Paul Blackburn performed his poem “7th Game : 1960 Series,” which had been written in 1960, on or near the first day of the 1971 baseball season, during a reading he gave at SUNY Cortland. The poem was later republished in Blackburn’s Collected Poems (here is a PDF copy). The New York Yankees (Blackburn’s team) were heavy favorites in their series against the Pittsburgh Pirates, and vastly outscored the underdogs in the seven games. But the Pirates won on a home run by a light-hitting second baseman in the final at-bat of the final game (what we now call a “walk off”). As Blackburn introduces the poem, the Cortland audience laughs; listeners to the audio-only recording now might be confused by this, but we think you can safely guess that Blackburn had just put on his Yankee cap.
It’s 1995. January 1. Ron Silliman, who had carefully planned this daily yearlong writing project, begins to write the first of what will be fifty-two sections of a series going under the title “You.” He worries about the war in Chechnya, and writes a sentence on that, and about acid rain, and that gets a sentence. He remembers his dreams. He overhears intellectual coffeeshop talk. It’s cold outside.
This would be the twenty-fifth book of The Alphabet; in the Alabama edition of that major assemblage, twenty-five years in the making, “You” begins on page 903, a long way in. Fifty-two sections, one for every week of 1995, each consisting of seven daily prose paragraphs, typically one, two, or three sentences each day. You write what you see, what you overhear, what news local (floods) or world (wars) occurs to you or impresses you, what you remember, what you know or think you know during these days. In one “You” is the diary in New Sentences of a year.
from “Non” (1987-89; “In Gargoyle32/33, Dan Beaver writes…,” pp. 356-357)
from “Paradise” (1984; first section, pp. 410-411; last two sections, pp. 425-431)
from “VOG” (circa 1985-99): “For Larry Eigner, Silent” (pp. 607-609)
The celebration begins with a deluxe set of introductions. Jessica Lowenthal notes that “Ron Silliman’s Alphabet has been in the making for three decades,” with its composition beginning in 1979 with “Force.” Rachel Blau DuPlessis argues counter-intuitively that “writing a long poem for Silliman was not a decision about length or grandeur or the sublime. It was a way of solving certain problems. The length is extraneous. Working out a problem—sentences for Silliman—was the trigger. Some length is needed to make the point.”
Bruce Andrews, Charles Bernstein, and Ron Silliman’s tape for an unrealized transcript captures a wealth of improvisatory high-level thinking about particulars of contemporary American class structure and poetry. The result manifests a sustained thread about social formations in contemporary American poetry with strong relevance for the present. Near the end, a phone call is received from Ray DiPalma clarifying details about the group reading of their collectively authored LEGEND four days later.
Bruce Andrews, Charles Bernstein, and Ron Silliman Bernstein’s apartment, New York City, March 6, 1981 Part 1 Part 2 Part 3
I re-read Ron Silliman’s June 4, 2010, blog post yesterday with renewed excitement and trepidation. He describes a personal archive of recordings of poetry readings that is remarkable (for its size and range) but also alas typical in the sense that there is no economy to support its being made available — or even for its preservation. If you read what Ron has to say here please be sure to look also at Steve Fama's comment.