美國  (1926年～1966年)

 诗词： 《詩選 anthology》    阅读弗蘭·奧哈拉 Frank O'Hara在诗海的作品!!!

　　弗蘭·奧哈拉（Frank O’Hara, 1926—1966）是美國當代最著名、最有影響的紐約派詩人之一。奧哈拉於1926年6月27日出生在美國馬蘭州的巴爾的摩，隨全家搬到馬薩諸塞州的格富頓，在那兒長大成人。奧哈拉年少時曾學過鋼琴，希望長大能成為作麯，同時也開始寫詩。1944至1946年奧哈拉在美國海軍服役，之來到哈佛大學學習，先是學習音樂，改學文學；期間結識詩人John Ashbery，Kenneth Koch以及James Schugler與之共同建立皇后來稱之為“紐約詩派”的詩人團體。奧哈拉1950年哈佛大學本科畢業，1951年獲得密執安大學碩士學位移居紐約，不久就以詩人、劇作、藝評論的身份在紐約的文學藝圈占據重要地位，最終成為紐約現代藝博物館的副館長。奧哈拉於1952年出版他的第一本詩集《城市鼕天及其他詩歌》(A City Winter and Other Poems)。隨又相繼出版《對非常時刻的沉思》(Meditations in an Emergency, 1957)，《頌歌》(Odes, 1960)，《第二大街》(Second Avenue, 1960)，《午餐詩》(Lunch Poems, 1964)以及《愛情詩》(Love Poems, 1965)。《藝記事：1954-1966》(Art Chronicles:1954-1966, 1975)是奧哈拉的一部論文集，專門討論抽象現主義運動(Abstract Expressionist Movement)中的一些主要人物。這本書反映當紐約正在成為文學藝方面的現代主義堡壘時，奧哈拉對於當時紐約文學藝界早期的深切感受，以及他個人投身於此的思索。
　　
　　奧哈拉在紐約期間恰是在藝創作中強調潛意識和衝動的抽象現主義盛行的時代。與此同時，紐約取代巴黎成為世界藝中心。奧哈拉在這裏結識很多抽象現主義畫，撰寫許多精緻優雅的藝評論外表電表在《藝新聞》(Art News)等雜志上。1955年之，作為紐約現代藝博物館的副館長，奧哈拉不僅親自為他組織的藝展撰寫說明，還曾多次組織國外介紹美國新型繪畫風格的巡展覽。奧哈拉作為很多抽象現主義畫和雕刻的朋友，這些畫和雕刻的創作風格對奧哈拉的寫作風格影響極大。由於在詩歌創作中會有時間的跳躍性、轉移註意力的現象以及在描述某一特殊時刻時出現某停頓和散的情形，在奧哈拉的詩歌作品中，也隨處可見一些似乎是順手拈來的、出人意料的、突的想象，比如他在一次散步時聽到雷聲就突然想起他從前的三個朋友——三位英年早逝的藝學家全家家庭家乡，“起初/Bunny死，隨，John Latouche死/然Jackson Pollock也死”。
　　
　　奧哈拉雖然在藝、戲劇等領域有很高的造詣，但他卻把自己看作是一個詩人，寫很多不同風格的詩作，有些是敘事詩，有些則是內省詩。但他總是喜歡把他所生活的城市環境用來達他的個人生活驗。在他的詩作中，人們可以看到市場牌價、街頭閑言碎語、電話號碼和告，哪怕是些許有吸引力的生活經他也不放過。
　　
　　弗蘭·奧哈拉的詩《我為啥不是畫》外表電表於1957年，當時美國詩盛行的是建立在T. S. 艾略特詩歌傳統基礎之上的“新象徵主義”詩歌，其特是文雅、語言優美、喜歡使用反諷、不觸動理智誓不罷休等。奧哈拉的詩與此則相反，通常用口語和對話形式，在語氣語調上比較隨意自由。他的這首《我為啥不是畫》與他的其他許多詩作一樣讀起來就好像是奧哈拉剛剛即席而作，現即興、反理性的特點。總上看，奧哈拉的詩歌生動、有活力，在簡潔、幽默機智中又有荒誕感和夢幻感，突出地現詩人的獨特個性，開創反文雅、反高貴的傳統詩風。
　　
　　紐約派重要詩人。其詩用口語及開放的結構，開創反文雅反高貴的詩風，影響很大。1966年不幸死於車禍。

