor. Silliman has lived in the San Francisco Bay Area most of his life and is associated with the Language school of contemporary writers. He edited the anthology In The American Tree, published in 1986. The papers include extensive correspondence with many prominent contemporary writers, including Rae Armantrout, Charles Bernstein, Michael Davidson, Lyn Hejinian, Douglas Messerli, John Taggart, and Hanna Weiner. Also included are drafts of Silliman's published works, notebooks, and materials relating to In the American Tree. The collection is divided into five series: 1) ORIGINAL FINDING AID, 2) CORRESPONDENCE, 3) WRITINGS, 4) IN THE AMERICAN TREE and 5) ORIGINALS OF PRESERVATION PHOTOCOPIES. Creator: Silliman, Ronald, 1946- Scope and Content of Collection The Ron Silliman papers contain collected correspondence and writings related to Silliman's career as a writer. The materials cover a range from the mid-1960s to 1988, excluding his most recent publication WHAT (1988). The collection is divided into five series: 1) ORIGINAL FINDING AID, 2) CORRESPONDENCE, 3) WRITINGS, 4) IN THE AMERICAN TREE and 5) ORIGINALS OF PRESERVATION PHOTOCOPIES. SERIES 1) ORIGINAL FINDING AID: Produced in 1986 by Ron Silliman in preparation for the sale of his papers. Located at the beginning of the collection, this guide provides details and annotations not found in the present container list. The current arrangement of the papers follows closely Silliman's original organization. SERIES 2) CORRESPONDENCE: Letters received by Silliman over a period of more than twenty years. Among the major correspondents are Bruce Andrews, Rae Armantrout, Barbara Baracks, Charles Bernstein, Michael Davidson, Alan Davies, Ray DiPalma, Larry Eigner, Jack Foley, David Gitin, Robert Grenier, Lyn Hejinian, Doug Messerli, John Taggart, and Hannah Weiner. The letters are arranged alphabetically by correspondent, then chronologically. Any undated materials have been placed at the beginning of each folder, while writings of individuals follow at the end. Some carbon copies exist of Silliman's outgoing correspondence beginning in the early 1980s. The collection originally contained two large folders of unarranged letters. These have been organized alphabetically into "miscellaneous" folders and placed at the beginning of each alphabet letter series. In cases in which Silliman had already created folders for letters of the alphabet (e.g., "J - Misc."), other letters were simply added to them. Generally, the miscellaneous materials represent brief exchanges -- often acceptance or rejection letters from publishers. Letters which lacked a surname were placed in the folders marked "unidentified correspondents." Absent from the CORRESPONDENCE series are materials created during the development and production of the anthology In the American Tree. Correspondence with contributing authors and prospective publishers forms a separate series entitled IN THE AMERICAN TREE. SERIES 3) WRITINGS. Arranged in four subseries: A) Typescripts, B) Early Poems, C) Notebooks, and D) Critical Works and Prose. A) Typescripts: Arranged chronologically, in their original order. While some folders contain complete works, such as The Age of Huts, Ketjak, and Tjanting, most gather individual poems. Also included in this subseries are the texts for Silliman's early publications; Crow, Nox, and Mohawk. "Typescripts" are the "correct" copies of the majority of Ron Silliman's texts with the exception of THE ALPHABET and some of the poems in the "Early Poems" subseries. The original manuscript/typescript of In the American Tree has been removed to the series of that title. B) Early Poems: A number of poems not included in the "Typescripts" subseries. Their organization is chronological and the groupings reflect Silliman's original ordering. C) Notebooks: Manuscript versions of many works. In some cases, a single notebook contains a single text, while others contain several texts, collected poems, false starts, or the accumulated writing from a particular time period. The notebooks are organized alphabetically by the title which Silliman assigned to each. Ron Silliman Papers MSS 0075 2 D) Critical Works and Prose: Includes THE NEW SENTENCE, a collection of critical essays begun in 1977 which explores the role of poetics and its relationship to society. Many of these essays began as talks. The organization of THE NEW SENTENCE materials follows the order of the book's table of