Ted Berrigan's Poetics of Appropriation
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U Ottawa L'universiw Canadienne Canada's University FACULTE DES ETUDES SUPERIEURES ^=1 FACULTY of GRADUATE and ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES
u Ottawa L'UniversiW canadienne Canada's university FACULTE DES ETUDES SUPERIEURES ^=1 FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'Universitc canathenne Canada's unh'ersity Matthew Gerald marc Mongrain AUTEMDElXtWsF/TUTHORWTHESIS M.A. (English Literature) Department of English TAOJLTETlCClO'EPARTEWNTrFMi Light from Canada: The Poetics of James Schuyler TITRE DE LA THESE / TITLE OF THESIS David Jarraway DIRECTEUR (DIRECTRICE) DE LA THESE / THESIS SUPERVISOR CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR Bernhard Radloff David Rampton Gary W. Slater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies Light from Canada: The Poetics of James Schuyler Matthew Mongrain Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the MA degree in English Literature Department of English Faculty of Arts University of Ottawa © Matthew Mongrain, Ottawa, Canada, 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-73877-1 Our file Notre reference ISBN: 978-0-494-73877-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. -
Jordan Davis on Ted Berrigan
of the central aesthetic struggles of twentieth-century poetry in English, the attempt to resolve the tension between closed and open forms. Koch admired the poems of William Carlos Williams for being so “odd and exciting;” they “catch the music of a man alive in his time.” Koch’s poems aspire to do the same, and more often than not they achieve that sound. It’s the sound of a man happy to be alive despite the world’s terrors, and who is awake to that feeling. I don’t think readers of poetry will ever tire of it; I suspect it will continue to convey something real about their own experience. It’s the sound of a man reaching into history without embarrassment or sense of piety, to draw forth whatever elements of poetic form are best suited to his occasions—from tight rhyming stanzas, to heroic couplets, to long and short free verse lines, to experimental serial structures—cheerfully ripping out the lining of yesterday’s attitudes and shaking off the lint of a persistent yet tired idiom. The spirit of poetry lives in Koch’s work, but we return to the work because it is alive with the spirit of Koch himself. If he started to write his first real poems by thwarting the expectations of literary convention in 1952, he continued to write into the twenty-first century by escaping the expectations of New York School poetics, in its tertiary generation. I discovered Koch’s work late, in the mid-nineties, with the poem “One Train May Hide Another,” and the book from which it takes its name; finding the single volumes that preceded it, many of them out of print, was no small discovery. -
Whispers out of Time: John Ashbery's Collages by Josh Schneiderman
Whispers out of Time: John Ashbery’s Collages By Josh Schneiderman On December 31, 2017, the New York Times Magazine released its annual “The Lives They Lived” issue dedicated to the “artists, innovators, and thinkers” who had died that year. It featured a photo of John Ashbery’s collage-making desk, complete with paste can, scissors, and piles of ephemera. It might have seemed like an odd homage to the late poet. While there have been numerous critical studies of his poetry, there has been no sustained critical work on Ashbery’s collages. But two concurrent New York exhibitions— “Oh, What Fun! Collages 2015–2017” at Tibor de Nagy Gallery through October 14 and “The Construction of Fiction” at Pratt Manhattan Gallery through November 14—make it clear that Ashbery’s collages were in fact an integral part of his writing practice, shedding light on the nature of his idiosyncratic poetic technique. One might describe Ashbery’s collage art as “a weird ether of forgotten dismemberments,” to borrow a line from his 1977 poem “Collective Dawns.” He marshaled cultural detritus into zany, bustling compositions. In Buster and Friends(2015), on view at Pratt, a neon sign from the bygone Buster Brown Shoes chain depicting the eponymous comic-strip character and his dog, Tige, invades a blown-up background detail from Jan van Eyck’s Arnolfini Portrait (1434). The dopey glowing rictuses look voyeuristically at the figures whose backs are reflected in the convex mirror. I thought about Ashbery’s career-defining long poem “Self-Portrait in a Convex Mirror” (1975) and its meditations on the vagaries of representation in Western art. -
