- 104: KINwith E Shiosaki 103: AMBLEwith E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
You would not like Melbourne, for it is full of handsomes [sic] cabs. I adore it, for I love this form of locomotion. I have already used the candle-powered heater, for it is winter here; during the first part of the crossing, I think they would have melted without my lighting them.
In the context of John Ashbery’s long career it is possible to a claim a particular significance for that book. Published in 1970, it was the first volume he wrote after re-settling in the United States in 1965, having lived in Paris for the best part of a decade. It was also the book in which he arrived at a kind of poem – ‘Soonest Mended’ is an example, but so are several others, ‘Evening in the Country’, say, or ‘The Bungalows’ – that established a way of configuring voice, narrative trajectory, human relations and cultural reference that would become recognisable as characteristically Ashberyan.
When I was 17 and finishing my high school exams the petrol station around the corner from our house exploded. I didn’t hear it but my twin brother did: he jingled the keys and we drove in his Subaru ute to check out the damage.
In 1966 John Ashbery published Rivers and Mountains. The departure from the fractures of The Tennis Court Oath (1962) are immediately apparent: it is a return to a language still distinctly marked by Ashbery’s usual probing and misdirection, but without the direct dislocations committed to denotative meaning, form and syntax in the earlier book.
1. We’ll put a hundred million dollars over the Brno chair that I remembered seeing it after they couldn’t find them The principle of a lifetime The oft-embargoed news— You gonna do it now? In 1946 these men and all …
Frank O’Hara’s ‘To a Poet’ seems to encapsulate the New York School’s disregard for an Imagist poetics in which the natural object is always the adequate symbol: ‘when the doctor comes to / me he says, ‘No things but in ideas’’. The cornerstone edicts of Anglo-American Modernism, as contained in Pound’s ‘A Retrospect’, are seemingly casually dismissed in this phrase, along with the accepted prescriptions of Doctor Williams; a critical schism is established in Modernist poetry, with the materialism of Pound-Williams on the one hand and post-moderns such as John Ashbery placed in an alternate lineage with Wallace Stevens as adherents of a post-Symbolist Absolute.
The blurb tells us that Poetry magazine was founded in Chicago by Harriet Monroe in 1912, and that is it ‘the oldest monthly devoted to verse in the English-speaking world. The magazine established its reputation early by publishing the first important poems of T.S. Eliot, Ezra Pound, Marianne Moore, Wallace Stevens, H.D., William Carlos Williams, Carl Sandburg and other now-classic authors.
In her review of John Ashbery’s new translation of Illuminations in The New York Times, Lydia Davis reminded us that: “When Rimbaud’s mother asked of A Season in Hell, ‘What does it mean?’ — a question still asked of Rimbaud’s poetry, and of Ashbery’s, too — Rimbaud would say only, ‘It means what it says, literally and in every sense.'”
At an athletics meet in Salamanca in 1993, Cuban high jumper Javier Sotomayor began his run up with a customary sprint that mellowed into half-a-dozen languid, bouncy strides. His best leap that afternoon was an improbable 2.45 metres bettering his own world record for the second time in six years. After almost a decade and a half, the record remains unbroken.
A cautionary mister, the thaumaturge poked holes in my trope. I said what are you doing that for. His theorem wasn’t too complicated, just complicated enough. In brief, this was it.The governor should peel no more shadow apples, and about …