Realism: An Anthology of 'Language' Writing

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HILDA MORLEY I have never met Hilda Morley. Like others, her poems came through the mail. From the very first I was made aware of a singular voice and a syntax supple enough to carry a good many lines with no loss of clarity. Hilda Morley knows how to take full advantage of what Charles Olson called "composition by field." The pages of her poems are open and fluid. One senses the poet's breath, the real body living inside her lines, and is moved by their music. While she may risk a high style, the poetry remains down-to-earth, not precious. Hilda Morley has demonstrated something rare: the ability to go on writing for years in relative isolation, to wait. Thirty pages of poetry, two-thirds of it new or unpublished, should give readers a chance to enjoy the results. ' 'LANGUAGE' WRITING There has been growing evidence of disenchantment with the bulk of mainstream American poetry, most of it "free verse." Some who have written on Hilda Morley, for example, were drawn by the music in her poetry, conspicuously absent in much recent poetry. For others, particularly those dubbed "language writers," the alternative is more radical. They see the language and language habits poets inherit as hindrances to preception and feeling, but even more, to the precise expression of these. However esoteric or difficult much of their work may seem to some people, their concern with form and the investigation of the structure of the self through the medium of language aims at the liberation of the larger society. If there is an avant-garde in poetry today, it will most likely be found among them. We want our readers to be able to sample the modes of this writing instead of merely hearing about it. I wish to thank Ron Silliman for his work in selecting and introducing this anthology for Ironwood. Michael Cuddihy Ironwood 21, scheduled for late March, will feature a long poem by Ernesto Cardenal, the Nicaraguan poet, and a selection from the notebooks of David Ignatow. There will be poems by Shirley Kaufman, Robert Pinsky, Laura Mullen, Mary Oliver, John Peck, Ralph Burns, Susan Mitchell, Gary Fincke, Richard Lyons, John Taggart, Michael Palmer, Alice Notley, and many others.
IRONWOOD EDITOR Michael Cuddihy BUSINESS MGR. Mary Cuddihy ASSISTANTS Dale Gilson Jerry Higi Craig Martin John Williams Ironwood is published twice a year by Ironwood press, Tucson, AZ. Subscriptions: Individuals: Institutions: Single Issues: Sample Copies: $3.00 $6.00, 1 yr; $10.50, 2 yrs; $15.00 3 yrs. $6.50, 1 yr; $12.50, 2 yrs; $18.00 3 yrs. $3.00 Please specify issue you wish subscriptions to begin with. Subscription orders and manuscripts should be mailed to: IRONWOOD, Box 40907. Tucson, AZ 85717 Unsolicited manuscripts are welcome but must include a stamped, self-addressed return envelope. Contents Copyright ~ 1982 by Ironwood Press. Typography by Tucson Typographic Service, Inc. Printed in Tucson by Shandling Lithographing Co. ISSN 0047-150X
Page 4 and 5: REALISM An Anthology of 'Language'
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Page 12 and 13: tradition (and, insofar as each wri
Page 14 and 15: Bruce Andrews from CONFIDENCE TRICK
Page 16 and 17: * Dull frond: giant lizard tongue s
Page 18 and 19: Alan Bernheimer AFTERMATH Life aflo
Page 20 and 21: Ch:arles Bernstein BRAIN SIDE VIEW
Page 22 and 23: are, may be the same cry as that on
Page 24 and 25: Ttna Darragh AMBIGUOUS FIGURES (ill
Page 26 and 27: Alan Davies from THE FERVENT LIVES
Page 28 and 29: Jean Day LIMIT I say mud for catego
Page 30 and 31: There they are moving slowly Stalks
Page 32 and 33: RObert Grenier Further Beach Poem D
Page 34 and 35: MICKEY MOUSE is Mrs. Meikles NOT TO
Page 36 and 37: A squishy shining milk toast hospit
Page 38 and 39: - Lyn Hejinian THE PIT The cold in
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Page 42 and 43: Bob Perelman HOUSING STARTS I was b
Page 44 and 45: The sky pales. The melodramatic mac
Page 46 and 47: Here and there satisfactions rumple
Page 48 and 49: Stephen Rodefer EATS LAKE We hate p
Page 50 and 51: gives me a headache, and paper and
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-James Sherry FLEECING ·"Alas! poo
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* The end of the phone call gets wo
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Her friendships with women are diff
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Barrett Watten INTRODUCTION TO THE
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There should be no spare parts from
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Talk should be perceptible behind c
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Hannah Weiner I SEE WORDS ALL from
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strategies meant to dash any belief
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• Echo is a transcript I made (sl
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useful in understanding much of wha
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"None are purely academic or frivol
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Without the poem being a workable m
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Other journals and small presses im
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M. wanted her own. Kept saying red
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MICHAEL GOTTLIEB is the author of L
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Realism: An Anthology of 'Language' Writing

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