閱讀約翰·阿什伯利 John Ashbery在诗海的作品!!! | |||
约翰·阿什伯利除了音樂之外，他的詩還受現代主義繪畫影響極深。他的詩風多變，但多帶神秘色彩，有時像卡夫卡的寓言，有時又像是達達藝術傢的玩笑，似真似幻，幾乎難以詮釋。他的詩體現了當代美國詩中一種開放的、實驗性的傾嚮。
羅切斯特畢業於哈佛大學和哥倫比亞大學，1965年前法國任《先驅論壇報》藝術評論員，後回紐約。1974年起在大學任教。紐約派核心人物。
"No figure looms so large in American poetry over the past 50 years as John Ashbery", Langdon Hammer, chairman of the English Department at Yale University, wrote in 2008. "[N]o American poet has had a larger, more diverse vocabulary, not Whitman, not Pound".[2] Stephen Burt, a poet and Harvard professor of English has compared Ashbery to T. S. Eliot, the "last figure whom half the English-language poets alive thought a great model, and the other half thought incomprehensible".[3]
Ashbery was born in Rochester, New York, and raised on a farm near Lake Ontario; his brother died when they were children. Ashbery was educated at Deerfield Academy. At Deerfield, an all-boys school, Ashbery read such poets as W. H. Auden, Dylan Thomas, and Wallace Stevens, and began writing poetry; one of his poems was actually published in Poetry Magazine, though under the name of a classmate who had submitted it without Ashbery's knowledge or permission. He also published a handful of poems, including a sonnet about his frustrated love for a fellow student, and a piece of short fiction in the school newspaper, the Deerfield Scroll. His first ambition was to be a painter. From the age of eleven until fifteen he took weekly classes at the art museum in Rochester.
Ashbery graduated in 1949 with an A.B., cum laude, from Harvard College, where he was a member of the Harvard Advocate, the university's literary magazine, and the Signet Society. He wrote his senior thesis on the poetry of W. H. Auden. At Harvard he befriended fellow writers Kenneth Koch, Barbara Epstein, V. R. Lang, Frank O'Hara and Edward Gorey, and was a classmate of Robert Creeley, Robert Bly and Peter Davison. Ashbery went on to study briefly at New York University, and received an M.A. from Columbia in 1951.
From the mid-1950s, when he received a Fulbright Fellowship, through 1965, he lived in France. He served as the art editor for the European edition of the New York Herald Tribune, while also translating potboilers and contemporary French literature. During this period he lived with the French poet Pierre Martory. After returning to the United States, he continued his career as an art critic, for New York and Newsweek magazines, while also serving on the editorial board of ARTNews until 1972. Several years later, he began a stint as an editor at Partisan Review, serving from 1976 to 1980.
During the fall of 1963, Ashbery became acquainted with Andy Warhol at a scheduled poetry reading at the Literary Theatre in New York. He had also previously written favorable reviews of Warhol's art. That same year he reviewed Warhol's Flowers exhibition at Galerie Illeana Sonnabend in Paris, describing Warhol's visit to Paris as "the biggest transatlantic fuss since Oscar Wilde brought culture to Buffalo in the nineties." Ashbery returned to New York nearing the end of 1965 and was welcomed with a large party at the Factory, and also became close friends with poet Gerard Malanga, who was also Warhol's assistant, on whom he had an important influence as a poet.
In the early 1970s, Ashbery began teaching at Brooklyn College, where his students included poet John Yau, and in the 1980s, he moved to Bard College, where he is the Charles P. Stevenson, Jr., Professor of Languages and Literature. He was the poet laureate of New York state from 2001 to 2003, and also served for many years as a chancellor of the Academy of American Poets. Ashbery lives in New York City and Hudson, New York, with his partner, David Kermani.
Works
Ashbery's long list of awards began with the Yale Younger Poets Prize in 1956, ___select___ed by W. H. Auden, for his first collection, Some Trees. His early work shows the influence of W. H. Auden, Wallace Stevens, Boris Pasternak, and many of the French surrealists (his translations from French literature are numerous). In the late 1950s, the critic John Bernard Myers categorized the common traits of Ashbery's avant-garde poetry, as well as that of Kenneth Koch, Frank O'Hara, James Schuyler, Barbara Guest, Kenward Elmslie and others, as constituting a "New York School." Ashbery then wrote two collections while in France, the highly controversial The Tennis Court Oath (1962), and Rivers and Mountains (1966), before returning to New York to write The Double Dream of Spring, which was published in 1970.
Increasing critical recognition in the 1970s transformed Ashbery from an obscure avant-garde experimentalist into one of America's most important (though still one of its most controversial) poets. After the publication of Three Poems (1973), Ashbery in 1975 won all three major American poetry prizes (the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award) for his Self-Portrait in a Convex Mirror. The collection's title poem is considered to be one of the masterpieces of late-20th-century American poetic literature.
