41. Electronic Poetry Review #5-- ron silliman. (photo by Jeff Hurwitz). ron silliman has written andedited twentyfour books to date, including the anthology In the http://www.poetry.org/issues/issue5/text/cnotes/rs.htm

Ron Silliman (photo by Jeff Hurwitz) Ron Silliman has written and edited twenty-four books to date, including the anthology In the American Tree , which the National Poetry Foundation has just republished with a new afterword. His booklength long poem Tjanting has recently been to print this fall by Salt. Silliman is a 2002 Fellow of the Pennsylvania Arts Council and received a Pew Fellowship in the Arts in 1998. He lives in Chester County, Pennsylvania, with his wife and two sons, and works as a market analyst in the computer industry. EPR #5 On Brier Island Trouble Ticket EPR #4: ... Electronic Poetry Review Poetry.org hosted by Jeonet

42. Electronic Poetry Review #4 // ron silliman. The Desert Modernism. Some vol. XXXVII, no. V, Chicago,February, 1931. Also by ron silliman in EPR 4 A FOREST FOR http://www.poetry.org/issues/issue4/text/prose/silliman1.htm

Ron Silliman The Desert Modernism Some years ago, a retrospective of Impressionism toured that organized paintings not by painter, but by the salon. That is, each painting was ordered by the timing of its first public appearance. While this structure had the limitation of making it seem that Paris was the omphalos of painting, this was nonetheless an interesting way to look at influences and trends in at least an approximation of historical context. You could see an idea about the use of light or color show up in one or two paintings in the salon of one year, then sweep through the next salon, showing up in everybody's canvases, only to ebb again in the show after that. As a viewer, the experience was illuminating and it made me want someday to organize an anthology of 20th century poetry along similar lines. I don't have anything so grand in mind today. But what I would like to do is to construct a possible view of the American poetic tradition that can most accurately be termed our avant-garde as it existed during a very brief period—roughly between 1950 and 1954. I plan to plot my discussion around a specific text, "The Desert Music," the title poem of William Carlos Williams' 1954 Random House collection. The poem itself describes an event that took place in mid-November of 1950 when Williams, his wife Floss, Robert McAlmon, McAlmon's brothers and their wives took a stroll over the border from El Paso, Texas to Juárez, Mexico. In June of 1951, seven months later, Williams would read the poem publicly for the first time at Harvard where he was given an honorary membership in the Phi Beta Kappa society.

43. John R. Woznicki's "Poetry Of Play, Poetry Of Purpose: The Continuity Of America Let us undermine the bourgeoisie. ron silliman (qtd. in Hartley) Writingitself is a form of action. ron silliman (New Sentence 4). silliman, ron. 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.

44. Ron Silliman On Rapsodie Espagnole jazz musician would all the way throughout this work. ron silliman.* Trying to yoke an aesthetic tendency around Jim Behrle, K http://home.earthlink.net/~halvard/Ron Silliman on Rapsodie espagnole.html

from http://ronsilliman.blogspot.com/ Saturday, May 03, 2003 “serving the tri-state area” as the tag line on his email used to proclaim. Johnson is, as you may know, one of the most active poets on a couple of the listservs devoted to contemporary verse, often posting poems that, for one reason or another, he thinks we should be reading. As a rolling anthology, they’re intriguing, almost always worth the effort, but also not from any single aesthetic position or point of view. If Johnson has ulterior motives behind these posts, he does a great job of keeping the secret to himself. I’ve known Johnson primarily as the author of four books that came out over a decade – more or less the 1970s – from New Rivers Press . That was a decade of high militancy amid poetry tendencies – the period when the Poetry Project Newsletter routinely removed certain language poets from the lists of contributors to little magazines – and Johnson’s poetry, which I would have characterized then as a softer version of the New American poetics of the two previous decades, was part of the landscape

45. Silliman Bio ron silliman has written and edited 25 books to date, including theanthology In the American Tree. Since 1979, silliman has been http://www.chicagopoetryproject.org/SillimanBio.html