Frank O'hara As a Visual Artist Daniella M
Student Publications Student Scholarship Spring 2018 Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Daniella M. Snyder Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, Art and Design Commons, and the Theory and Criticism Commons Share feedback about the accessibility of this item. Snyder, Daniella M., "Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist" (2018). Student Publications. 615. https://cupola.gettysburg.edu/student_scholarship/615 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Abstract Frank O’Hara, a curator at the Museum of Modern Art in New York and a published poet in the 1950s and 60s, was an exemplary yet enigmatic figure in both the literary and art worlds. While he published poetry, wrote art criticism, and curated exhibitions—on Franz Kline, Robert Motherwell, and Jackson Pollock—he also collaborated on numerous projects with visual artists, including Larry Rivers, Michael Goldberg, Grace Hartigan, Joe Brainard, Jane Freilicher, and Norman Bluhm. Scholars who study O’Hara fail to recognize his work with the aforementioned visual artists, only considering him a “Painterly Poet” or a “Poet Among Painters,” but never a poet and a visual artist. Through W.J.T. Mitchell’s “imagetext” model, I apply a hybridized literary and visual analysis to understand O’Hara’s artistic work in a new way. -
[Jargon Society]
OCCASIONAL LIST / BOSTON BOOK FAIR / NOV. 13-15, 2009 JAMES S. JAFFE RARE BOOKS 790 Madison Ave, Suite 605 New York, New York 10065 Tel 212-988-8042 Fax 212-988-8044 Email: [email protected] Please visit our website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers These and other books will be available in Booth 314. It is advisable to place any orders during the fair by calling us at 610-637-3531. All books and manuscripts are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. ALGREN, Nelson. Somebody in Boots. 8vo, original terracotta cloth, dust jacket. N.Y.: The Vanguard Press, (1935). First edition of Algren’s rare first book which served as the genesis for A Walk on the Wild Side (1956). Signed by Algren on the title page and additionally inscribed by him at a later date (1978) on the front free endpaper: “For Christine and Robert Liska from Nelson Algren June 1978”. Algren has incorporated a drawing of a cat in his inscription. Nelson Ahlgren Abraham was born in Detroit in 1909, and later adopted a modified form of his Swedish grandfather’s name. He grew up in Chicago, and earned a B.A. in Journalism from the University of Illinois Urbana-Champaign in 1931. In 1933, he moved to Texas to find work, and began his literary career living in a derelict gas station. A short story, “So Help Me”, was accepted by Story magazine and led to an advance of $100.00 for his first book. -
Literariness in John Ashbery's Plays
Tadeusz Pióro Beyond Parody: Literariness in John Ashbery’s Plays John Ashbery wrote his first play, The Heroes, in 1950, a few years before he began to make his name as a poet. The Compromise, his only three-act play, came next (in 1955, a year before the publication of Some Trees), and his last play thus far, The Philosopher, limited, like The Heroes, to one act, was written in 1960. Critics usually find these dra- mas worth mentioning when they can be used to explain, illustrate or contextualize something in Ashbery’s poems, yet in and of themselves they have received scant atten- tion. Such neglect, relative though it be, is nevertheless curious, since precisely because of their proleptic significance the plays should merit greater scrutiny, even if their appar- ent straightforwardness and simplicity might seem to be at odds with the complexities of the poems, so much so that extended analysis appears risibly redundant. But even treat- ing the plays as, first and foremost, parodic, as David Lehman and Kevin Killian have done, deflects attention from a quality they share with many poems by Ashbery, and it is this quality I would like to examine in some detail, primarily as it appears in his dramas. I call it literariness, and even though the term does not have currency in critical dis- course, I find it useful as a kind of shorthand for several simultaneously present aspects of some, but not very many, literary texts. The most important of these aspects for my purposes here is the text’s relation to what Edward Mendelson has called “the world outside.” This expression comes up in Geoff Ward’s account of influence in Ashbery’s work. -