His subsequent collection, the more difficult Houseboat Days (1977), reinforced Ashbery's reputation, as did 1979's As We Know, which contains the long, double-columned poem "Litany." By the 1980s and 1990s, Ashbery had become a central figure in American and more broadly English-language poetry, as his number of imitators evidenced. His own poetry was accused of a staleness in this period, but books like A Wave (1985) and the later And the Stars Were Shining (1994), particularly in their long poems, show the unmistakable originality of a great poet in practice.
Ashbery's works are characterized by a free-flowing, often disjunctive syntax extensive linguistic play, often infused with considerable humor, and a prosaic, sometimes disarmingly flat or parodic tone. The play of the human mind is the subject of a great many of his poems. Formally, the earliest poems show the influence of conventional poetic practice, yet by The Tennis Court Oath a much more revolutionary engagement with form appears. Ashbery returned to something approximating conventional verse, at least on its surface, with many of the poems in The Double Dream of Spring, though his Three Poems are written in long blocks of prose. Although he has never again approached the radical experimentation of The Tennis Court Oath poems or "The Skaters" and "Into the Dusk-Charged Air" from his collection Rivers and Mountains, syntactic and semantic experimentation, linguistic expressiveness, deft, often abrupt shifts of register, and insistent wit remain consistent elements of his work.
Ashbery's art criticism has been collected in the 1989 volume Reported Sightings, Art Chronicles 1957-1987, edited by the poet David Bergman. He has written one novel, A Nest of Ninnies, with fellow poet James Schuyler, and in his 20s and 30s penned several plays, three of which have been collected in Three Plays (1978). Ashbery's Charles Eliot Norton Lectures at Harvard University were published as Other Traditions in 2000. A larger collection of his prose writings, ___Select___ed Prose, appeared in 2005.
Influences
W. H. Auden
Wallace Stevens
Raymond Roussel
John Clare
Marianne Moore
Giorgio de Chirico
Jasper Johns
Gertrude Stein
Writings
Turandot and Other Poems (1953)
Some Trees (1956), winner of the Yale Younger Poets Prize that year
The Tennis Court Oath (1962)
Rivers and Mountains (1966)
The Double Dream of Spring (1970)
Three Poems (1972)
Vermont Notebook (1975)
Self-Portrait in a Convex Mirror (1975), awarded the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award
Houseboat Days (1977)
As We Know (1979)
Shadow Train (1981)
A Wave (1984), awarded the Lenore Marshall Poetry Prize and the Bollingen Prize by Yale University
April Galleons (1987)
The Ice Storm (1987)
Flow Chart (1991)
Hotel Lautréamont (1992)
And the Stars Were Shining (1994)
Can You Hear, Bird? (1995)
The Mooring of Starting Out: The First Five Books of Poetry (Ecco) collection of the poet's work from 1956 to 1972; a New York Times "notable book of the year" (1998)
Wakefulness (1998)
Girls on the Run (1999), a book-length poem inspired by the work of artist Henry Darger
Your Name Here (2000)
100 Multiple-Choice Questions (2000)
Other Traditions (2000) Harvard University Press
As Umbrellas Follow Rain (2001)
Chinese Whispers (2002)
___Select___ed Prose 1953-2003 (2005)
Where Shall I Wander (2005)
A Worldly Country (2007)
Notes from the Air: ___Select___ed Later Poems (2007) (shortlisted for the 2008 International Griffin Poetry Prize)
Further reading
Stephen Shore, Lynne Tillman, The Velvet Years: Warhol's Factory 1965-1967
David Perkins, A History of Modern Poetry, Volume II, Modernism and After, Harvard University Press, 1987
Harold Bloom, Figures of Capable Imagination
Laura Quinney, The Poetics of Disappointment: Wordsworth to Ashbery
John Shoptaw, On the Outside Looking Out, Harvard University Press, 1995
Helen Vendler, Soul Says, Harvard University Press, 1996
Andrew Epstein, Beautiful Enemies: Friendship and Postwar American Poetry (Oxford University Press, 2006)
John Emil Vincent, John Ashbery and You: His Later Books
References
^ "80-Year-Old Poet for the MTV Generation", New York Times, August 27, 2007. Retrieved on 2007-08-21. "It is John Ashbery, the prolific 80-year-old poet and frequent award winner known for his dense, postmodern style and playful language. One of the most celebrated living poets, Mr. Ashbery has won MacArthur Foundation and Guggenheim fellowships and was awarded a Pulitzer Prize in 1976 for his collection “Self-Portrait in a Convex Mirror.”"
^ Hammer, Langdon, "‘But I Digress’", review of Notes from the Air: ___Select___ed Later Poems, by John Ashbery, New York Times Book Review, April 20, 2008, accessed same day.
^ Burt, Stephen, "John Ashbery, a poet for our times", review of "A Worldly Country" and "Notes from the Air" by John Ashbery in The Times Literary Supplement, March 26, 2008, accessed April 20, 2008.
編輯者: hello