Frank O'Hara and the Poetics of Saying 'I'


Book Description

While recent works of criticism on Frank O'Hara have focused on the technical similarities between his poetry and painting, or between his use of language and poststructuralism, Frank O'Hara and the Poetics of Saying 'I' argues that what is most significant in O'Hara's work is not such much his 'borrowing' from painters or his proto-Derridean use of language, but his preoccupation with self exploration and the temporal effects of his work as artifacts. Following Pasternak's understanding of artistic inspiration as an act of love for the material world, O'Hara explores moments of experience in an effort to both complicate and enrich our experience of the material world. On the one hand, in poems such as Second Avenue, for example, O'Hara works to 'muddy' language through which experience is, in part, mediated with the use of parataxis, allusions, and absurd metaphors and similes. On the other, in his 'I do this I do that' poems, he names the events of his lunch hour in an effort, among other things, to experience time as a moment of fullness rather than as a moment of loss. The book argues, furthermore, that O'Hara's view of the self as both an expression of the creative force at work in the world and as the temporal aggregate of finite experiences, places him between so-called 'Romantic' and 'postmodern' theories of the lyric. While it is often argued that O'Hara is a forerunner of a new, critically informed, 'materialist' poetics, this study concludes that O'Hara's work is somewhat less radical in its understanding of poetic meaning than is often claimed. Moreover, while O'Hara is preoccupied with his experience in his poems, the book argues that he espouses, in some respects, a rather traditional view of love. In addition to being a metaphor for the creative act, love, for O'Hara, is the chance coming together of two entities. Yet, one of the ironies of this is that while love is, for O'Hara, a feeling that is the result of movement, or the unexpected coming together of two otherwise separate entities, and is itself characterized in his work as a moving, 'life-giving vulgarity,' it produces a feeling of peace and stillness—a feeling that will not remain because of the fact that the self changes and that love is itself a moving, living thing. Thus, love contains within itself the ominous promise of future loss and is, therefore, the highest feeling that contains within itself the seeds of the lowest.




The Collected Poems of Frank O'Hara


Book Description

Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.




Frank O'Hara


Book Description

Previously known as an art-world figure, but now regarded as an important poet, Frank O'Hara is examined in this study. It traces the poet's "French connection" and the influence of the visual arts on his work. This edition includes a new introduction with a reconsideration of O'Hara's lyric.




Lunch Poems


Book Description

Celebrate the 50th Anniversary of Frank O'Hara's Lunch Poems Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry. Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including "The Day Lady Died," "Ave Maria" and "Poem" Lana Turner has collapsed ]. This new limited 50th anniversary edition contains a preface by John Ashbery and an editor's note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch. "Frank O'Hara's Lunch Poems, the little black dress of American poetry books, redolent of cocktails and cigarettes and theater tickets and phonograph records, turns 50 this year. It seems barely to have aged . . . This is a book worth imbibing again, especially if you live in Manhattan, but really if you're awake and curious anywhere. O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age."--Dwight Garner, The New York Times "City Lights' new reissue of the slim volume includes a clutch of correspondence between O'Hara and Lawrence Ferlinghetti . . . in which the two poets hash out the details of the book's publication: which poems to consider, their order, the dedication, and even the title. 'Do you still like the title Lunch Poems?' O'Hara asks Ferlinghetti. 'I wonder if it doesn't sound too much like an echo of Reality Sandwiches or Meat Science Essays.' 'What the hell, ' Ferlinghetti replies, 'so we'll have to change the name of City Lights to Lunch Counter Press.'"--Nicole Rudick, The Paris Review "Frank O'Hara's famed collection was first published in 1964, and, to mark the fiftieth anniversary, City Lights is printing a special edition."--The New Yorker "The volume has never gone out of print, in part because O'Hara expresses himself in the same way modern Americans do: Like many of us, he tries to overcome the absurdity and loneliness of modern life by addressing an audience of anonymous others."--Micah Mattix, The Atlantic "I hope that everyone will delight in the new edition of Frank's Lunch Poems. The correspondence between Lawrence and Frank is great. Frank was just 33 when he wrote to Lawrence in 1959 and 38 when LUNCH POEMS was published The fact that City Lights kept Frank's LUNCH POEMS in print all these years has been extraordinary, wonderful and a constant comfort. Hurray for independent publishers and independent bookstores. Many thanks always to Lawrence Ferlinghetti and everyone at City Lights."--Maureen O'Hara, sister of Frank O'Hara "Frank O'Hara's Lunch Poems--which has just been reissued in a 50th anniversary hardcover edition--recalls a world of pop art, political and cultural upheaval and (in its own way) a surprising innocence."--David Ulin, Los Angeles Times




