61. OlsonNow: RON SILLIMAN ON PROJECTIVE VERSE ron silliman ON PROJECTIVE VERSE. ron silliman has devoted several blog entries this week to discussion of Olson s manifesto http://olsonnow.blogspot.com/2006/06/ron-silliman-on-projective-verse.html

@import url("http://www.blogger.com/css/blog_controls.css"); @import url("http://www.blogger.com/dyn-css/authorization.css?targetBlogID=12965938"); var BL_backlinkURL = "http://www.blogger.com/dyn-js/backlink_count.js";var BL_blogId = "12965938"; OlsonNow A blog on the poetry and poetics of Charles Olson, edited by Michael Kelleher and Ammiel Alcalay Friday, June 02, 2006 RON SILLIMAN ON PROJECTIVE VERSE Ron Silliman has devoted several blog entries this week to discussion of Olson's manifesto: http://ronsilliman.blogspot.com/ posted by Michael @ 1:28 AM 0 Comments: Post a Comment Links to this post: See links to this post posted by Create a Link < Home Previous Posts JOHN HYLAND/RESPONSE AND A FEW QUESTIONS KEVIN MARZAHL/RESPONSE: ON SPECIALIZATION BENJAMIN FRIEDLANDER/CHARLES OLSON NOW PETER ROMANOW/ON OLSONNOW AT MIT ... H_NGM_N: CHARLES OLSON AND THE CONCEPT OF ONTIC IM... var site="s14olsonnow"

62. John R. Woznicki's "Poetry Of Play, Poetry Of Purpose: The Continuity Of America ron silliman explains the cause for this privation while introducing possible .. ron silliman s Marxist theory of language discusses how capitalism http://www.moriapoetry.com/woznicki.htm

Poetry of Play, Poetry of Purpose: The Continuity of American Language Poetry John R. Woznicki I. Poetry IS the pursuit of politics "Let us undermine the bourgeoisie." Ron Silliman (qtd. in Hartley) "Writing itself is a form of action." Ron Silliman ( New Sentence The poetry of American postmodernity is often accused of reductiveness on two fronts. Critics see the "simplicity" of expressivist poetry leading to a deep but inconsequential subjectivity. The ludic word games influenced by French deconstruction theory seem bent on legislating the meaningless of our world. i But a group of poets who "play" with language also fit the Pound/Olson political tradition of legislating one's society through language. Bob Perelman, a leading member of the group known as the "language" poets who compose this political poetry, reflects on what he sees as poetry's purpose: Poetry is really not written on a desert island. It's a social art. Some of my favorite poets imagine poets as antennae of the race or social receptors. We catch a whole spectrum of different voices and make something out of it. I think that's where poets most usefully exist, in hearing the variety of the society's speech and responding to that variety. ( Interview with Bob Perelman Language poets see themselves as directly echoing Ezra Pound's message to act against inequities in a social system based on money instead of human value. Pound and Charles Olson not only considered themselves "receptors" or articulators of social conditions but agents to change these conditions. Language poets claim a similar role explicitly while disagreeing with past poets as to how to accomplish change. Though the language poet's program seeks political change through a non-totalizing use of language, the agenda they share continues this century's poetry of totality.

63. The Poetic Journal Blog Check out ron silliman s review of For the Time Being The Bootstrap Book of Poetic Journals. For the TimeBeing is one of those “Aha” experiences – the http://poetic-journals.blogspot.com/

The Poetic Journal Blog Thursday, May 3, 2007 Ron Silliman Reviews For the Time Being Check out Ron Silliman's review of For the Time Being: The Bootstrap Book of Poetic Journals. 1 comments Tuesday, March 27, 2007 For the Time Being is Here I doubt I'll do another book like this any time soon. All-in-all, this proved to be a fairly exhausting endeavor. Literally, I think it was a two year and nine month project from the initial conception until today. I'm going to sit back right now and pour a stiff drink and enjoy simply holding it in my hands. Thanks to everyone who's helped along the way, especially Ryan and Derek who spent countless hours proofing (and catching) many mistakes. The book can be ordered directly from Bootstrap Productions 0 comments Friday, March 16, 2007 Kyger, Continued Digging through past emails with Joanne Kyger, I came across this: I only considered the writing in the Japan/India Journals [ Strange Big Moon ] to be a kind of working writing book. Otherwise I do consider the 'poetic journal' a form in itself. Desecheo Notebook , Trip Out and Fall Back , Visit to Maya Land , Phenomenological , Wonderful Focus of You , The Dharma Committee , I consider examples of 'poetic journals.'

64. GRIST ON-LINE POETRY NEWSLETTER Number 2 Red Dust And Potes Robert Creeley Paperback, ISBN 0937013-35-8 3602 POETRY B A R T silliman, ron 20.00 P P Chapbook. Only a few copies remain. http://john-ezra-fowler.name/GRIST ON-LINE MAGAZINE/GOL Newsletter/NEWSLET2/NEWS

65. Aaron Shurin, Narrativity Issue 2 In The New Sentence, ron silliman suggests ways in which the prose poem has used .. 3 silliman, ron, The New Sentence, in Talks, Hills 6/7, 1980, p. http://www.sfsu.edu/~poetry/narrativity/issue_two/shurin.html

