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Search Results for: "john ashbery"

John Ashbery Was a Quiz Kid.

Anthony Howell; ‘Ashbery created intense little collages, and he was a collage in himself. Another artist he admired was Trevor Winkfield – also a poet – and British – whose iconic yet enigmatic paintings have disparate emblems in them which never quite collide, though they ought to; something one can understand the quiz kid responding to; the paintings are full of things which might mean, but do they? A feeling one can get when deep in Ashbery’s lines.’

The by-ways of John Ashbery.

Anthony Howell: ‘For the poet, at least, Ashbery is the model of the art-critic. His manner is urbane, and he refers to Satie and to Wallace Stevens more often than to Cezanne. The melange of the arts evoked by his writing suggests a cafe-society sadly missing these days, now that art-mags are no longer modeled on the Paris Review but gleam at us from the racks, like trade-journals for the purveyance of some non-applied craft.’

John Ashbery’s illumination of a mercurial adolescent.

Martin Sorrell: The translations made by an American octogenarian of a mercurial French adolescent bring us as close as we are likely to get in English to the wellspring of his genius. The distance in age and place between poet and translator is a happy irony. Ashbery’s Illuminations are set to become classic.

What Is Poetry?

Death keeps — an indifferent host — this house of call, whose sign-board wears no boast save Beds for All. —Sylvia Townsend Warren, ‘East London Cemetery’ And will any say when my bell of quittance is heard in the gloom, And a crossing breeze cuts a pause in its outrollings, Till they rise again, as […]

What Is Poetry?

Death keeps — an indifferent host — this house of call, whose sign-board wears no boast save Beds for All. —Sylvia Townsend Warren, ‘East London Cemetery’ And will any say when my bell of quittance is heard in the gloom, And a crossing breeze cuts a pause in its outrollings, Till they rise again, as […]

A Celebration of the Life and Music of John White.

Round Chapel, Hackney – 14 April 2024 By Anthony Howell. lue bells under the plane trees at the Round Chapel — John might well have composed a piece for them. Now that he is dead, we will never hear the sound that might be made by blue bells. Spring is in its first light leafage. […]

Alan Jenkins at sea.

Anthony Howell: ‘Jenkins is a poet liberated (or sozzled) enough to allow the poem to follow its own music and conjure together phrases which project their melancholy magic.’

Kent Journal.

Eric Mottram: Between January 3 and April 1 1974 I went to America for the sixth time. On my way to holding classes at Kent State University…’

Models.

Anthony Rudolf: ‘Posing for months on end for one statuette, with great pride and high hopes that it would be completed and cast and displayed in a glass case, Pauline watched the artist desperately try to improve and complete it. No such luck.’

A partial archive of the New Series.

A partial archive of the New Series, 2009-2023.

A Life in Poetry: Peter Robinson.

Peter Robinson:’I’m a northerner, but not a ‘proud’ or ‘professional’ one. Liverpool, where my mother still lives, as do two of my dearest friends, is the only place I can call my hometown.’

Difficult poetry.

Anthony Howell: ‘Difficulty is nothing new. As F.T. Prince explains in his treatise on the Italian influence on English lyrical verse, poetry is not simply adroit use of sprezzatura – a quality cited by Baldassare Castiglione in his Book of the Courtier, where it is defined as “a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it”.’

More trouble with genre.

Simon Collings: ‘The texts in “Why are you here?” comprise a spectrum of short prose forms, many of them deliberately pushing against accepted rules about genre.’

Plum Pudding Books.

Anthony Howell: ‘…ponder the garden of forking paths that a library may conjure up in the mind of a writer such as Borges.’

Georges Braque: A poetry of things.

Anthony Howell, on Morandi: ‘Ambivalence and ambiguity seem the very subject matter. How can all those objects actually balance on the top of that frail table, a top which seems tilted in our favour?’