Posts Tagged ‘John Ashbery’
December 9, 2015 | by Ben Lerner
Last night, Pioneer Works, an artists’ space in Red Hook, Brooklyn, hosted a celebration of John Ashbery, who turned eighty-eight this year. The poets Geoffery G. O’Brien, Mónica de la Torre, and John Yau read some of their work and their favorite poems by Ashbery. Before Ashbery came to the stage, Ben Lerner made the following remarks. —D. P.
September 22, 2015 | by Dan Piepenbring
- If you’re like me, you spend most of your free time imagining what Hamlet might look like: the pallid cheeks, the heavy eyelids, the ruminating brow, the svelte silhouette, the dejected posture … But what if he was fat? What if the hero of the greatest tragedy of all time was a portly slob? His own mother believes he is—“He’s fat and scant of breath,” she says to Claudius—and an inspection of Shakespeare’s fat usage provides some troubling evidence.
- Women read more crime fiction than men, supposedly because they “savor the victim role.” But Vera Caspary, a midcentury crime novelist, did just the opposite: “On the page, Caspary had almost supernatural powers of bemusement; she turned her sorrows into triumphs. She liked to joke about her attractiveness to ‘macaroni salesmen.’ Her husband, whom she met when she was forty, was a movie producer, but she earned more than he did, and he resented it. She tried to ignore his resentment, and corrected people at parties who called her Mrs. Goldsmith.”
- My grandfather’s favorite place to walk was the mall, and in this he was not alone—shopping centers are apparently “the second most popular venue for walking in the country, just behind neighborhoods.” Mall walkers, or Mall Stars, tend to be older, and they’re admirably immune to the commercial aspects of the space, especially when they walk early in the morning: “Since nothing’s open you don’t have to worry about what you’re going to buy,” one mall walker said. “Plus, all the stores sell clothes for young people.” The Mall of America boasts some 250 Mall Stars. There is something to live for.
- Fiction in England “flourished for centuries before that of any of its neighbors”; even so, one of its earliest practitioners, Geoffrey of Monmouth, couldn’t bring himself to admit he was making shit up. His History of the Kings of England was full of invented royalty, but “Geoffrey considered himself a historian, and presented himself as such … Even at the time there were people who thought he was taking the mickey; one commentator, Gerald of Wales, remarked that demons would flee when the gospels were read, but flock round to listen to Geoffrey’s fibs (there was, for instance, no ‘Emperor Leo’). Nevertheless, his work was hugely popular, and more than two hundred manuscripts survive.”
- Now that the scandal surrounding Michael Derrick Hudson and Sherman Alexie has died down, let’s revisit another ruse, from 2012: that time when a guy said he was John Ashbery just because his e-mail address was firstname.lastname@example.org, and a prominent lit mag believed him.
September 2, 2015 | by Damion Searls
Learning a word from John Ashbery.
It started, as things sometimes do, with an Ashbery poem: “Staffage,” from his book A Wave.
The poem is more than thirty years old now, and it’s remarkable how well it captures the generation then just being born: “I am one of a new breed / Of inquisitive pest” (the poem makes clear-ish that this is a pest from the perspective of the older speaker, not in the eyes of the poet himself) “in love with the idea / Of our integrity, programming us over dark seas / Into small offices, where we sit and compete / With you, on your own time.”
It’s a kind of prophecy Ashbery can still pull off, for instance with the artisanal children of today in a poem from 2015’s Breezeway called “Seven-Year-Old Auroch Likes This”: “Will research tell us tomorrow / of normal morals? Take a Brooklyn family / in fracture mode, vivid, / energizing, throbs to the earlobes … Exeunt the Kardashians.” I predict this poem will make perfect sense in thirty years. Read More »
July 28, 2015 | by Dan Piepenbring
Happy eighty-eighth to John Ashbery. Many of his poems from the Review are available online, but I wanted to share a meditative passage on film from “The System,” a long prose poem published as fiction in our Spring 1972 issue.
In 1971, Ashbery read from “The System” at St. Mark’s Church, in New York. Someone captured his prefatory remarks on tape, and they’re pretty illuminating in suggesting an approach to the poem:
Oh. I don’t think I have the last page of it with me. Well, it doesn’t really matter, actually. I don’t … I do like the way it ends, but it’s kind of an environmental work, if I may be so bold. If you sort of feel like leaving at any point, it won’t really matter. You will have had the experience. You’re only supposed to get out of it what you actually get out of it. You’re not supposed to really take it all in … you know, think about other things. I am disturbed that it’s incomplete, but maybe that’s good.
July 9, 2015 | by Jeffery Gleaves
James Tate, who wrote that the main challenge of poetry “is always to find the ultimate in the ordinary horseshit,” died yesterday in Massachusetts at age seventy-one. Winner of the Pulitzer Prize, the National Book Award, and the William Carlos Williams Award, Tate’s poems were “always concerned to tell us that beneath the busyness and loneliness of our daily lives, there remains in us the possibility for peace, happiness and real human connection,” wrote Adam Kirsch in the New York Times.
Tate was born in Missouri but lived in Amherst, Massachusetts, since 1971. “I’ve imagined that every character and every single event takes place in this town, Amherst,” he once confessed. But John Ashbery once opined that Tate is a “poet of possibilities, of morph, of surprising consequences, lovely or disastrous, and these phenomena exist everywhere.”
His poetry is often described as absurdist, and indeed the speakers in his poems come across as bewildered narrators who are as inquisitive as they are clueless—which is all part of their charm. His poetry has also been described as comic, ironic, hopeful, lonely, and surreal; “I love my funny poems,” he said, “but I’d rather break your heart. And if I can do both in the same poem, that’s the best.Read More »
June 18, 2015 | by Dan Piepenbring
Our Spring 2009 issue featured eleven collages by John Ashbery, who’s been working in the medium since he was an undergrad at Harvard—roughly the same time he began to write poetry. “One thing he obviously values in collage is its implied anyone-can-do-it modesty, its lack of high-artiness, its resistance to monumentality,” the New York Times says of his art:
His own collages have this character. They’re light and slight. They feel more like keepsakes than like art objects, souvenirs of a life and career that gain interest primarily—some might say entirely—within the context of that life and career.