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Drawing extensively upon the poet's unpublished manuscripts - poems, journals, essays, and letters - as well as all his published works, Marjorie Perloff presents Frank O'Hara as one of the central poets of the postwar period and an important critic of the visual arts. Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in the poetic climate in recent years.
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moving memorial essays by John Ashbery or Kenneth Koch nor in the many critiques, from Francis Hope's dismissal of the "puppyish charm of [O'Hara's] occasional good impromptus," to Marius Bewley's bemused characterization of the poet's "long invertebrate verse lines" as so many "streamers of crepe paper fluttering before an electric fan," is direct reference made to the poet's homosexuality. When, for example, Thomas Byrom reviewed my book, along with O'Hara's Early Writing and Poems Retrieved, in the Times Literary Supplement, he characterized O'Hara as follows: His aesthetics are from a catalogue of late Victorian camp, a matter of excellent personal taste. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
moving memorial essays by John Ashbery or Kenneth Koch nor in the many critiques, from Francis Hope's dismissal of the "puppyish charm of [O'Hara's] occasional good impromptus," to Marius Bewley's bemused characterization of the poet's "long invertebrate verse lines" as so many "streamers of crepe paper fluttering before an electric fan," is direct reference made to the poet's homosexuality. When, for example, Thomas Byrom reviewed my book, along with O'Hara's Early Writing and Poems Retrieved, in the Times Literary Supplement, he characterized O'Hara as follows: His aesthetics are from a catalogue of late Victorian camp, a matter of excellent personal taste. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Paperback
The concept of 'surface' as a poetical device that Perloff introduces in this book has become one of the most influential and important for post 1960s poetry. It is one of those ideas that, once understood, feels so correct (almost obvious) that it seems strange that no one has thought of it before. If you like Frank O'Hara this book will definately invigorate your enjoyment of him, opening up a new way of reading his poetry.
This is one of those rare academic books that sucseeds in communicting a real enthusiasm for its topic, is not in the slightest pompus or dry, and communicates its complex and new ideas with graceful clarity. Perloff writes in a way that feels totally uncontrived, and what could be more appropriate for a book that deals with the poetry of Frank O'Hara? This book is a ground breaking study that brings O'Hara's poetry to life; a vivid sense of O'Hara's personality is present in the book, just as it is in his own poetry. And I think it is this sympathy between the approach of Perloff and her subject that makes the book such a good read, as well as a technically brilliant one.
1 of 1 people found the following review helpful
Format:Paperback
This book first came out in 1977, when O'Hara didn't hold the place in the poetry world that he does today. Given O'Hara's original reputation as a dilettante who wrote poems quickly and seemingly without great thought, Perloff is concerned to show how extremely well-read he really was, to establish the breadth of his poetic lineage (Mayakovsky, Apollinaire, Reverdy, Williams and more), and to emphasise the Surrealism and complexity in his work. This book has close readings of many of the poems in the Selected (though she quotes page numbers, naturally, from the Collected) and a fair bit of useful background on the state of American poetry at the time he was writing, polarised between allusive, ironic academics, and the more informal Beats, West Coast Poets and the `New York School' that O'Hara came to be considered part of. There's analysis of what made O'Hara's work so unique and how he did it, his collaborations with painters, his friendships with Kenneth Koch, Jasper Johns and others, his work at MOMA, and the reactions to his sudden death. In this re-issue there's a new introduction looking his sexuality and the phenomenon of his growing reputation. I found it invaluable when I was trying to get my head round some of O'Hara's less accessible poems. Only one problem: the book itself (or my copy) was not well-made - the pages quickly started falling out. If you're seriously into O'Hara, maybe the hardback would be better.
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1 review
8 of 11 people found the following review helpful
This book has withstood test of time
20 Nov 2002
Format:Paperback
This book, first published over twenty years ago, has certainly held up well. There are other books on O'Hara, but this remains the gold standard.
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