Ron Silliman has written and edited 25 books to date, including the anthology In the American Tree . Since 1979, Silliman has been writing a poem entitled The Alphabet . Volumes published thus far from that project have included ABC Demo to Ink Jones Lit Manifest N/O Paradise (R) Toner What and Xing . Cuneiform Press will publish Woundwood , a section of VOG , in 2004. Other poems from VOG have appeared (or will appear) in the anthologies Best Poems of 2002 Best Poems of 2004 . Silliman was a 2003 Literary fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council as well as a Pew Fellow in the Arts in 1998. He lives in Chester County, Pennsylvania, with his wife and two sons, and works as a market analyst in the computer industry. His weblog has been visited nearly 90,000 times since it began in August 2002. Although he has been visiting Chicago since 1964, this is only his second reading here.

46. SillimanonWanders h Home h Peter h Meredith h The News h. ron silliman s Blogspot onWanders. (Copyright © 2003 ron silliman). Imagine Billy Crystal http://www.interchange.ubc.ca/quarterm/sillimanonwanders.htm

h Home h Peter h Meredith h The News h Ron Silliman's Blogspot on Wanders © 2003 Ron Silliman) Imagine Billy Crystal doing his Ricardo Montalban impression for a one-sentence review: “This book is wanderful, dahling!” This book, of course, being Wanders Here is a Blaser poem, complete: “like money in the gutter,” David said. That was the best of luck, pink petals stuck to the car’s tires, noted when we parked near Dead Write Books and the intense blue shirt I wanted turned up. a banner on a book in the window read “exciting as John Le Carré,” rushed to the door, but Dead Write Books was shut. “5 o’clock,” I said And here is Quartermain’s reply or “translation”: a magpie in a midnight rule of thumb back to the beast of time, fleet fingers hang till the next lapse, tempoed by the talk of dark bronze space and the just now melt it echoed tout de suite, a tiding from the tide in the crystal read “outspreading” as philharmonic rings in a pool, and dark bronze space resounds, passing ships to gape The nerve endings in my brain tingle at all the little connections made in pieces like these – I will be contemplating the reiterated bronze space as well as chuckling at the droll “exciting as John Le Carré” comment for some time. (Heaven help the poor author to whom that faint praise was given.) The poems don’t reproduce one another, nor do they necessarily carry forward themes – the “beast of time” remark is something of an anomaly in this sequence in that regard – so much as demonstrate the absolute range of what might be possible following the relatively simple rules of the project.

47. SillimanonBern h Nomados h. ron silliman s Blogspot (Wednesday, February 11, 2004).(Copyright © 2004 ron silliman). Ask any reader familiar with http://www.interchange.ubc.ca/quarterm/sillimanonbern.htm

h Nomados h Ron Silliman's Blogspot ( Wednesday, February 11, 2004) © 2004 Ron Silliman) Ask any reader familiar with contemporary U.S. poetry which writer might be most likely to appropriate the title of the tune "ChoCho Ch'Boogie" for a poem that would include the following lines – The rink around the posing is closed for retrofitting. Refurbishment is just around the hospital coroner. Bernstein’s flare is evident everywhere in World on Fire, however, World on Fire can’t be filtered via close reading the way human remains might be sifted from the debris that now populates the Fresh Kills* landfill site on Staten Island. It’s still the same old lorry. Astronaut meets Mini-Me in a test tube in Rome, Regis spurns Veronica, Merv buys casino goes to another season, but in the previous year – and which are so easily taken by casual, if not outright careless, readers as if they were a literary Rorschach, seem to resolve inescapably to schematic frames that signal the autumn of 2001. Here is the whole of “Ghost of a Chance”: The silent ending came as fast as the cold click of a Berreta . In those years before the war, it was the custom. An

48. Jacket 16 - Ron Silliman ron silliman. The Satellite. From VOG. ron silliman lives in Pennsylvania with hiswife and two sons, and works as a market analyst in the computer industry. http://jacketmagazine.com/16/ov-sill.html

