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The Collected Poems of Frank O'Hara by Frank O'Hara Pdf
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.
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.
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.
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note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch.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
O'Hara's style exudes an insistent, seductive glamour; his mercurial poems, at once open-ended and startlingly immediate, radiate an insouciant confidence that has lost none of its freshness over the decades. --Alfred A. Knopf.
The definitive biography of Frank O’Hara, one of the greatest American poets of the twentieth century, the magnetic literary figure at the center of New York’s cultural life during the 1950s and 1960s. City Poet captures the excitement and promise of mid-twentieth-century New York in the years when it became the epicenter of the art world, and illuminates the poet and artist at its heart. Brad Gooch traces Frank O’Hara’s life from his parochial Catholic childhood to World War II, through his years at Harvard and New York. He brilliantly portrays O’Hara in in his element, surrounded by a circle of writers and artists who would transform America’s cultural landscape: Willem de Kooning, Franz Kline, Helen Frankenthaler, Jackson Pollock, Gregory Corso, Jack Kerouac, Allen Ginsberg, LeRoi Jones, and John Ashbery. Gooch brings into focus the artistry and influence of a life “of guts and wit and style and passion” (Luc Sante) that was tragically abbreviated in 1966 when O’Hara, just forty and at the height of his creativity, was hit and killed by a jeep on the beach at Fire Island—a death that marked the end of an exceptional career and a remarkable era. City Poet is illustrated with 55 black and white photographs.
Digressions on Some Poems by Frank O'Hara by Joe LeSueur Pdf
An unprecedented eyewitness account of the New York School, as seen between the lines of O'Hara's poetry Joe LeSueur lived with Frank O'Hara from 1955 until 1965, the years when O'Hara wrote his greatest poems, including "To the Film Industry in Crisis," "In Memory of My Feelings," "Having a Coke with You," and the famous Lunch Poems—so called because O'Hara wrote them during his lunch break at the Museum of Modern Art, where he worked as a curator. (The artists he championed include Jackson Pollock, Joseph Cornell, Grace Hartigan, Jane Freilicher, Joan Mitchell, and Robert Rauschenberg.) The flowering of O'Hara's talent, cut short by a fatal car accident in 1966, produced some of the most exuberant, truly celebratory lyrics of the twentieth century. And it produced America's greatest poet of city life since Whitman. Alternating between O'Hara's poems and LeSueur's memory of the circumstances that inspired them, Digressions on Some Poems by Frank O'Hara is a literary commentary like no other—an affectionate, no-holds-barred memoir of O'Hara and the New York that animated his work: friends, lovers, movies, paintings, streets, apartments, music, parties, and pickups. This volume, which includes many of O'Hara's best-loved poems, is the most intimate, true-to-life portrait we will ever have of this quintessential American figure and his now legendary times.
A fascinating account of Frank O'Hara in the prime of his creative life in New York, told through notes, images, and poems by his friend Bill Berkson. Poet and art critic Bill Berkson (1939–2016) had planned for many years to write a lengthy study on his friend and mentor Frank O'Hara (1926–1966) but died with the project still incomplete. This volume reproduces the sketchbook in which Berkson gathered notes, images, and poems about O'Hara, focusing on his memories of their collaborations in New York, from their initial meeting in 1960 to O'Hara's untimely death in 1966. A Frank O'Hara Notebook offers a fascinating first-person account of the heyday of O'Hara's creative life, and memorably sketches the heady social milieus of the poetry and art worlds of New York that O'Hara inhabited in the early 1960s. In addition to an exact-scale photographic reproduction of Berkson's handwritten notebook, this volume includes a typesetting of Berkson's notes and two texts on O'Hara derived from these notes published under Berkson's direction, titled “A Frank O'Hara File” and “What Frank O'Hara Was Like.” The book shows the evolution of Berkson's ideas from notes to fragmentary phrases and sentences into finished pieces of writing. Ultimately, this collection reveals as much about Berkson's writing practice as it does about his famous subject and friend. The book's translation of Berkson's handwritten notes and collaged material into type honors the idiosyncratic format of Berkson's handwritten text, precisely following the line breaks, capitalizations, and drawn graphic elements in the holograph. The book also includes an introduction by fellow New York School poet Ron Padgett and an afterword by Berkson's wife, curator Constance Lewallen.
Frank O'Hara and the Poetics of Saying 'I' by Micah Mattix Pdf
Frank O'Hara and the Poetics of Saying 'I' examines the poetics of the American poet Frank O'Hara in the context of both European and American expressionism. Placing O'Hara in relation to poets such as Rilke, Williams and Pasternak, as well as painters such as Pollock and Motherwell, the book argues that while O'Hara understands poetic form to be the result of the poet's exploration of his experience, the purpose of the resultant artifact is not to enumerate the alphabet of the mind but to reinvigorate language through which experience of the material world is, in part, mediated.
This comprehensive volume contains all Sylvia Plath's mature poetry written from 1956 up to her death in 1963. The poems are drawn from the only collection Plath published while alive, The Colossus, as well as from posthumous collections Ariel, Crossing the Water and Winter Trees. The text is preceded by an introduction by Ted Hughes and followed by notes and comments on individual poems. There is also an appendix containing fifty poems from Sylvia Plath's juvenilia. This collection was awarded the 1981 Pulitzer Prize for poetry. 'For me, the most important literary event of 1981 has been the publication, eighteen years after her death, of Sylvia Plath's Collected Poems, confirming her as one of the most powerful and lavishly gifted poets of our time.' A. Alvarez in the Observer
A wonderful and essential collection of reviews and essays (many from now-defunct small magazines) on the poetry, as well as the prose and plays, of the great poet of the New York school, who died in 1966 at the age of 40. No index. Annotation copyrighted by Book News, Inc., Portland, OR
Frank O'Hara (1926-66) was born in Baltimore, Maryland, but it is New York with which he is most intimately associated. From the early 1950s he was involved with the city's abstract expressionist scene of painters, as well as the New York School of Poets that included John Ashbery. He worked for many years at the Museum of Modern Art, and died in 1966 following a bizarre beach-buggy accident on Fire Island. His poems are a cacophony of surrealism and city living, frivolity and a serious affection for life. Lunch Poems appeared in 1964 and his Collected Poems in 1971. the London Review of Books, the Times Literary Supplement and the New Republic. Soft Sift was published in 2001. past or present whom they have particularly admired. By their selection of verses and their critical reactions, the selectors offer intriguing insights into their own work. Here, Mark Ford selects Frank O'Hara.