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.
The poems in Robert Duncan’s The Opening of the Field were written between 1956 and the beginning of 1959, the final two referring to events of 1958: the publication of Louis Zukofsky’s Barely & Widely and, on October 13, the US release of Ingmar Bergman’s The Seventh Seal.