contents, and includes correspondence between Silliman and David Sternbach concerning the development of the text. Also included in the "Critical Works" subseries are Tom Beckett's interview with Ron Silliman for the publication The Difficulties, a collection of Silliman's book reviews alphabetized by author, an audio piece entitled "A.M.", and several examples of political prose. SERIES 4) IN THE AMERICAN TREE: Both the original manuscript of the anthology, a combination of typescript and photocopy, and correspondence with the contributing authors. Also included are letters to prospective publishers and drafts of accompanying texts, such as the table of contents. Correspondence with Douglas Messerli in this series may not be quoted or published without written permission from Ron Silliman. SERIES 5) ORIGINALS OF PRESERVATION PHOTOCOPIES: Brittle and high-acid content materials have been photocopied onto acid-free paper. The copies have been substituted and the originals have been placed in series order. Biography Ron Silliman was born in Pasco, Washington, in 1946. Raised north of Berkeley in Albany, California, Silliman has spent most of his life in the San Francisco Bay Area. He attended Merritt College in Oakland, San Francisco State University, and the University of California, Berkeley. Silliman has long been associated with the Language poets. This group of poets dates, according to Silliman, from the 1971 issue of This. Controversies over Language writing have been reflected in many influential journals of contemporary writing. Although the designation "Language writer" is applied to a disparate group and is considered a misnomer by some of them, most Language writers agree that conventions of language structure everyday experience; and most mistrust what they consider the unacknowledged metaphysical assumptions of the New American poetics. Typically, Language writing redresses the illusions that words signify separately constituted things and concepts and that grammar discloses relations among them. Instead, Language is thought constitutive of that which it signifies and governs, through grammar, the relations which order things. Ron Silliman's publications include Moon in the 7th House (Gunrunner Press, 1968), Crow (Ithaca House, 1971), Mohawk (Doones Press, 1973), NOX (Burning Deck, 1974), Ketjak (This, 1978), Sitting Up, Standing, Taking Steps (Tuumba Press, 1978), Legend (L=A=N=G=U=A=G=E/Segue, 1980), Tjanting (The Figures, 1981), Bart (Potes & Poets Press, 1982), ABC (Tuumba Press, 1983), Paradise (Burning Deck, 1985), The Age of Huts (Roof, 1986), The New Sentence (Roof, 1987), Lit (Potes & Poets Press, 1987), and What (The Figures, 1988). He was the editor of the influential anthology In the American Tree (The National Poetry Foundation, 1986), and currently he is the editor of Socialist Review. Publication Rights Publication rights are held by the creator of the collection. Preferred Citation Ron Silliman Papers, MSS 0075. Special Collections & Archives, UC San Diego. Acquisition Information Acquired 1988. Restrictions A letter of recommendation in Box 5, folder 2 is restricted. Correspondence with Douglas Messerli in Box 12, folder 20 may not be quoted or published without prior written permission from Ron Silliman. Subjects and Indexing Terms Andrews, Bruce, 1948- -- Correspondence Armantrout, Rae, 1947- -- Correspondence Bromige, David -- Correspondence Davidson, Michael, 1944- -- Correspondence DiPalma, Ray -- Correspondence Eigner, Larry, 1927-1996 -- Correspondence Hejinian, Lyn -- Correspondence Mac Low, Jackson -- Correspondence McCaffery, Steve -- Correspondence Messerli, Douglas, 1947- -- Correspondence Silliman, Ronald, 1946- -- Archives Ron Silliman Papers MSS 0075 3 Taggart, John, 1942- -- Correspondence Weiner, Hannah -- Correspondence American poetry -- 20th century Diaries -- 20th century ORIGINAL FINDING AID Box 1, Folder 1 Original Finding Aid by Silliman CORRESPONDENCE Box 1, Folder 2 Unidentified correspondents Box 1, Folder 3 Unidentified correspondents Box 1, Folder 4 A-miscellaneous Box 1, Folder 5 Abbott, Steve 1979 - 1980 Box 1, Folder 6 Acker, Kathy (TBT) 1974 - 1975 Box 1, Folder 7 Ahern, Tom 1972 - 1977 Box 1, Folder 8 Alexander, Charles 1983 - 1985 Box 1, Folder 9 Alexander, D. 1969 - 1969 Box 1, Folder 10 Alpert, Barry 1972 - 1977 Box 1, Folder 11 Amnasan, Michael Box 1, Folder 12 Andrews, Bruce 1971 - 1986 Box 1, Folder
Recommended publications