Modern Poetry Seminar “Shifting Poetics: from High Modernism to Eco-Poetics to Black Lives Matter”
San José State University Department of English and Comparative Literature ENGLISH 211: Modern Poetry Seminar “Shifting Poetics: From High Modernism to Eco-Poetics to Black Lives Matter” Spring 2021 Instructor: Prof. Alan Soldofsky Office Location: FO 106 Telephone: 408-924-4432 Email: [email protected] Virtual Office Hours: M, W 3:00 – 4:30 PM, and Th p.m. by appointment Class Days/Time: Synchronous Zoom Meetings M 7:00 – 8:30 PM; Asynchronous on Canvas (24/7) Classroom: Zoom Credit Units: 4 Credits Course Description This seminar is designed to engage students in an immersive study of salient themes and innovations in selected poets from the 20th and 21st centuries. The curriculum will include practice in close reading/explication of selected poems. The course will be taught in a partially synchronous distance learning mode, using SJSU’s Canvas and Zoom platforms, with weekly Monday Zoom class meetings, 7:00 – 8:15 p.m. The course may be taken two times for credit (toward an MA or MFA degree). Thematic Focus Shifting Cultural Politics and Poetics from High Modernism to Eco-Poetics to Black Lives Matter (1909 – 2021) The emphasis during the semester will be on the evolving poetics and associated cultural politics as viewed through various aesthetic movements in poetry from the high modernist period to the present. During the semester the curriculum will include reading one or more poems (online) by the following poets: W.B. Yeats, Ezra Pound, T.S. Eliot, William Carlos Williams, Wallace Stevens, Hart Crane, Marianne Moore, Robinson Jeffers, Langston Hughes, Claude McKay, H. -
Transatlantica, 1 | 2019 Interview of Alice Notley 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2019 Gone With the Wind after Gone With the Wind Interview of Alice Notley David Reckford Electronic version URL: https://journals.openedition.org/transatlantica/13862 DOI: 10.4000/transatlantica.13862 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference David Reckford, “Interview of Alice Notley”, Transatlantica [Online], 1 | 2019, Online since 01 June 2020, connection on 04 May 2021. URL: http://journals.openedition.org/transatlantica/13862 ; DOI: https:// doi.org/10.4000/transatlantica.13862 This text was automatically generated on 4 May 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Interview of Alice Notley 1 Interview of Alice Notley David Reckford AUTHOR'S NOTE This interview took place in Alice Notley’s apartment in Paris, in June 2018. 1 Alice Notley is a major American poet of our day, who has been living in Paris since the early 1990s, when she moved there with her second husband, the English poet, Doug Oliver (1937-2000), because Paris was where his professorial career was taking him. At that point Alice Notley was finding New York less amenable and was keen to go somewhere else. When he died in 2000, Alice Notley was sufficiently settled into Paris to remain there. 2 Although she is a Parisian now, Alice Notley was also a key figure on the Lower Manhattan poetry scene particularly of the late 1970s and the 1980s. Her first husband, Ted Berrigan, was an equally charismatic figure among an influential group of downtown poets. -
Joe Brainard Letters
