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        <p align="left"> 
        <p><a href="../cnotes/rs.htm" style="text-decoration:none"><i><font size="+2"><b>Ron 
          Silliman </b></font></i></a></p>
        <hr noshade>
        <blockquote> 
          <p><b><br>
            <font size="+1">A</font> <font size="+1">F</font><font size="-1">OREST</font> 
            <font size="+1">F</font><font size="-1">OR</font>&#133;</b><br>
            <i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;for 
            Hannah</i></p>
          <p><br>
            &quot;Anthologies are not facts,&quot;<br>
            but then they are.<br>
            When I composed the preface<br>
            to this volume 15 years ago,<br>
            concluding three years of labor,<br>
            reading, correspondence, too many hard decisions,<br>
            I failed to comprehend just how completely<br>
            an act such as a book<br>
            seals itself into a rapidly congealing facticity<br>
            while the reality of which it purports to 
            give some account<br>
            proceeds exactly as it was&#151;<br>
            shifting, negotiable, under constant reconstruction.</p>
          <p>The idea of <i>The Tree</i><br>
            as I came to think and talk of this project, 
            was<br>
            to document to the extent possible <br>
            a debate then ongoing <br>
            in the work of slightly more than<br>
            three dozen poets.</p>
          <p>Even the idea of a debate<br>
            conducted through poetry<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#151;through 
            individual poems<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;in 
            which the debate itself<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;was 
            virtually <i>never the point</i>&#151;<br>
            demonstrates, to a degree<br>
            I don't think I fully appreciated at the 
            time,<br>
            one fundamental assumption<br>
            many if not all these writers<br>
            make not just about their own poetry and 
            prose<br>
            but of all writing:<br>
            that composition itself <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;is 
            a means of thinking,<br>
            an active process,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;not 
            necessarily <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;the 
            sort of &quot;organic&quot; mimicry <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;of 
            thought or of speech<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;we associate 
            with the Projective Verse of the 1950s<br>
            but sharing with that tradition<br>
            a recognition<br>
            of the poem's intimate entanglement <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;with 
            consciousness as such.</p>
          <p>This ineluctable involvement precisely<br>
            gives the work&#151;<br>
            that finished published Thing &#151;<br>
            the potential to engage a reader<br>
            not as consumer <br>
            but as a participant,<br>
            someone who in the most literal sense<br>
            struggles with the text.<br>
            This is an attitude for which<br>
            one could trace a lineage <br>
            extending not simply <br>
            beyond Duncan, Olson or Berrigan<br>
            through Pound, Joyce, Stein, Zukofsky,<br>
            Whitman, Melville, Dickinson<br>
            to at least Blake and Sterne if not further 
            &#151;<br>
            the idea of a text<br>
            not as a shared thought<br>
            but as shared thinking.</p>
          <p>This it would appear<br>
            is the most dangerous thing in the world.<br>
            Or at least the anger<br>
            implicit in the published assaults on this 
            writing<br>
            by Tom Clark, Stephen Schwartz, Andrei Codrescu 
            et al<br>
            caused &quot;language poetry&quot;&#151; 
            <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;a 
            term coined in part<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;in 
            an attack by Alan Soldofsky&#151;<br>
            to carry some aura of the Outlaw<br>
            the writers themselves (<i>our</i>selves) 
            had never sought.<br>
            Controversy has its own audience<br>
            and <i>The Tree</i> appeared<br>
            at what might have been the height <br>
            of the tourist-reading season.</p>
          <p>One impact of this artificial crisis of 
            poetry<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(it 
            was a &quot;crisis&quot; only to those<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;who 
            were unwilling or afraid<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;to 
            participate in a world of the poem<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;that 
            was not <i>always already</i><br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;familiar 
            to them)<br>
            was to sharpen a sense<br>
            of a divide between inner and outer.<br>
            Some of the writers whose work is included 
            here<br>
            seemed to welcome the definition,<br>
            the heightened contrast,<br>
            while others, less comfortable with conflict,<br>
            decidedly did not.<br>
            Asked once by Lee Bartlett, &quot;Do you<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;identify<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;with 
            the so-called<br>
            Language poets?&quot;<br>
            Michael Palmer took 800 words to respond.</p>
          <p>A gulf<br>
            real or imagined<br>
            will alter anything.<br>
            Several poets whose work in the early 1980s<br>
            seemed in fact a sharp critique, even a 
            rebuke<br>
            of much of the poetry included here<br>
            found themselves much closer<br>
            to this writing, at least in sympathy, <br>
            than to any nostalgic construction<br>
            of an aging &quot;New American&quot; poetry.<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(Thus, 
            while it made sense<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;in 
            1982 not to include in this volume<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;the 
            work, say, of Leslie Scalapino,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Jerry 
            Estrin or Bev Dahlen,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;any 
            reading of the larger phenomenon,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Language 
            Poetry &quot;<i>so called</i>&quot;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;that 
            fails to include their contributions<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;can 
            only prove incoherent.)</p>
          <p>Another result of this charged<br>
            atmosphere is reflected <br>
            in <i>The Tree</i><br>
            precisely through its absence&#151;<br>
            for a group of writers<br>
            who were literally characterized in print<br>
            as Stalinist thugs,<br>
            there is precious little here<br>
