John Ashbery (1927–2017)
Autor/a de Self-Portrait in a Convex Mirror
Sobre l'autor
John Ashbery was born on July 28, 1927 in Rochester, New York. He received a bachelor's degree from Harvard University and a master's degree in English from Columbia University. After graduating, he wrote advertising copy for Oxford University Press and McGraw-Hill. In 1955, he won the Yale Younger mostra'n més Poets prize for his first collection, Some Trees. While on a Fulbright scholarship to Paris, he began writing art criticism and editing small journals. After about a decade in France, he returned to New York, where he became executive editor of ARTnews and continued to work as an arts journalist. After ARTnews was sold in 1972, he taught and wrote art criticism. He wrote several collections of poetry including Houseboat Days, Flow Chart, And the Stars Were Shining, and Turandot and Other Poems. He received a Pulitzer Prize, a National Book Award, and a National Book Critics Circle Award in 1976 for Self-Portrait in a Convex Mirror. He also received the Antonio Feltrinelli International Prize for Poetry in 1992, the Ambassador Book Lifetime Achievement Award in 2008, and the National Book Foundation Medal for Distinguished Contribution to American Letters in 2011. In 1993, the French government made him a Chevalier de L'Ordre des Arts et des Lettres. He also translated the poems of Pierre Martory. He died on September 3, 2017 at the age of 90. (Bowker Author Biography) mostra'n menys
Crèdit de la imatge: Portrait by Juno Gemes.
Sèrie
Obres de John Ashbery
Art News Annual XXXIII: The Academy Five Centuries of Grandeur and Misery, from Caracci to Mao Tse-tung (1967) — Editor — 18 exemplars
The New York Poets: Frank O'Hara, John Ashbery, Kenneth Koch, James Schuyler: An Anthology (New York Poets) 12 exemplars
Un mondo che non può essere migliore. Poesie scelte 1956-2007. Testo inglese a fronte (2008) 6 exemplars
Art and literature 4 exemplars
Sunrise in suburbia 3 exemplars
Three Madrigals 3 exemplars
Jane Hammond 2 exemplars
Rivers 2 exemplars
Who Knows What Constitutes a Life (SC) 2 exemplars
Fiumi di ali 2 exemplars
Walt Whitman, hom(m)age, 1855-1905 1 exemplars
The Vermont notebook 1 exemplars
Huitieme LIASSE 1 exemplars
La Peinture abstraite (Dictionnaire de poche) 1 exemplars
Quelqu'un Que Vous Avez Deja Vu 1 exemplars
ART AND LITERATURE; AN INTERNATIONAL REVIEW; I 1 exemplars
The Fuck You/ Quote of the Week (#2) 1 exemplars
The Iowa Review, vol. 44 no. 3 (Winter 2014/15) 1 exemplars
Solitary Travelers 1 exemplars
PAJ: Winter, 1979 - Volume III, No. 3 1 exemplars
Dicionário da Pintura Moderna 1 exemplars
John Ashbery – Günther Förg: Oktober am Fenster [Gedichte von J. A. & Gouachen von G. F.] 1 exemplars
Haibun 1 exemplars
The Poet's View: A Documentary Series (John Ashbery/Louise Gluck/Anthony Hecht/W.S. Merwin) (2005) 1 exemplars
Art and Literature, 5, Summer 1964 1 exemplars
Gniazdko dudków 1 exemplars
Poetry 1 exemplars
Obres associades
The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Col·laborador — 1,276 exemplars, 9 ressenyes
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Col·laborador, algunes edicions — 932 exemplars, 7 ressenyes
The Vintage Book of Contemporary American Poetry (1990) — Col·laborador — 766 exemplars, 3 ressenyes
McSweeney's Issue 22: Three Books Held Within By Magnets (2007) — Col·laborador — 336 exemplars, 4 ressenyes
Adrienne Rich's Poetry and Prose [Norton Critical Edition] (1993) — Col·laborador — 320 exemplars, 2 ressenyes
The Faber Book of Modern Verse (1936) — Col·laborador, algunes edicions — 290 exemplars, 2 ressenyes
The Heath Anthology of American Literature, Concise Edition (2003) — Col·laborador — 69 exemplars, 1 ressenya
The Poem Is You: 60 Contemporary American Poems and How to Read Them (2016) — Col·laborador — 64 exemplars
Orpheus and Company: Contemporary Poems on Greek Mythology (1999) — Col·laborador — 48 exemplars, 1 ressenya
Possibilities of Poetry: An Anthology of American Contemporaries (1970) — Col·laborador — 17 exemplars, 1 ressenya
Firsts: 100 Years of Yale Younger Poets (Yale Series of Younger Poets) (2019) — Col·laborador — 12 exemplars
Sunlight on the River: Poems About Paintings, Paintings About Poems (2015) — Col·laborador — 10 exemplars, 2 ressenyes
New World Writing: Third Mentor Selection - Poetry, Fiction, Drama, Criticism (1953) — Col·laborador — 6 exemplars
Locus Solus I — Col·laborador — 4 exemplars
Sulfur 9 — Col·laborador — 1 exemplars
Fiction, Volume 1, Number 1 — Col·laborador — 1 exemplars
Etiquetat
Coneixement comú
- Nom normalitzat
- Ashbery, John
- Data de naixement
- 1927-07-28
- Data de defunció
- 2017-09-03
- Gènere
- male
- Nacionalitat
- USA
- Lloc de naixement
- Rochester, New York, USA
- Llocs de residència
- Sodus, New York, USA
New York, New York, USA
Paris, France
Rochester, New York, USA
Massachusetts, USA - Educació
- Harvard University
Columbia University
New York University
Deerfield Academy, Massachusetts - Professions
- hoogleraar
dichter - Relacions
- Kermani, David K. (husband)
- Organitzacions
- American Academy of Arts and Letters (Literature ∙ 1980)
Bard College - Premis i honors
- Ruth Lilly Poetry Prize (1992)
Guggenheim Fellowship (1967)
Guggenheim Fellowship (1973)
National Institute of Arts and Letters Award (1969)
Bollingen Prize (1985)
Shelley Memorial Award (1972/1973) (mostra-les totes 10)
Frost Medal (1994/1995)
Wallace Stevens Award (2001)
Fellowship of the Academy of American Poets (1982)
American Academy of Arts and Letters Academy Award (Literature, 1969)
Membres
Ressenyes
And the Stars Were Shining: Poems de John Ashbery
It would take a re-read to know if I missed something, but I found large sections of the language to be tortured to no stylistic or meaningful end. There were several moments where things did resolve vividly, but they came too infrequently for me.