http://oac.cdlib.org/findaid/ark:/13030/kt9d5nf65c No online items Joe Brainard Letters Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2009 Joe Brainard Letters MSS 0703 1 Descriptive Summary Title: Joe Brainard Letters Identifier/Call Number: MSS 0703 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 2.4 Linear feet(6 archive boxes) Date (inclusive): 1957-1994 Abstract: Letters to Joe Brainard, author and artist. The collection is comprised of correspondence from various poets and artists, including John Ashbery, Ted Berrigan, and Kenward Elmslie, and includes letters, postcards, images and ephemera. The materials date from 1957 through 1994, with the bulk of the collection covering the period from 1964 through 1993. Creator: Brainard, Joe, 1942-1994 Biography Born in Arkansas in 1942 and raised in Tulsa, Oklahoma, Brainard moved to New York City in 1961. There, he quickly developed friendships with Frank O'Hara, James Schuyler, Bill Berkson, Barbara Guest, and other participants in the New York School. Brainard's achievement, however, is remarkable aside from his many associations. Brainard harmonized linguistic and visual materials in extraordinary ways. His graphic work is notably literary, often incorporating words and sentences into non-literary designs. Such qualities prompted Frank O'Hara to say that Brainard's work had "nothing to do with philosophy, it's all art." Both the art work and writing are full of information and frequently take erotic and semiotic risks. -
Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s. -
Poem on the Page: a Collection of Broadsides
Granary Books and Jeff Maser, Bookseller are pleased to announce Poem on the Page: A Collection of Broadsides Robert Creeley. For Benny and Sabina. 15 1/8 x 15 1/8 inches. Photograph by Ann Charters. Portents 18. Portents, 1970. BROADSIDES PROLIFERATED during the small press and mimeograph era as a logical offshoot of poets assuming control of their means of publication. When technology evolved from typewriter, stencil, and mimeo machine to moveable type and sophisticated printing, broadsides provided a site for innovation with design and materials that might not be appropriate for an entire pamphlet or book; thus, they occupy a very specific place within literary and print culture. Poem on the Page: A Collection of Broadsides includes approximately 500 broadsides from a diverse range of poets, printers, designers, and publishers. It is a unique document of a particular aspect of the small press movement as well as a valuable resource for research into the intersection of poetry and printing. See below for a list of some of the poets, writers, printers, typographers, and publishers included in the collection. Selected Highlights from the Collection Lewis MacAdams. A Birthday Greeting. 11 x 17 Antonin Artaud. Indian Culture. 16 x 24 inches. inches. This is no. 90, from an unstated edition, Translated from the French by Clayton Eshleman signed. N.p., n.d. and Bernard Bador with art work by Nancy Spero. This is no. 65 from an edition of 150 numbered and signed by Eshleman and Spero. OtherWind Press, n.d. Lyn Hejinian. The Guard. 9 1/4 x 18 inches. -
Paintings by Susan Bee and Miriam Laufer, AIR Gallery, NY, 2006
SUSAN BEE E-mail: [email protected] Website: http://epc.buffalo.edu/authors/bee/ SELECTED EXHIBITIONS Solo Shows Seeing Double: Paintings by Susan Bee and Miriam Laufer, A.I.R. Gallery, NY, 2006 (catalogue with essay by Johanna Drucker) Sign Under Test: Paintings and Artist’s Books, Pacific Switchboard Art Space, Portland, Oregon, 2004 Miss Dynamite: New Paintings, A.I.R. Gallery, New York, 2003 Miss Dynamite and Other Tales, Olin Art Gallery, Kenyon College, Gambier, Ohio, 2002 Ice Cream Sunday: Paintings and Works on Paper, Ben Shahn Galleries at William Paterson University of New Jersey, 2001 (catalogue with essay by David Shapiro) New Work, Rare Books and Manuscript Library, School of International Affairs, Columbia University, New York, 2000 Beware the Lady: New Paintings and Works on Paper, A.I.R. Gallery, New York, 2000 (catalogue with essay by John Yau) Touchdown, Recent Paintings, Cornershop Gallery, Buffalo, 1999 Post-Americana: New Paintings, A.I.R. Gallery, New York, 1998 Recent Paintings and a New Artist's Book, Granary Books Gallery, New York, 1997 New Paintings, Virginia Lust Gallery, New York, 1992 Altered Photo Images, Jack Morris Gallery, New York, 1979 Solo Show, Office of the Graduate School, Columbia University, New York, 1972 Selected Group Shows One True Thing, A.I.R. Gallery, NY; Putney School, VT, 2007 Pink Kid Gloves, Chashama Gallery, NY, 2006 Complicit! Contemporary American Art and Mass Culture, University of Virginia Art Museum, Charlottesville, VA, 2006 Conceptual Comics, Banff Centre for the Arts, Alberta, Canada, 2006 Generations, A.I.R. Gallery, NY, 1997, 2002, 2004, 2006 Too Much Bliss: Twenty Years of Granary Books, Smith College Museum, MA, 2005-06 I.D.:id; Wish You Were Here IV, A.I.R.