  • Ron Silliman

    © 2007 UC Regents Buy this book UC-Silliman 12/18/06 3:29 PM Page iv University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Silliman, Ronald, 1946–. [Age of huts] The age of huts (compleat) / Ron Silliman. p. cm. — (New California poetry ; 21) This title is one of a four-part poem cycle, which is entitled Ketjak. The parts are: The age of huts, Tjanting, The alphabet, & Universe. isbn: 978-0-520-25014-7 (cloth : alk. paper) isbn: 978-0-520-25016-1 (pbk. : alk. paper) I. Silliman, Ronald, 1946– Ketjak. II. Title. ps3569.i445a7 2007 811'.54—dc22 2006025507 Manufactured in Canada 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on New Leaf EcoBook 50, a 100% recycled fiber of which 50% is de-inked post-consumer waste, processed chlorine-free. EcoBook 50 is acid-free and meets the minimum requirements of ansi/astm d5634–01 (Permanence of Paper). UC-Silliman 12/18/06 3:29 PM Page vii Contents Preface ix Acknowledgments xi Ketjak / 1 Sunset Debris / 103 The Chinese Notebook / 147
  • Eigner Preface

    Eigner Preface

    Charles Bernstein: Foreword to Selected Poems of Larry Eigner (forthcoming, University of Alabama Press) The Imagined, Returning: Larry Eigner’s Endless Song Larry Eigner was born in Lynn, Massachusetts on August 7, 1927 and spent most of his life in nearby Swampscott, midway between Boston and Gloucester, just a few blocks from the ocean. Eigner lived in his parents’ house in Swampscott until 1978, when, shortly after his father’s death, he moved to Berkeley, where he lived until his death in 1996. These facts are bare, commensurate to Eigner’s poems, which bear witness to the preternatural spareness of his life, just as they bear the weight of a gravitational aesthetic force field unprecedented in American poetry. That’s an extravagant claim for a poet who averted extravagance. And it’s an incredible claim too, given Eigner’s obscurity: despite legions of fervent readers, Eigner’s magisterial four-volume, almost 2000-page Collected Poems, received virtually no public recognition when it was published by Stanford University Press in 2010. With this volume, Collected editors Robert Grenier and Curtis Faville have created a perfectly scaled introduction to the full scope of Eigner’s work.* To be an obscure poet is not to be obscure, to invert John Ashbery’s quip that a famous poet is not famous. Eigner’s work has made an indelible impact among the generation of poets brought together in the iconic 1960 New American Poetry anthology. Eigner’s poetry was recognized early on by Robert Creeley, Charles Olson, Denise Levertov, and Cid Corman and was subsequently published by hundreds of small press editors in pamphlets, books, and magazines.
  • LANGUAGE POETRY Entry for the Greenwood Encyclopedia of American Poetry (2005)

    LANGUAGE POETRY Entry for the Greenwood Encyclopedia of American Poetry (2005)

    Craig Dworkin: LANGUAGE POETRY Entry for The Greenwood Encyclopedia of American Poetry (2005) The discrepancy between the number of people who hold an opinion about Language Poetry and those who have actually read Language Poetry is perhaps greater than for any other literary phenomenon of the later twentieth century. For just one concrete indicator of this gap, a primer on "The Poetry Pantheon" in The New York Times Magazine (19 February, 1995) listed Paul Hoover, Ann Lauterbach, and Leslie Scalapino as the most representative “Language Poets” — a curious choice given that neither Hoover nor Lauterbach appears in any of the defining publications of Language Poetry, and that Scalapino, though certainly associated with Language Poetry, was hardly a central figure. Indeed, only a quarter-century after the phrase was first used, it has often come to serve as an umbrella term for any kind of self-consciously "postmodern" poetry or to mean no more than some vaguely imagined stylistic characteristics — parataxis, dryly apodictic abstractions, elliptical modes of disjunction — even when they appear in works that would actually seem to be fundamentally opposed to the radical poetics that had originally given such notoriety to the name “Language Poetry” in the first place. The term "language poetry" may have first been used by Bruce Andrews, in correspondence from the early 1970s, to distinguish poets such as Vito Hannibal Acconci, Carl Andre, Clark Coolidge, and Jackson Mac Low, whose writing challenged the vatic aspirations of “deep image” poetry. In the tradition of Gertrude Stein and Louis Zukofksy, such poetry found precedents in only the most anomalous contemporary writing, such as John Ashbery's The Tennis Court Oath, Aram Saroyan's Cofee Coffe, Joseph Ceravolo's Fits of Dawn, or Jack Kerouac's Old Angel Midnight.
  • The Birth of Linguistically Innovative Poetry and the Practice of a Collective Poetics in Robert Sheppard’S Pages and Floating Capital Thurston, SD