This is something I read as a stretching my mind sort of exercise. I knew going in that the whole surrealist/post-modern style usually doesn't interest me, but he's a very prominent poet who I'd never read until now, so I settled in to try and connect with this. I can admire the technical aspect of it, however, one of the things I read poetry for in the first place is an emotional connection that pulls me into what the poet is saying. The gap on that personal level is simply too big here. I have no doubt that there are people who are intensely moved by some of these poems, but none of them really hit home for me, I was simply examining them from a distance without ever feeling connected. So I'm sure this deserves better on technical merit, but my ratings tend to be based on the purely subjective and personal, so I had to go with two stars as it was ultimately not what I want out of an experience. No regrets, but no repeats.… (més)
HOTEL LAUTREAMONT | read 2021-02
Poems collected in "HL" are absurdist, dream-infused. Most are inscrutable: I wonder why the title. I pick up no particular theme or even tone, and primarily read to appreciate specific phrases or images, and the wordplay. There are many puns, though not the variety which prompt laughter, rather bemusement or a question as to why it was used. (And curious if they made the copyediting slower, with readers mistakenly thinking any were errors. I wonder, too, if Ashbery would find that amusing.)
Part of my attraction for Ashbery's verse (despite not achieving a strong sense of understanding it) is the many points of intersection in interests: film (Guy Maddine, specifically); the sense that literature was missing the potential of collage (a la WSB); his efforts in producing stageplays alongside Edward Gorey. (Cover design for the 1992 Knopf edition of Lautreamont was a piece by Joseph Cornell.) Strong pointers suggesting that if we both value those things, I should pay attention to other things he's interested in, even if not immediately apparent why.
Reading the verse collected here + random selections from "Uncollected Poems" (such as "Hoboken") + chronology, I found the LOA description quite apt to my experience: colloquial yet dream-like and specific, not easy to grasp yet scans easily.
Ashbery’s poetry challenges its readers to discard all presumptions about the aims, themes, and stylistic scaffolding of verse in favor of a literature that reflects upon the limits of language and the volatility of consciousness. - Poetry Foundation biographical blurb, and I saw that in what I read.
to read:
FLOW CHART
AND THE STARS WERE SHINING
CAN YOU HEAR, BIRD
WAKEFULNESS
GIRLS ON THE RUN
YOUR NAME HERE
UNCOLLECTED POEMS… (més)
Poems collected in "HL" are absurdist, dream-infused. Most are inscrutable: I wonder why the title. I pick up no particular theme or even tone, and primarily read to appreciate specific phrases or images, and the wordplay. There are many puns, though not the variety which prompt laughter, rather bemusement or a question as to why it was used. (And curious if they made the copyediting slower, with readers mistakenly thinking any were errors. I wonder, too, if Ashbery would find that amusing.)
Part of my attraction for Ashbery's verse (despite not achieving a strong sense of understanding it) is the many points of intersection in interests: film (Guy Maddine, specifically); the sense that literature was missing the potential of collage (a la WSB); his efforts in producing stageplays alongside Edward Gorey. (Cover design for the 1992 Knopf edition of Lautreamont was a piece by Joseph Cornell.) Strong pointers suggesting that if we both value those things, I should pay attention to other things he's interested in, even if not immediately apparent why.
Reading the verse collected here + random selections from "Uncollected Poems" (such as "Hoboken") + chronology, I found the LOA description quite apt to my experience: colloquial yet dream-like and specific, not easy to grasp yet scans easily.
Ashbery’s poetry challenges its readers to discard all presumptions about the aims, themes, and stylistic scaffolding of verse in favor of a literature that reflects upon the limits of language and the volatility of consciousness. - Poetry Foundation biographical blurb, and I saw that in what I read.
to read:
FLOW CHART
AND THE STARS WERE SHINING
CAN YOU HEAR, BIRD
WAKEFULNESS
GIRLS ON THE RUN
YOUR NAME HERE
UNCOLLECTED POEMS… (més)
Llistes
Premis
Potser també t'agrada
Autors associats
Estadístiques
- Obres
- 131
- També de
- 68
- Membres
- 5,884
- Popularitat
- #4,193
- Valoració
- 3.8
- Ressenyes
- 36
- ISBN
- 257
- Llengües
- 15
- Preferit
- 30