Homepage Catalog Overland magazine feature Ron Silliman The Satellite From VOG Aftertaste of too much sugar the morning after. In voluntary clinch below the right shoulder. Glimpse portrayed by. The inner life rises up like a wet basement. Unseen furnace behind the wall or arras veil. Obsessing desire to count everything, tiles in the floor, triangles What then? An inner light that you possess that only I can see shines. is through the body. The great gasp by which I empty fluid into your flesh, so much punctuation. It is the driver of the shuttle who is new to the region. about to respond to an inquisition and in so doing to make clear finally and forever what I really think when I wake up. Known in the business as a mezzanine loan. to temporary Click-song of the poets. hunches over the orange table to explain to the older couple (I see no family resemblance) that the literalness of the Bible is non-negotiable. Try to I.D. that road kill. Black ice in the mall lot. The too-pink salmon under the fish counter lights. Mild Italian sausage as human intestines.

49. Jacket 6 - Ron Silliman - Prose Poem From B YOU /b Br JACKET 6 contents page homepage. ron silliman from YOU being a part of TheAlphabet. XXXVI. ron silliman Photograph copyright © Erika McConnell, 1995. http://jacketmagazine.com/06/silliman.html

YOU J A C K E T contents page homepage Ron Silliman : from YOU being a part of The Alphabet XXXVI On his desk, the Book of Psalms and New Testament , printed in Korean, each line carefully highlighted with a different color ink. A long room (ceiling slanted) with windows at either end so that light passes through as physical as a liquid. The meaning of medicine. Three boys fishing by a small dam, right by the polluted water sign. Blue thread enters the skull under the hair line, pulling the red wound shut. Dream states of waking. Sun in the curtain, caught in the web of its gauze. An erotics of flossing, an aerobics. Something in the woods is crunching branches. Jay and its echo. "Jesse . . . stole . . . my . . . space," each word emphasized to underscore the outrage. Poolside before dawn, dozens of sparrows find something to peck at in the driveway. Town's water tower, a gigantic pale blue-green lollipop alongside these houses. Articles fix focus. Dragonflies hover over the still water, magnificent, golden, imperial airships in search of the wayward mosquito. Beachtown seniors gather under the shade trees in the park. In the Catholic church, two men, obviously brothers in their mid-80s, sit silently side by side, while up front off in one alcove women gather before the red bank of glowing candles. Sleeping in the middle. In the dream, the building and the job are identical, a huge hollowed-out old block (abandoned warehouse? apartments?), so that I'm surprised to discover this door on the top floor leads to the street.

50. /ubu Editions : Ron Silliman The Chinese Notebook ron silliman 30 Pages The third and final section to appearin /ubu from silliman s seminal, long outof-print book The Age of Huts http://www.ubu.com/ubu/silliman_chinese.html

Download PDF Requires Adobe Acrobat Reader /ubu editions home ubuweb The Chinese Notebook Ron Silliman 30 Pages The third and final section to appear in /ubu from Silliman's seminal, long out-of-print book The Age of Huts ("Sunset Debris" and "2197" appeared last year), "The Chinese Notebook" has become a key text for Language writers, being part manifesto for a deterritorializing and reference-troubling aesthetics and part meditative and procedural exercise, forming an important bridge between New American poetics of the "daily" (think Whalen, Kyger, and Ginsberg) and the hardcore constructivism of Language writers like David Melnick and Barrett Watten. Most distinctly, "The Chinese Notebook" is a poetic insistence , an act of positioning poetry as more than a tributary of philosophy but philosophy itself, and of form being as troubling a determiner of genre as content (Wittgenstein's numbered aphoristic works provide the gravity, here). This poem had the force of both a treatise and an anthem, and counts as one of the most influential of the Language School.

