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<book id="404570">
  <title><![CDATA[Tjanting (Salt Modern Classics)]]></title>
  <isbn><![CDATA[1876857196]]></isbn>
  <isbn13><![CDATA[9781876857196]]></isbn13>
  <work>
  <best-book-id type="integer">404570</best-book-id>
  <books-count type="integer">2</books-count>
  <default-description>Space heater. Writing gathers around the pigeons. This line leads to Uranus. Nun census. Silver fork upon a chipped blue plate. I saw sleeping bag, pillows in the Buick's back. The companionship of refrigerator's hum. This is beginning I again began not. Salt shaker tall as coffee's mug. Dented Opel's orange fender. Gray dawn. On the rain falls Spain mainly in the brain. Smudges forming fingertips on the back door's windows. X-ray reads gold-leaf sign on the glass. First sound of roommates beginning to stir. Grey into yellow comes sky to the room. Each page, once tree, soon shall be ash. Leather chipping, flaking off the tattered jacket. A woman who wears sweat pants. Detestimonialist. Don't sneeze on cat. Predictable boots worn by Frye people. Potholders old and dark. Ridges by bridges. Knife blade streaked with butter. That bus coming back this way. Rough surface of cat's tongue. Pin koans. Clutter of seeds, oils, spices atop the side board. Uganda Liquors.Pedestrians scamper across in the sun. Stake each sentence out. Call this 5 Corners. Knot this knot. Ball bounced into the panda plant. Cups fill the cupboard. Aliens from other planets are perfectly visible.  Tamal is a half-name in the place of the name. The squeak of faucets. I was on the road discovered. Ash &quot;tray.&quot; Yellow caterpillar tractor. Ashtray fills up. Waking is in each instant I am. Across, then down and across. Her tone to him through long years of rough intimacy was at once tender and gruff. Begin each letter at the top. Not this. Pit bull's spittle as it snarls. I saw a burgundy filling the clear vial at needle's end, my blood. Liquid detergent. Ing the trap bears ed. Roach holder made of a matchbook. She never lookd this way, whose face I sought a glimpse of. Free write each day. My fingers counted between nine and eleven.Any symbol is a contrary seen in a positive light. A specific shape, complex amd nameable, to each cloud. Sky pilot. Factory filld with sunrise. Scraping paper, leaving tracks. Forklift to timeclock of montage and cut. Call this tracing. 3 wooden rainwarpd chairs in the (back) yard. Fence is a verb. Scratch that. Each word in Max 3 meant polis. In the mind mines gape. Tell that to the Possum. Words tried to imagine. Coffee ground spilld on the stove top. Bare nap rugs on the cat. Mouth open, take a deep breath, say Ah.  On the far gray bay side haze hued the hill.Rush of footsteps upstairs. Bathetic. In a middle that is not yet the middle. The mock coolness of the air-conditiond underground. Hours alter colors of the page. Grease sizzles, spitting on the stove top. Words vary. Swam past sand sharks. An idea of land's end. Pale luncher. An eternal groove around record's center. 4-tunneld city and 7 its hills. Owl light.Impaired eyes, desert rocks are attributed evenly throughout the pain. Red water. We saw on the sea sails. Stoppage makes the line. Translicity elects the voice. Cowabonga. But you dependent for what comes thru. Call it dogface. Know all blame, same difference. Doors &quot;ajar.&quot; I glimpse the machinery of the modern dentist thru windows. Pills on my Tarot. Shade throws the light lamp. Pacific Palisades. Write between light green lines. Beer in waxed cups. Noon's rise mooning. Someone must make awnings. On the bus home from work, squinting at a thick printout. On a bus in dawn heavy fog, on my way to meet Taggart. Smouldering sienna. One ideogram, meaning lunch, middle or China. The familiar smell suddenly of balsawood and Testor's in a hospital corridor.My nose, seen as a waterfall.  Disfeel an ease. Cary Grant on the face of George Washington. Or the faces of watchers through a window at sunset, their skin blue by the dim light of the telly. Once on the bus, took his shoes off. Detains, denotes detonation. His eyes enlarged by his glasses.</default-description>
  <id type="integer">1213906</id>
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  <original-publication-day type="integer" nil="true"></original-publication-day>