    The Birth of Linguistically Innovative Poetry and the Practice of a Collective Poetics in Robert Sheppard’S Pages and Floating Capital Thurston, SD

    “For which we haven’t yet a satisfactory name” : the birth of Linguistically Innovative Poetry and the practice of a collective poetics in Robert Sheppard’s Pages and Floating Capital Thurston, SD Title “For which we haven’t yet a satisfactory name” : the birth of Linguistically Innovative Poetry and the practice of a collective poetics in Robert Sheppard’s Pages and Floating Capital Authors Thurston, SD Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/48250/ Published Date 2019 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. 1 “For which we haven’t yet a satisfactory name”: The Birth of Linguistically Innovative Poetry and the Practice of a Collective Poetics in Robert Sheppard’s Pages and Floating Capital. In July 1987 Robert Sheppard published the first issue of a little magazine called Pages. The magazine was a humble affair, comprised of four folded A4 sheets to give eight printed pages per issue. Typescript material was pasted into camera ready copy format and photocopied.1 The editorial opens: Anybody concerned for a viable poetry in Britain must be depressed by the persistence of the Movement Orthodoxy from the 1950s into the late 80s; by its consolidation of power for a bleak future; by its neutralising assimilation of the surfaces of modernism; by its annexation of the increasingly fashionable term postmodernism; and by its ignorance – real or affected – of much of the work of the British Poetry Revival.2 This is very much a downbeat tone on which to begin a new enterprise.
  • Combating Conventional Realism and Commodity Fetishism In

    Combating Conventional Realism and Commodity Fetishism In

    International Journal of Linguistics andLiterature (IJLL) ISSN(P): 2319-3956; ISSN(E): 2319-3964 Vol. 7, Issue 5, Aug – Sep 2018; 33-48 © IASET COMBATING CONVENTIONAL REALISM AND COMMODITYFETISHISM IN REPRESENTATION OF EVERYDAY LIFE: ASTUDY OF RON SILLIMAN’S BART ON BART Abeer M. Refky M. Seddeek College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), Alexandria, Egypt ABSTRACT The aim of this paper is twofold; first it explains Everyday Life and Cultural Theory as based on the studies of Michael Sheringham, Ben Highmore, Guy Debord and the Situationists, and Henri Lefebvre. It shows that la vie quotidienneresists categorization and requires various forms of representation and discourse to reflect its continuum. It explains Everyday Life Theory concern with urban geography and the dérive technique as well as the dominance of Capitalism commodity fetish that commodified and stamped with value the social and political aspects, even language. Secondly, the paper discusses Ron Silliman’s BART on Bart’s (1982) probing of the quotidian through its structure that is based on accumulation, repetition, juxtaposition and extreme length, the new sentence and procedural constraint as means of describing the real. It shows the city as a whole in movement to explain the continuum of the everyday. The paper concludes that BART on Bart negates conventional realism and the capitalistic approach of commodification. KEYWORDS: Capitalism – Everyday Life and Cultural Theory – Marx’s Commodity Fetish – Realism – Situationism Article History Received: 08 Aug 2018 | Revised: 17 Aug 2018 | Accepted: 23 Aug 2018 1. INTRODUCTION 1.1 Significance of Study Language poetry, which emerged in the United States at the end of the 1960s and early 1970s, changes the poetic language from customary discourse.
  • A Grammar Will Alexander On

    A Grammar Will Alexander On

    W I T Z A J o u r n a l o f C o n t e m p o r a r y P o e t i c s SPRING 1999 Guy Bennett on the Visual in Poetry “At its most minimal, the visual poem has as both its point of departure and final destination the letter shape, though it is rare that a poem consists of a single sign. More often than not, multiple instances of a given letter are assembled into an abstract composition that plays on the graphic structure of the letter form…” Loss Pequeño Glazier: Grep: A Grammar “Grep is a powerful computer command though one that is used mostly for file maintenance. Of interest here are other uses of grep, especially its use as a writing method; a concept that would probably leave a lot of unix programmers scratching their cpus…” Michael Basinski on Robert Grenier Will Alexander on the Possibilities of Poetry Workshops W I T Z VOLUME SEVEN NUMBER 1 SPRING 1999 contents Concerning the Visual in Poetry by Guy Bennett 5 Grep: A Grammar by Loss Pequeño Glazier 19 A Small Balletic Hive by Will Alexander 28 Robert Grenier's Opems by Michael Basinski 32 Publications Received 36 Edited by Christopher Reiner This is the online version of Witz 7.2, Spring 1999. It is intended for use only by the person who downloaded it from http://www.litpress.com/witz Reproducing, copying or otherwise distributing this document is forbidden without the written permission of the editor (address on page 4).
  • In Early March 1981, Lyn Sent a Letter to Barrett, Bob, Charles Bernstein, Ron, and Steve, Proposing That Each Would Write A