51. Ron Silliman: Bio & Response ron silliman has written and edited 24 books to date, including the anthology Inthe American Tree, which the National Poetry Foundation has republished with a http://www.webdelsol.com/Double_Room/issue_three/Ron_Silliman.html

Ron Silliman Ron Silliman has written and edited 24 books to date, including the anthology In the American Tree , which the National Poetry Foundation has republished with a new afterword. Since 1979, Silliman has been writing a poem entitled The Alphabet. Volumes published thus far from that project have included ABC, Demo to Ink, Jones, Lit, Manifest, N/O, Paradise, (R), Toner, What and Xing. Silliman is a 2003 Literary fellow of the National Endowment for the Arts and was a 2002 Fellow of the Pennsylvania Arts Council as well as a Pew Fellow in the Arts in 1998. He lives in Chester County, Pennsylvania, with his wife and two sons, and works as a market analyst in the computer industry.

52. Ron Silliman: Final For Final For (from VOG). ron silliman. Whoever wakes as Phillip Levine hasoverslept. Silence of the looms. Books piled high into a single thought. http://www.webdelsol.com/Double_Room/issue_three/Ron_Silliman_1.html

Final For (from VOG) Ron Silliman Whoever wakes as Phillip Levine has overslept Realizing there are finite words to a life, one holds each more cautiously the older one gets, until at the end one hordes them, a syllable at a time. The stone house alone fails to match its neighbors. A man scurries, hurrying to unlock his car door, half-crouched, as if that will protect him from this sudden rain. Centuries later, among the pot-shards, all they will have to remember us by. This fly, in its dance, between the lights and the slow blades of the ceiling fan. Well before the sun, changes in the hue of what sky is visible through these trees, a gradual lessening of night. Colony of flies in their awkward geometry of flight, light and heat descending from bulbs that bouquet out from beneath the ceiling fan. A woman is power walking through the trees. Within, the captains of poetry can be heard mumbling, bickering over who gets to sit about the dying embers of their fire. Soon the sun will shimmer too red, too huge at the horizon. A giant eye. Nobody notices the chill.

53. Ron Silliman Interview ron silliman Interview Gary Sullivan Rereading Wild Form, your piece on formand context (eg, audience ), I was brought back to something you had written http://home.jps.net/~nada/silliman.htm

Gary Sullivan Ron Silliman Interview Gary Sullivan: Re-reading "Wild Form," your piece on form and context (e.g., "audience"), I was brought back to something you had written about the general differences of form and audience between "white male heterosexuals" and those "members of groups that have [not] been the subject of history ..." I'll quote the passage in full, as it appears on the University of Pennsylvania's website: Reading this passage in tandem with "Wild Form," I'm curious as to how anyone might reconcile the two ends of this spectrum – if that's even a possibility, or desirable. If, as you say, "the situational specificity of form also explains why followers, imitators and epigones can never hope to extend or even replicate the meaning of their heroes" and "the meaning of any second generation is always the reification of the past ..." I wonder how you feel about the "meaning" of certain products of the multiculturalist movement, which I guess is now several generations old, specifically I guess what we might call a very consciously crafted "identity" poetics. Ron Silliman: Socialist Review the following summer. In the past 13 years, the entire field of writing has both broadened and deepened socially, mostly for the better.

54. Ron Silliman From Ketjak2 Caravan Of Affect ron silliman. from Ketjak2 Caravan of Affect for Colin Jesse Papermintpetty. Piano clusters. Danto’s Comedy philosophy becomes http://home.jps.net/~nada/Ketjak2.htm

Ron Silliman from Ketjak2: Caravan of Affect shoppers searching gentle face, vertical lines over his shrunken upper lip, wears a white hat with a narrow brim . What do you mean, justify margins? The good shape lollipop. Putting my shoes on last, then standing dressed. Microarchitecture. It must nestle itself everywhere , settle everywhere, establish connections everywhere. Even bracketed, deconstructive terminology is always already jargon ravens eyes were drained of emotion. A musical composition is what the mind immediately reconstructs of the experience from the score or while listening , and by memory the whole effect of the experience, an intellectually reconstituted esthetic consistency, which may differ externally to the reading or performance, or by imagination or reverie while listening or remembering . Was that Quine? Kill what you eat. The restaurant was open but had run out of food. A similar movement is going on before our own eyes. The wine had come from the Little Birch Tree, the hard currency shop. Snow is remarkable to one not accustomed to it. When you took out photos of a friend, a leading avant-garde theater director who models his looks after Jim Morrison and his lifestyle