Narrativity Aaron Shurin 6148 Wilshire Boulevard, Gertrude Stein Plaza Los Angeles, CA 90048 This essay was first delivered as a talk at Painted Bride, Philadelphia, June 1989. One seeks to be out of order, to shiver out of subjectivity, to shake off the mask of the material and to shimmy in its arms, to finally retreat from logic and advance by radial maneuvers, gathering meaning. "To break the sentence," says Rachel Blau DuPlessis—and here the sentence carries its overtone of imprisonment without parole— One looks for alternate methods to proceed, to use and subvert the codes at hand: stanza, line break, character, plot, point of view. In "The New Sentence," Ron Silliman suggests ways in which the prose poem has used combined and measured sentences to interiorize poetic structure, foregrounding language operations and surface values in a writing mode—prose—whose usual form is the syllogism, building structures of projection and depth. "The torquing which is normally triggered by linebreaks," he points out, "the function of which is to enhance ambiguity and polysemy, has now moved into the grammar of the sentence." I grab his cock, unpromising, and he says in mock bewilderment, "What's that?" As it hardens I answer for him, "It's my appendicitis, my inchworm, my slug, my yardstick, my viola da gamba, my World Trade Center, my banana, my statutory rape, my late string quartet, my garden god, my minaret, my magnum opus, my datebook, my hornet, my Giacometti, my West Side Story, my lance, my cannon, my nose-job, my hot dog, my little sparrow, my worm on the sidewalk after a storm, my candle, my Bic, my unicorn, my drawbridge, my white whale…

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67. Post 34: Poetry And Public Language è silliman, Daniel. Grand Piano and Other Phrases. 20 June 2003. è silliman, ron. All posts on The Grand Piano. silliman s Blog (from 20 October 2006). http://www.english.wayne.edu/fac_pages/Ewatten/posts/post34.html

Posts Post 34: 5/11/07 Further on The Grand Piano Recent Comments and Links How The Grand Piano Is Being Written There has been recent speculation on how The Grand Piano project is being written, along with a conclusion drawn somewhat hastily that it must have been scripted in advance, and that its serial publication reveals a "closed shop" mentality. This response intersects with debates on the avant-garde that have been going on for some time: in the optimistic, "progressive" account, the avant-garde's commitment to new form could never be a matter of prediction or closure, and "the refusal of closure" has been a signal mark of formal innovation in the avant-garde. But, as theorists from Peter Bürger to Pierre Bourdieu have maintained, a merely formalist refusal is but a feint in an overall process of institutionalization, canonization, taste formation, standardization. What's worse, the aesthetic values of a small coterie and its "restricted production" are in the process generalized as value per se , opening the avant-garde to charges of complicity with institutional interests of all sorts. On this view, the avant-garde is an original example of

68. Stoning The Devil: "a Response To Ron Silliman's Comments: Formality & Post-avan ron silliman was kind enough to respond, in comments , to the anlysis of his work position that I published a few days ago. His comments were pointed, http://adamfieled.blogspot.com/2006/01/response-to-ron-sillimans-comments.html

@import url("http://www.blogger.com/css/blog_controls.css"); @import url("http://www.blogger.com/dyn-css/authorization.css?targetBlogID=21014163"); Stoning the Devil "Because culture is a conversation" Friday, January 27, 2006 The last thing I'd like to say is that I feel Ron is correct most poets couldn't pull this off (Swift, McCabe, DuPlessis aside). But I think broadening our sense of what constitutes Formal Rigor can only be a good thing. Sometimes, as Eliot wrote, "the way forward is the way back". Post-avant poets may find themselves considerably enriched by engaging in some strict iambic writing. Or maybe not. It's something that bears discussion. posted by P.F.S. Post at 4:12 AM 1 Comments: Behrle, Prince of Trolls said... There are no "post-avant" poets. It's a made-up term that just means people younger than Ron Silliman. xxxjimmy 10:08 AM Post a Comment About Me Name: Adam Fieled Location: Philadelphia, Pa., United States View my complete profile Previous Posts "hejinian, another poetess, self-as-dynamic, self-... "silliman and pound" Proust-Juice: 5th Grade Mini-Fitz "clarabella": a somewhat sexist sonnet ... eBags.com Coupons

69. PUBLIC -//Stanford UniversityLibrariesDept. Of Special silliman, Ronald, 1946 Simic, Charles, 1938- Soling, Caytha. Tate, James, 1943- Vaeth, Kim, 1952- Valentine, Jean. Verdicchio, Pasquale, 1954- Warsh, http://www-sul.stanford.edu/depts/spc/xml/m0768.xml

%eadnotat; PUBLIC "-//Stanford University::Libraries::Dept. of Special Collections::Manuscripts Division//TEXT (US::CSt::M0768::Fanny Howe Papers)//EN" "m0768.sgm" Guide to the Fanny Howe Papers, Processed by Special Collections staff. Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: speccoll@sulmail.stanford.edu URL: http://www-sul.stanford.edu/depts/spc/ Machine-readable finding aid derived from FileMaker Pro database.; machine-readable finding aid created by Michael G. Olson. Date of source: Finding aid is written in English. Guide to the Fanny Howe Papers, Collection number: M0768 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: speccoll@sulmail.stanford.edu URL: http://www-sul.stanford.edu/depts/spc/ Processed by: Special Collections staff Date Completed: Encoded by: Michael G. Olson

70. At Clark Coolidge Allegory And The Early Works Your browser may not have a PDF reader available. Google recommends visiting our text version of this document. http://alh.oxfordjournals.org/cgi/reprint/13/2/295.pdf

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