    In Early March 1981, Lyn Sent a Letter to Barrett, Bob, Charles Bernstein, Ron, and Steve, Proposing That Each Would Write A

    In early March 1981, Lyn sent a letter to Barrett, Bob, Charles Bernstein, Ron, and Steve, proposing that each would write a page on a topic that she named, the whole to serve as an introduction to a selection of Language writings in French translation that would appear in Change magazine, as part of the March 1982 issue focused on “L’espace amérique,” edited (with an additional introduction) by Nanos Valaoritis. In 1989, our same six-person introduction was retranslated into Serbian and published in an issue of Delo, in Yugoslavia. Here is the six-person introduction. Ron Silliman, Barrett Watten, Steve Benson, Lyn Hejinian, Charles Bernstein, Bob Perelman Begun in the sixties, the writing of the American poets gathered here for Change matured into an organized, ongoing literary discourse in the following decade, a period of significant transition for the United States. From the perspective of capital, the war in Indochina was lost, a critical blow to national military prestige. More importantly, 1974 marked the end of capital’s longest “boom,” the expansionist years following the Second World War (on top of which the essential optimism of every variety of “New American” poetry had been constructed). Simultaneously, the largest generation in U.S. history, the “baby boom” of the 40’s and early 50’s, passed from college to the daily practices of material life. Tied to that generation and crippled from the beginning by its rejection of historical knowledge, the American New Left rapidly dissolved, although several of its veterans were to re-emerge as leaders of cross-class movements based on forms of personal oppression, as women or as gays of either sex.
  • A Network Analysis of Postwar American Poetry in the Age of Digital Audio Archives Ankit Basnet and James Jaehoon Lee

    A Network Analysis of Postwar American Poetry in the Age of Digital Audio Archives Ankit Basnet and James Jaehoon Lee

    Journal of April 20, 2021 Cultural Analytics A Network Analysis of Postwar American Poetry in the Age of Digital Audio Archives Ankit Basnet and James Jaehoon Lee Ankit Basnet, University of Cincinnati James Lee, University of Cincinnati Peer-Reviewer: Stephen Voyce Data Repository: 10.7910/DVN/NK7Z2H A B S T R A C T From the New American Poetry to New Formalism, publishing networks such as literary magazines and social scenes such as poetry reading series have served as a capacious model for understanding the varied poetic formations in the postwar period. As audio archives of poetry readings have been digitized in large volumes, Charles Bernstein has suggested that open access to digital archives allows readers of American poetry to create mixtapes in different configurations. Digital archives of poetry readings “offer an intriguing and powerful alternative” to organizing practices such as networks and scenes. Placing Bernstein’s definition of the digital audio archive into contact with more conventional understandings of poetic community gives us a composite vision of organizing principles in postwar American poetry. To accomplish this, we compared poetry reading venues as well as audio archives — alongside more familiar print networks constituted by poetry anthologies and magazines — as important and distinct sites of reception for American poetry. We used network analysis to visualize the relationships of individual poets to venues where they have read, archives where their readings are stored, and text anthologies where their poetry has been printed. Examining several types of poetic archives offers us a new perspective in how we perceive the relationships between poets and their “networks and scenes,” understood both in terms of print and audio culture, as well as trends and changes in the formation of these poetic communities and affiliations.
  • Poetry and Performance: Listening to a Multi-Vocal Canada

    Poetry and Performance: Listening to a Multi-Vocal Canada

    0Poetry and Performance: Listening to a Multi-Vocal Canada by Katherine Marikaan McLeod A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English, University of Toronto © Copyright by Katherine Marikaan McLeod (2010) ii Poetry and Performance: Listening to a Multi-Vocal Canada Doctor of Philosophy (2010) Katherine Marikaan McLeod Graduate Department of English, University of Toronto 1Abstract Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory. Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s iii outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery.
  • Z: • in ABOUT & AROUND LANGUAGE