  <original-publication-month type="integer" nil="true"></original-publication-month>
  <original-publication-year type="integer">1981</original-publication-year>
  <original-title>Tjanting (Salt Modern Classics)</original-title>
  <rating-dist>total:30|5:17|4:7|3:5|2:1|</rating-dist>
  <ratings-count type="integer">30</ratings-count>
  <ratings-sum type="integer">130</ratings-sum>
  <reviews-count type="integer">55</reviews-count>
  <text-reviews-count type="integer">4</text-reviews-count>
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  <average_rating><![CDATA[4.33]]></average_rating>
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  <url><![CDATA[http://www.goodreads.com/book/show/404570.Tjanting]]></url>
  <authors>
        <author id="55133">
      <name><![CDATA[Ron Silliman]]></name>
      <role><![CDATA[]]></role>
      <url><![CDATA[http://www.goodreads.com/author/show/55133.Ron_Silliman]]></url>
      <average_rating><![CDATA[4.37]]></average_rating>
      <ratings_count><![CDATA[328]]></ratings_count>
      <text_reviews_count><![CDATA[35]]></text_reviews_count>
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    <review id="10541752">
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    <rating>5</rating>
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  <read_at>Thu Jan 01 00:00:00 -0800 1998</read_at>
  <date_added>Sun Dec 16 23:43:11 -0800 2007</date_added>
  <date_updated>Thu Dec 27 22:54:14 -0800 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[Definitely one of the most influential books for me, and still my favorite of Ron's (though he keeps on developing in exciting new directions).<br/><br/>It's a book in which the quality of the reading changes drastically as one's immersed in it over a long period. At first, one knows the repetitio...<a href="http://www.goodreads.com/review/show/10541752">more...</a>]]></body>
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    <review id="2686385">
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    <rating>3</rating>
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  <recommended_for><![CDATA[lit geeks]]></recommended_for>
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  <read_at>Wed Nov 01 00:00:00 -0800 2006</read_at>
  <date_added>Tue Jul 03 16:05:06 -0700 2007</date_added>
  <date_updated>Tue Jul 03 16:18:52 -0700 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[At first glance, this book seems to be all gibberish. The trick about it, though, is that it's written following the Fibonacci sequence (1, 1, 2, 3, 5, etc.). The first paragraph has one sentence. The second paragraph, 1 sentence. Third paragraph, two sentences. Etc. Not only that, but it's oftentim...<a href="http://www.goodreads.com/review/show/2686385">more...</a>]]></body>
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</review>
    <review id="76355202">
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  <read_at></read_at>
  <date_added>Sun Nov 01 03:02:58 -0800 2009</date_added>
  <date_updated>Sun Nov 01 03:06:35 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Ok, if I am really honest, I am Not looking forward to reading this. <br/>Then why read it:? <br/>I feel I ought to know Silliman, in order to understand certain movements in American writing.]]></body>
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    <review id="35853103">
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    <name><![CDATA[Samia]]></name>
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    <rating>4</rating>
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  <date_added>Tue Oct 21 09:50:23 -0700 2008</date_added>
  <date_updated>Sat Nov 08 11:03:37 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Ever wonder what class conflict and dialectical images looked like on paper?  Ron Silliman's &quot;Tjanting&quot; is probably its nearest verbal equivalent.  And man, does he know how to write (and rewrite and rewrite and rewrite) a good sentence.<br/><br/>The structure of the book is based on the...<a href="http://www.goodreads.com/review/show/35853103">more...</a>]]></body>
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  <date_added>Tue Sep 22 18:03:50 -0700 2009</date_added>
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