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eBook And the Stars Were Shining ePub

eBook And the Stars Were Shining ePub

by John Ashbery

  • ISBN: 0374105006
  • Category: Poetry
  • Subcategory: Literature
  • Author: John Ashbery
  • Language: English
  • Publisher: Farrar Straus & Giroux; 1st edition (February 1, 1994)
  • Pages: 99
  • ePub book: 1174 kb
  • Fb2 book: 1652 kb
  • Other: lrf lit lrf rtf
  • Rating: 4.3
  • Votes: 535

Description

Each of these versions of the poem has the same number of lines: the number that Ashbery intended

Each of these versions of the poem has the same number of lines: the number that Ashbery intended. But if you look at the second, third, and fifth lines of the second stanza in the right-hand version of Disclaimer, you’ll see the automatic indent; in the fifth line, for instance, the word ahead drops down and is indented.

John Ashbery was recognized as one of the greatest 20th-century American poets. Three Books (poems), Penguin (New York, NY), 1993. Can You Hear, Bird, Farrar, Straus (New York, NY), 1995. Pistils (essays), photographs by Robert Mapplethorpe, Random House (New York, NY), 1996.

The bibliography of John Ashbery includes poetry, literary criticism, art criticism, journalism, drama, fiction, and translations of verse and prose. In his capacity as a journalist and art critic, he contributed to magazines like New York and Newsweek

John Lawrence Ashbery (July 28, 1927 – September 3, 2017) was an American poet and art critic. Ashbery is considered the most influential poet of his time

John Lawrence Ashbery (July 28, 1927 – September 3, 2017) was an American poet and art critic. Ashbery is considered the most influential poet of his time.

Read John Ashbery’s Poetry. One died, and the soul was wrenched out Of the other in life, who, walking the streets Wrapped in an identity like a coat, sees on and on The same corners, volumetrics, shadows Under trees. Compiled by Maggie Astor. Farther than anyone was ever Called, through increasingly suburban airs And ways, with autumn falling over everything: The plush leaves the chattels in barrels Of an obscure family being evicted Into the way it was, and is. The other beached Glimpses of what the other was up to: Revelations at last. So they grew to hate and forget each other.

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His book-length interview, John Ashbery in Conversation with Mark Ford, was published in 2003. It Must Be Sophisticated Alborada How to Continue. His most recent book is Thomas Hardy: Half a Londoner (2016).

Books for People with Print Disabilities. Trent University Library Donation. Internet Archive Books.

Some will see, in the book's many versions of "you," Ashbery's longtime partner Pierre Martory, who died in 1998, and to whom he dedicates the volume

Some will see, in the book's many versions of "you," Ashbery's longtime partner Pierre Martory, who died in 1998, and to whom he dedicates the volume. A line of serious elegies and laments, emerging gradually and understatedly, leads at last to the astonishing, brief "Strange Cinema," also dedicated to Martory.

John Ashbery's sixteenth collection of poems, like all the others, strikes out into new territory and engages the reader in new and unexpected ways. With the exception of the title poem, which concludes the volume - a thirteen-part poem of exceptional grace and brilliance - the fifty-eight poems in this collection are mostly short; in their relative brevity they display all the valiant wit and rich lyric intensity which readers know from Ashbery's expansive longer work. The critic Harold Bloom has observed: "And the Stars Were Shining is one of John Ashbery's strongest collections, the title poem his most beautiful long poem yet. He helps to redeem a bad time when many among us have joined in a guilty flight away from the aesthetic."

Comments

Keath Keath
fine collection by one of our greatest...not for your introduction to ashbery(that would be either "self portrait" or "houseboat days") but mandatory for understanding his evolution
Nenayally Nenayally
And The Stars Were Shining By John Ashbery
John Ashbery's penchant for the long, discursively philosophic poem has sometimes served to distract critical attention from his mastery of intensely conceived short lyrics.
We all have a favourite Ashbery flavour, and mine is the gin-fizz dynamic at work in the relative brevity displayed by the best of the shorter poems gathered in this collection. In fact, I would argue that you would have to go back to Houseboat Days (1977), to find a comparable success in terms of Ashbery's ability to compress poetic experience into an accommodatingly resonant tension-field. With Ashbery's method there is always the danger that expansiveness contributes to fluctuating air-pockets in the poem's flight-path, and the reader's encounter with inconsistently sustained epics like Flow Chart is one of locating pivotal wobble in the stratosphere of Ashbery's poetics.
Ashbery's lyric concerns are invariably with retrieving the moment from unrecorded notice. It's the transient nature of experience underscored by a deep sense of loss which fires Ashbery into attempting to arrest whatever proves meaningful to his impulsive plot. As he writes in 'The Improvement':
"We never live long enough in our lives/ to know what today is like./ Shards, smiling beaches,/ abandon us somehow even as we converse with them./ And the leopard is transparent, like iced tea."
Ashbery's acute sense of being disinherited from the world of things, and the poem is an attempt to establish discourse with this aesthetic, has him incessantly preoccupied with chasing meaning out of assumed appearances. His way is to puzzle worry into potential existential crisis:
"Nothing seems strong enough for/ this life to manage, that sees beyond/ into particles forming some kind of entity -/ So we get dressed kindly, crazy at the moment./ A life of afterwords begins."
('The Improvement')
Ashbery's disorientated, upended approach to his subject matter imparts the feel of innovative modernism to his work. And while his poetry is personal by way of its predominantly quiet disclosures: 'I never get hangovers until late afternoon/ and then it's like a souvenir, an arrangement,' he is never confessional in the manner of Robert Lowell or Sylvia Plath. Ashbery's quiet presence permeates, but never crowds his lyrics. Some of the finest poems to be found in this collection, 'Works On Paper I,' 'Ghost Riders Of The Moon,' 'Free Nail Polish,' 'Local Time,' 'My Gold Chain' succeed by playing enigmatic narrative against specific visual imagery. In the best of Ashbery the abstract and the concrete unite to impart allusive mystery to the poem. The ending of 'Works On Paper I' perfectly demonstrates what Ashbery does best.
"Those who wish to remain naked are coaxed out of laughter/ with tea and nobody's nose is to the grindstone/ anymore, I bet, and you can figure out these shivering trees./ But the owner of the bookstore know that the flea was blown/ out of all proportion,/ with September steps to go down in passing/ before the tremendous dogs are unleased."
Here the juxtaposition of the disarmingly casual and the lyrically authoritative combine to create Ashbery's inimitable tang of urbane poetry, a genre he orchestrates with consummate ease throughout this sparkling collection. If by comparison the long title poem suffers from a characteristic lack of focus, then the poem's obliqueness and obscurity are counterpointed by Ashbery's inexhaustibly pitched poetic eloquence.
JEREMY REED
cyrexoff cyrexoff
And the stars were shining seems to be a minor Ashberry's work, but don't be confused...a great poet is always great. This book is especially delightful. Ashberry plays with the dazed reader making a strange and confusing mixture of images and sounds (something like watching "Lost Highway", by David Lynch), painting everything with his particular sense of humour and his vision of life. A bit flamboyant, but completely great. To miss it is a crime, as every vulgarity.