Frank O'Hara


Book Description

Providing a synthesis of New York's artistic and literary worlds, this book uses social and philosophical problems involved in reading a coterie to propose a language for understanding the poet, art critic, and Museum of Modern Art curator, Frank O'Hara.




Frank O’Hara Now


Book Description

Frank O’Hara’s writing is central to any consideration of 20th century American poetry. This collection of essays, the first to be dedicated to O’Hara in nearly two decades, asks why O’Hara remains so important to 21st century readers and writers of poetry. The book is transatlantic in tone, combining American scholarship with a wide sampling of British writers. For many, O’Hara’s distinctive appeal depends on his witty depictions of urban experience, his relationship to the painters of Abstract Expressionism and the exhilarating immediacy of his poetic voice. Yet these chatty and approachable qualities coexist with a testing engagement with currents in European and American modernism. Frank O’Hara Now offers a comprehensive picture of the poet, presenting the conversational insouciance of the writing alongside its more intransigent features.




The Collaborative Artist's Book


Book Description

The Collaborative Artist’s Book offers a rare glimpse into collaborations between poets and painters from 1945 to the present, and highlights how the artist’s book became a critical form for experimental American artists in the twentieth and twenty-first centuries. Alexandra Gold provides a broad overview of the artist’s book form and the many ongoing debates and challenges, from the disciplinary to the institutional, that these forms continue to pose. Gold presents five case studies and details not only how each individual collaboration came to be but how all five together engage and challenge conventional ideals about art, subjectivity, poetry, and interpersonal relations, as well as complex social questions related to gender and race. Taking several of these books out of special collections libraries and museum archives and making them available to a broad readership, Gold brings to light a whole genre that has been largely forgotten or neglected.




A Study of the Urban Poetics of Frank O’Hara


Book Description

Focusing on the poetry and cultural practice of Frank O’Hara, the great urban poet of the New York School during the 1950s and 1960s, this books explores the interwoven relationship between his urban poetics and the urban culture of New York, seeking to shed light on poetic concept and its cultural relevance. The poetry of Frank O’Hara is deeply rooted in and nourished by his urban experience as a metropolitan and an active participant in the vibrant cultural scene of New York. Therefore, an investigation into the interactive dynamics between his poetry and the urban culture he helped shape serves as a starting point for further study on the literary representation of European and American urban culture. Across eight chapters, the authors look into the genesis, theoretical constitution, the interface with culture and aesthetics of O’Hara’s urban poetics and also their philosophical foundations, literary ethics, special expression and representation as well as his reception of modernity and postmodernity. The title will appeal to scholars, students and general readers interested in American literature, poetry and urban culture, especially Frank O’Hara and the New York School.




Hyperscapes in the Poetry of Frank O'Hara


Book Description

Frank O’Hara’s poetry evokes a specific era and location: New York in the fifties and early sixties. This is a pre-computer age of typewritten manuscripts, small shops and lunch hours: it is also an age of gay repression, accelerating consumerism and race riots. Hazel Smith suggests that the location and dislocation of the cityscape creates "hyperscapes" in the poetry of Frank O’Hara. The hyperscape is a postmodern site characterized by difference, breaking down unified concepts of text, city, subject and art, and remolding them into new textual, subjective and political spaces. This book theorizes the process of disruption and re-figuration which constitutes the hyperscape, and celebrates its radicality.




Poetic Language


Book Description

In a series of 12 chapters, exemplary poems - by Walter Ralegh, John Milton,William Cowper, William Wordsworth, Gerard Manley Hopkins, Wallace Stevens, Ezra Pound, Frank O'Hara, Robert Creeley, W. S. Graham, Tom Raworth, Denise Riley and Thomas A. Clark -