55. Poem By Ron Silliman In Shampoo Issue 19 ron silliman Sentence That Each Time You Read It Changes From VOG Dreamin which I dream in which I dream I wake. in a forest in a gale. http://www.shampoopoetry.com/ShampooNineteen/silliman.html

Ron Silliman Sentence That Each Time You Read It Changes From VOG Dream in which I dream in which I dream I wake in a forest in a gale clouds barely visible above the struggling clattering branches blotting out the sky birds not visible not audible where do they go before the start of rain so humid we can barely walk through these vast but wild gardens before we wake again The busboy’s cologne is thick as he reaches across the table, jasmine in the Earl Gray suddenly clouded, the sound of ice as it tumbles from the pitcher into glass. Ibis or ibex, which one? Gold fish strangle in tap water. The tab of your shirt peeking up over the collar’s edge. Pawnshop saxophone window display. “Internal mosh pit,” writes Drew Gardner. Sarcophogal hernia. Tennis sea. Lower Manhattan sunset as a quality of light without glare, deepening these shades of brick Inside of the bodega crowded, cluttered gradually becoming visible out on the street Your smile as you lean into me in that low cut gown, wanting me to look This week it’s El Duque but it could be anything just so long as we stay distracted In dream San Francisco stretched outward from the true spine Divisadero Out toward a never to be arrived at sea – always it’s twilight and this search feels twisted Never understanding precisely the object pause instead before the unlit storefront To catch your reflection uncertain at first which one is you

56. Slought Foundation: "PhillyTalks #3" With Silliman, Derksen, Et Al. The final results of your search are listed below PhillyTalks 3 (199801-21)Author ron silliman, Jeff Derksen Document Available Real Media Recording http://slought.org/content/21013/

Information Calendar Online Content Publications ... Subscribe Font: Contact us today! Access SloughtPortal Slought.org Online Content The final results of your search are listed below PhillyTalks #3 (1998-01-21) Author: Ron Silliman, Jeff Derksen Document Available Real Media Recording Available Recording Available, Part 2 Windows Media Recording Available ... Series: PhillyTalks Curated by Louis Cabri Publisher: PhillyTalks (Philadelphia, Pennsylvania) Need multimedia help? Refer this URL Press Image Available (High-Res JPG) Caption: Slought Foundation Publication Vault, 2003 Page Citation Contact Slought Foundation by Email Refer this URL

57. Roof Books : The Segue Foundation Roof Books Authors. ron silliman born 1946 ron silliman was born inthe state of Washington in 1946. He has been a prison and tenant http://www.roofbooks.com/Author/index.cfm?fa=ShowAuthor&Person_ID=10

58. Ron Silliman Papers : Scope/Content ron silliman Papers. Scope / Content Note. The ron silliman papers contain collectedcorrespondence and writings related to silliman s career as a writer. http://orpheus.ucsd.edu/speccoll/testing/html/mss0075e.html

Ron Silliman Papers Scope / Content Note The Ron Silliman papers contain collected correspondence and writings related to Silliman's career as a writer. The materials cover a range from the middle 1960's 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 The ORIGINAL FINDING AID was 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 The CORRESPONDENCE series is comprised of 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, and thereunder 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 1980's.

59. Ron Silliman Papers: Biography/History ron silliman Papers. Biography. ron silliman was born in Pasco, Washington,in 1946. Raised north of Berkeley in Albany, California http://orpheus.ucsd.edu/speccoll/testing/html/mss0075d.html

Ron Silliman Papers 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. Title Page Processing History Location Scope / Content Note ... Collection Inventory

60. Random Items - As Random As Possible Translate this page the chinese notebook ron silliman 23 Apr. 2004 1119 - culture LINK - COMM - TRACK (0) - PING (0) - SEND http://www.serner.de/avantblog2/randomlinks_comments.php?id=1234_0_10_0_C

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