    Z: • in ABOUT & AROUND LANGUAGE

    F--~~-~- SEGUE DISTRIBUTING 1990 $5 Z z: • IN ABOUT & AROUND LANGUAGE ROOF BOOKS GAZ oBOOKS BURNING DECK SINK PRESS POTES & POETS PRESS XEXOXIAL EDITIONS PARADIGM PRESS SUN &MOON AWEDE bpNICHOL NORTH & SOUTH AND MORE... .......~4__.. $I I- POETICS MAGAZINES ANTHOLOGIES p--------- FEATURED PRESSES ROOF BOOKS Raik by Ray DiPalma The one hundred poems in Ray DiPalma's new collection con­ The Politics ofPoetic Form: Poetry andPublic Policy tinue his experiments with the poetic line that began in the early Edited by Charles Bernstein 1970s with works such as The Sargasso Transcries, Soli, and Marquee, as well as the long lyric poem Planh. Raik articulates Acollection of 14 essays by contemporary poets and critics that the dynamic variety possible within the fixed form set for each expand on the discussions presented in L=A= N= G= U= poem in the book. A= G= E, focussing on the political and ideological dimensions of the formal and stylistic practices of contemporary poetry. There is a wide range of subject matter to be found here: the lyri­ These essays were originally presented at the Wolfson Center for cal qualities of Elizabethan underworld slang and the contem­ National Affairs of the New School for Social Research in New porary urban landscape; meditations on moments in history from York. Each essay is accompanied by an edited transcript of the ancient Egypt and Roman Britain to the Italian Renaissance. discussion that took place at the New School following the initial These choices of subject spotlight DiPalma's assiduous attention presentation. to details. The word choices in each poem stir awareness of each The Politics ofPoetic Form includes full-length essays by Jerome letter in the line.
  • The “Objectivists”: a Website Dedicated to the “Objectivist” Poets by Steel Wagstaff a Dissertation Submitted in Partial

    The “Objectivists”: a Website Dedicated to the “Objectivist” Poets by Steel Wagstaff a Dissertation Submitted in Partial

    The “Objectivists”: A Website Dedicated to the “Objectivist” Poets By Steel Wagstaff A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English) at the UNIVERSITY OF WISCONSIN‐MADISON 2018 Date of final oral examination: 5/4/2018 The dissertation is approved by the following members of the Final Oral Committee: Lynn Keller, Professor, English Tim Yu, Associate Professor, English Mark Vareschi, Assistant Professor, English David Pavelich, Director of Special Collections, UW-Madison Libraries © Copyright by Steel Wagstaff 2018 Original portions of this project licensed under a CC BY-SA 4.0 license. All Louis Zukofsky materials copyright © Musical Observations, Inc. Used by permission. i TABLE OF CONTENTS Acknowledgements ..................................................................................... vi Abstract ................................................................................................... vii Introduction ............................................................................................... 1 The Lives ................................................................................................ 31 Who were the “Objectivists”? .............................................................................................................................. 31 Core “Objectivists” .............................................................................................................................................. 31 The Formation of the “Objectivist”
  • Radical Fomalism / Formal Radicalism Lang Abigail

    Radical Fomalism / Formal Radicalism Lang Abigail

    Radical Fomalism / Formal radicalism Lang Abigail To cite this version: Lang Abigail. Radical Fomalism / Formal radicalism. dir. Jean-Paul Rocchi. Dissidences et identités plurielles, Presses Universitaires de Nancy, 2008. hal-02616744 HAL Id: hal-02616744 https://hal.archives-ouvertes.fr/hal-02616744 Submitted on 24 May 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. RADICAL FORMALISM / FORMAL RADICALISM Abigail Lang Université Paris Diderot Doxa Here is a list of commonly held opinions. Poetry and politics have little in common. Poetry is seen as concerned with the expression of personal feelings—much less thoughts. This is because we conflate the poetic and the lyric, because our view of poetry is still essentially post-Romantic. Writing and reading poetry are seen as solitary activities. Politics, on the contrary, as the art or science of government, concern the whole society, community, law and institutions. When poets express political positions, they are seen as mere mouthpieces for positions already expounded elsewhere; or, worse still, sentimentalizing pleas for usually lost causes such as Sacco and Vanzetti or Vietnam. Poetry does not think. How could it anyway, hampered as it is by formal constraints which prevent thought from unwinding itself freely.