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The New York School of Poets 1: James Schuyler and The Notes INTRODUCTION: THE NEW YORK SCHOOL OF POETS 1. Harold Rosenberg, The Anxious Object (Chicago and London: Chicago U. P., 1982 rept.), p. 61. 2. For more detailed analysis of the relationship between the Federal Art Project, the Surrealist influence and the development of Abstract Expressionist art, see Dore Ashton, The New York School: A Cultural Reckoning (Harmondsworth and New York: Penguin, 1979) and Serge Guilbaut, How New York Stole the Idea of Modern Art: Abstract Expressiollism, Freedom, alld the Cold War (Chicago and London: Chicago U. P., 1983). 3. Dore Ashton, The New York School, (1983 rept.), p. 233. 4. Charles Baudelaire, 'Les Sept Vieillards', The Complete Verse (London: Anvil Press, 1986), p. 177. 5. David Trotter, The Makillg of the Reader: Language and Subjectivity III Modern Americall, English and Irish Poetry (London and Basingstoke: Macmillan, 1984), p.156. 6. Harold Bloom, ed., Modern Critical Views: John Ashbery (New York: Chelsea House, 1985), p. 6. 7. A number of books by Harold Bloom contain chapters or sections on John Ashbery. Bloom's Introduction 10 the Modern Critical Views anthology is prob­ ably the essay most explicitly antagonistic to the idea of a New York School of poels. The tenor of the essays collected in Agon (1982) is also one of opposition to the concept of collective, avant-garde poetry in America. 8. Jean-Fran,ois Lyotard, The Post modern Condition: A Report on Knowledge (Man­ chester: Manchester U. P., 1989), p. xxiv. 9. Anne Waldman, 'Paraphrase of Edwin Denby Speaking on the "New York School''', in B. Berkson and J. LeSueur (eds), Homage to Frank O'Hara (Bolinas: Big Sky 11 /12, 1978). p. 32. 10. The poems by Kenneth Koch cited in this Introduction may be found in his Selected Poems 1950-1982 (New York: Random House, 1985). 11. The comments by John Bernard Myers given in this Introduction may be found on pages 7, 8 and 23 of his The Poets of the New York School (Philadelphia: Pennsylvania U. P., 1969). Further details of Myers' publishing and gallery activities may be found in his 'Frank O'Hara: A Memoir', in Homage to Frank O'Hara. 1: JAMES SCHUYLER AND THE RHETORlC OF TEMPORALITY 1. Harold Rosenberg, The Anxious Object, p. 114. I have extended for my own purposes terms used by Rosenberg solely to clarify a point concerning the work of WiIlem de Kooning. 2. For a fully developed argument linking Abstract Expressionism to the Roman­ tic landscape tradition, see Robert Rosenblum, Modem Paillting and tile North­ em Romanlic Tradition: Friedrich to Rllthko (London: Thames and Hudson, 1975). 3. See Serge Guilbaut, How New York Stole the Idea of Modenl Art, esp. Chapter Four. 206 Notes 207 4. William Carlos Williams, The Collected Poems 1909-1939 (Manchester: Carcanet Press, 1987), p. 174. 5. Paul de Man, 'Lyric and Modernity', in Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism (London: Methuen, rev. ed., 1983), p. 184. For comments by O'Hara on Auden, see the interview with Edward Lucie-Smith in SSWNY. 7. Bill Berkson, 'Frank O'Hara and his Poems', Homage to Frank O'Hara, p. 162. 8. W. H. Auden, Collected Poems (London: Faber, 1976), p. 132. 9. Charles Baudelaire, The Complete Verse, tr. Francis Scarfe (London: Anvil Press, ]986), pp. 262 and 159. 10. Charles Baudelaire, 'Of the Essence of Laughter, and generally of the Comic in the Plastic Arts', Baudelaire: Selected Writings on Art and Artists, tr. P. E. Charvet (Cambridge: Cambridge U. P., 1981), p. 143. 11. Paul de Man, 'The Rhetoric of Temporality', Blindness and Insight. Quotations from the essay used in this chapter are from pp. 206 and 196. 12. Barbara Johnson, 'Rigorous Unreliability', Yale French Studies 69, (1985), p. 74. 13. Christopher Norris, 'Some Versions of Rhetoric', in R. C. Davis and R. Schleifer (eds), Rhetoric and Form: Deconstruction at Yale (Norman: Oklahoma U. P., 1985), p.201. 2: FRANK O'HARA: ACCIDENT AND DESIGN 1. Larry Rivers, 'Speech Read at Frank O'Hara's Funeral', Homage to Frank O'Hara, p.138. 2. Waldo Rasmussen, 'Frank O'Hara in the Museum', ibid., p. 86. 3. O'Hara's worksheets and personal memoranda relating to the major exhibi­ tions at MOMA with which he was involved, were sorted after the poet's death (presumably by Renee Neu). The papers have been retained by the Museum as part of Frank O'Hara's 'employee's file'. 4. Joe LeSueur, 'Four Apartments', in Homage to Frank O'Hara, p. 47. 5. O'Hara died of massive internal injuries after being knocked down by a beach buggy in the dark, on Fire Island. See J. J. Mitchell, 'The Death of Frank O'Hara', in Homage to Frank O'Hara. 6. Edward Lucie-Smith, 'An Interview with Frank O'Hara', SSWNY, p. 13. For a more positive view of O'Hara by Olson, see the Paris Review interview with Charles Olson by Gerard Malanga (April, 1969). 