            in the theoretical &quot;Second Front&quot;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(that 
            title alone<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;suggests 
            how harshly<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;lines 
            had been drawn)<br>
            that could be called Marxist analysis.<br>
            Only Watten's <br>
            &quot;Method and L=A=N=G=U=A=G=E&quot;<br>
            truly presents itself<br>
            as having a political dimension<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(though 
            Bernstein invokes Sartre<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;and 
            the collectively written<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
            &quot;<i>For Change</i>&quot;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;for 
            sure suggests<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;a 
            practice radically different<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;from 
            immediate predecessors ).<br>
            But the selection <br>
            of my own writing in that section<br>
            as well as that of Bruce Andrews<br>
            reflects not merely an impulse<br>
            to avoid giving literary conservatives<br>
            yet another stick<br>
            with which to beat us,<br>
            but a desire also<br>
            not to misrepresent <br>
            the impulses, say, of a Grenier or Coolidge<br>
            as well as others <br>
            who had not once<br>
            (and for the most part still haven't)<br>
            suggested that <i>they</i> saw<br>
            a politics for their writing.</p>
          <p>So this collection mutes<br>
            one debate then ongoing, not<br>
            between Marxism and its cognates,<br>
            but rather between engagement &amp; alienation.</p>
          <p>That much of this writing<br>
            understood its social being<br>
            is palpable just readings the texts<br>
            say, of Erica Hunt or Alan Davies,<br>
            Lyn Hejinian or Hannah Weiner&#151;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Steve 
            Benson's &quot;On Realism&quot;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;in 
            Second Front as well as<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Tom 
            Mandel's &quot;poem&quot;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&quot;Realism?&quot; 
            <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;show 
            the artist considering<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;the 
            word's responsibility<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;to 
            the world&#151;<br>
            but a muting of overt internal debate<br>
            was probably inescapable <br>
            in the face of external assault.</p>
          <p>More important<br>
            in transforming the scene of <br>
            what students at Naropa<br>
            would soon characterize <br>
            in their unique Arapahoe briefspeak<br>
            as Langpo<br>
            was the dramatic emergence in the '80s<br>
            of a new generation of poets<br>
            from Laura Moriarty to Charles Alexander<br>
            to Harryette Mullen and Lee Ann Brown<br>
            for whom such phobic attacks<br>
            must have appeared as silly &amp; beside-the-point<br>
            as Podhoretz's parallel attempt<br>
            25 years earlier<br>
            to abolish Kerouac &amp; Co.</p>
          <p>So the context has changed.<br>
            Some of the poets included here<br>
            may look back now&#151;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;at 
            least one has said so<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;in 
            explicit terms&#151;<br>
            in horror at their &quot;juvenilia&quot;<br>
            returned to print.<br>
            Others have more complex relations to these 
            works<br>
            the latest of which were completed by I 
            believe 1982.<br>
            In this sense, these texts<br>
            remind me of some <br>
            contained<br>
            in Donald Allen's <i>New American Poetry</i><br>
            which catalyzed a generation's <br>
            understanding of a new possibility for the 
            poem<br>
            but which was released<br>
            before Spicer wrote any of his great final 
            books,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;before 
            Duncan started <i>Passages</i>,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Creeley 
            <i>Pieces</i><br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;or 
            Dorn '<i>Slinger</i>,<br>
            when LeRoi Jones was LeRoi Jones,<br>
            &amp; in Ashbery only the slightest hint 
            <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(&quot;How 
            much longer<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;will 
            I be able<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;to 
            inhabit the divine <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;sepulcher 
            . . .&quot; <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#151;that 
            fabulous<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;last 
            tomb of a term) <br>
            of what is to become <i>The Tennis Court 
            Oath</i>.<br>
            So while there are some&#151;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ferlinghetti, 
            Lervertov&#151;<br>
            whose finest works Allen prints,<br>
            what makes &quot;the Allen&quot; what it 
            is<br>
            is its unique presentation of a moment in 
            time,<br>
            how each of its readers, as if privately<br>
            for one's self alone<br>
            discovers the beauty of Borregaard's &quot;Wapiti.&quot;<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;It 
            is in this spirit<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;that 
            I have refused here<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;to 
            correct my mistakes.</p>
          <p>If this book has value going forward<br>
            it is not so much in the grace of its gears&#151; 
            <br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&quot;the 
            first device to&#133;etc.&quot;&#151;<br>
            as in their grind,<br>
            &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;the 
            thrash betwixt texts.<br>
            I suggest that you read for the clatter.</p>
          <blockquote> 
            <blockquote> 
              <blockquote> 
                <blockquote> 
                  <blockquote>
                    <p>&nbsp;</p>
                    <p><i><b><font size="-1">18 February 
                      2000<br>
                      Paoli, Pennsylvania</font></b></i></p>
                  </blockquote>
                </blockquote>
              </blockquote>
            </blockquote>
          </blockquote>
          
          <p>&nbsp; </p>
             </blockquote>
          
        <a href="../prose/silliman1.htm">Essay: </a><i><a href="../prose/silliman1.htm">The 
        Desert Modernism </a></i> 
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