7. Frederick Page, ed., Byron: Poetical Works (Oxford: Oxford U. P., rev. ed. 1970). All further quotations from Byron's poetry are from this edition. 8. Jacques Derrida, Speech and Phenomena: and other Essays on Husserl's Theory of Siglls, tr. D. B. Allison (Evanston: Northwestern U. P., 1973), p. 108. 9. Paul de Man, 'Shelley Disfigured', in Harold Bloom et a!, Deconstrllctioll and Criticism (London and Henley: Routledge and Kegan Paul, 1979), p. 69. 10. Barbara Johnson, The Critical Difference: Essays in tile Contemporary Rhetoric of Reading (Baltimore and London: Johns Hopkins U. P., 1980), p. xi. 11. J. Hillis Miller, 'The Critic as Host', in Deconstruction and Criticism, pp. 217-55. 12. Barbara Johnson, The Critical Difference, p. 6. 13. Roland Barthes, Roland Barthes, tr. R. Howard (London and Basingstoke: Macmillan, 1979), p. 69. 14. Donald M. Allen, ed., The New Americall Poetry (New York: Grove Press, 1960). 15. Donald Allen and George F. Butterick (eds), The Post moderns (New York: Grove Press, 1982). 16. R. D. Gooder, 'After the Deluge, Me: Some Reflections on the Poems of Frank O'Hara', The Cambridge Quarterly, XIV (2), 1985, p. 99. 208 Notes 17. A. Walton Litz and Christopher MacGowan (eds), The Collected Poems of William Carlos Williams: Volume 1,1909-1939 (Manchester: Carcanet Press, 1987), p. 21. 18. Ibid., p. 42. 19. Ibid., p. 65. 20. Kenneth Koch, 'A Note on Frank O'Hara in the Early Fifties', in Homage to Frank O'Hara, p. 27. 21. The Collected Poems of William Carlos Williams: Vollmle 1, p. 178. 22. Ibid., p. 372. 23. Jacques Dcrrida, Speech and Phenomena, p. 107. 24. Ibid., p. 147. 25. The Col/eeted Poems of William Carlos Williams: Volume 1, p. 249. 26. See for example Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz and the Early Poetry of William Carlos Williams (New Jersey: Princeton U. P., 1969), esp. Chapter I. 27. Francis Scarfe (ed.), Baudelaire: The Complete Verse (London: Anvil Pre&s Poetry, 1986) p. 61. 28. New York Review of Books, 31 March 1966, p. 20. 29. 'It all comes back to that, to my and your "fun" - if we but allow the term its full extension .. .' Henry James, Prefaces to the New York Edition, European Writers and the Prefaces (Cambridge U. P., New York: The Library of America, 1984) p. 1338. 30. Paul de Man, Blindness and Insight, p. 206. 31. The Collected Poems of Wallace Stevens (London and Boston: Faber and Faber, 1984) p. 1. 32. Alex Smith, p. 246. 33. Barbara Johnson, 'Rigorous Unreliability, Yale Fretlch Studies 69, p. 74. 34. Paul de Man, Allegories of RCJlding: Figural Language in Rousseau, Nietzehe, Rilke, and Proust (New Haven and London: Yale U. P., 1979) p. 17. 35. Barbara Johnson, A World of Differe/lce (Baltimore and London: Johns Hopkins U. P., 1987) p. 17. 36. Paul de Man, Allegories of Reading, p. 19. 37. The statement by Ed Dorn is taken from the dust jacket of the British edition of Tom Raworth, A Serial Biography (London: Fulcrum Press, 1969). Dorn's obser­ vations on the shared mind and other localities are contained in an interview for VORT magazine, reprinted in Edward Dorn, Interviews (Bolinas: Four Sea­ sons Foundation, 1980). 38. Thomas H. Johnson (ed.), The Complete Poems of Emily Dickinson (London: Faber and Faber, 1975) p. 333. 39. David Gascoyne, 'And the Seventh Dream is the Dream of Isis', Collected Poems 1988 (Oxford and New York: Oxford U. P., 1988) p. 25. 40. As given by Charles Rosen and Henri Zerner, Romanticism and Realism: The Mythology Of Nineteenth Century Art (London and Boston: Faber and Faber, 1984) p. 25. 41. Poems of Andrt! Breton: A Bilingual Anthology, te. Jean-Pierre Cauvin and Mary Ann Caws (Austin: Texas U. P., 1982) pp. 62-3. 42. Kenneth Koch, 'A Note on Frank O'Hara in the Early Fifties', Homage to Frank O'Hara, p. 27. 43. Ezra Pound, Canto LXXXI. The Cantos of Ezra POl/nd (London: Faber and Faber, 1968) p. 553. 44. George F. Butterick (ed.), The Collected Poems of Charles Olson, exclllding the Maximus Poems (Berkeley: California U. P., 1988) pp. 172-3. 45. T. S. Eliot, Col/ected Poems 1909-1962 (London: Faber and Faber, 1963) p. 217. 46. Reginald L. Cook (ed.), Rnlph Waldo Emerson: Selected Prose and Poetry (New York: Holt, Rinehart and Winston, 1969) p. 42. Notes 209 47. Grace Hartigan to Marjorie Perloff, 14 March 1976. As given by PerloH, Fmnk O'Hara: Poet among Painters (Austin: Texas U. P., 1977) p. 215. 3: ASHBERY AND INFLUENCE 1. Guardian, 20 September 1984. 2. Craig Raine, 'The Sylko Bandit', Rich (London: The Poetry Book Society, 1983) p.88.
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