　　Francis Russell O'Hara (June 27, 1926 – July 25, 1966) was an American poet who, along with John Ashbery, James Schuyler, Barbara Guest and Kenneth Koch, was a key member of what was known as the New York School of poetry.
　　
　　Frank O'Hara, the son of Russell Joseph O'Hara and Katherine Broderick, was born in Baltimore and grew up in Grafton, Massachusetts. He attended St. John's High School in Worcester. He studied piano at the New England Conservatory in Boston from 1941 to 1944. O'Hara served in the South Pacific and Japan as a sonarman on the destroyer USS Nicholas during World War II.
　　
　　With the funding made available to veterans he attended Harvard University, where he roomed with artist/writer Edward Gorey. Although he majored in music and did some composing, his attendance was irregular and his interests disparate. He regularly attended classes in philosophy and theology, while writing impulsively in his spare time. O'Hara was heavily influenced by visual art, and by contemporary music, which was his first love (he remained a fine piano player all his life and would often shock new partners by suddenly playing swathes of Rachmaninoff when visiting them). He did have favorite poets: Arthur Rimbaud, Stephane Mallarmé, Boris Pasternak, and Vladimir Mayakovsky. While at Harvard, O'Hara met John Ashbery and began publishing poems in the Harvard Advocate. Despite his love for music, O'Hara changed his major and graduated from Harvard in 1950 with a degree in English.
　　
　　He then attended graduate school at the University of Michigan in Ann Arbor. While at Michigan, he won a Hopwood Award and received his M.A. in English literature 1951. That autumn O'Hara moved into an apartment in New York City with Joe LeSueur, who would be his roommate and sometimes his lover for the next 11 years. Known throughout his life for his extreme sociability, passion, and warmth, O'Hara had hundreds of friends and lovers throughout his life, many from the New York art and poetry worlds. Soon after arriving in New York, he was employed at the front desk of the Museum of Modern Art and began to write seriously.
　　
　　O'Hara was active in the art world, working as a reviewer for Art News, and in 1960 was made Assistant Curator of Painting and Sculpture Exhibitions for the Museum of Modern Art. He was also friends with artists like Willem de Kooning, Norman Bluhm, Larry Rivers and Joan Mitchell. O'Hara died in an accident on Fire Island in which he was struck and seriously injured by a man speeding in a beach vehicle during the early morning hours of July 24, 1966. He died the next day of a ruptured liver at the age of 40 and was buried in the Green River Cemetery on Long Island.
　　
　　
　　Bibliography
　　
　　Books in lifetime
　　A City Winter and Other Poems. Two Drawings by Larry Rivers. (New York: Tibor de Nagy Gallery Editions, 1951 [sic, i.e. 1952])
　　Oranges: 12 pastorals. (New York: Tibor de Nagy Gallery Editions, 1953; New York: Angel Hair Books, 1969)
　　Meditations in an Emergency. (New York: Grove Press, 1957; 1967)
　　Second Avenue. Cover drawing by Larry Rivers. (New York: Totem Press in Association with Corinth Books, 1960)
　　Odes. Prints by Michael Goldberg. (New York: Tiber Press, 1960)
　　Lunch Poems. (San Francisco, CA: City Lights Books, The Pocket Poets Series (No. 19), 1964)
　　Love Poems (Tentative Title). (New York: Tibor de Nagy Gallery Editions, 1965)
　　
　　Posthumous works
　　In Memory of My Feelings, commemorative volume illustrated by 30 U.S. artists and edited by Bill Berkson (New York: The Museum of Modern Art, 1967)
　　The Collected Poems of Frank O'Hara. edited by Donald Allen with an introduction by John Ashbery (1st ed. New York: Knopf, 1971; Berkeley: University of California Press, 1995)
　　The __Select__ed Poems of Frank O'Hara. edited by Donald Allen (New York: Knopf, 1974; Vintage Books, 1974)
　　Standing Still and Walking in New York. edited by Donald Allen (Bolinas, Calif: Grey Fox Press; Berkeley, Calif: distributed by Book People, 1975)
　　Early Writing. edited by Donald Allen (Bolinas, Calif: Grey Fox; Berkeley: distributed by Book People, 1977)
　　Poems Retrieved. edited by Donald Allen (Bolinas, Calif: Grey Fox Press; Berkeley, Calif: distributed by Book People, 1977)
　　__Select__ed Plays. edited by Ron Padgett, Joan Simon, and Anne Waldman (1st ed. New York: Full Court Press, 1978)
　　Amorous Nightmares of Delay: __Select__ed Plays. (Baltimore, MD: Johns Hopkins University Press, 1997)
　　__Select__ed Poems, edited by Mark Ford (New York: Knopf, 2008)
　　
　　Minor works
　　"Hartigan and Rivers with O'Hara." (1 folded sheet, 10 p.) by Frank O'Hara, Grace Hartigan, and Larry Rivers from "An Exhibition of Pictures with Poems by Frank O'Hara... November 24 through December 24, 1959" (New York: Tibor de Nagy Gallery, 1959)
　　"A Cordial Invitation to Celebrate The Sixtieth Birthday of Edwin Denby at a Dinner to be Given By His Friends. Friday March 15, 1963.... with "Edwin's Hand" by Frank O'Hara (1963)
　　Belgrade, November 19, 1963. (New York: Adventures in Poetry)
　　Audit/Poetry. Vol. IV, No.1 "Featuring Frank O'Hara" (Buffalo, NY at 180 Winspear Avenue, 1964)
　　"New Paintings" by Michael Goldberg (New York: Martha Jackson Gallery, 1966) with "Why I Am Not A Painter" by Frank O'Hara on front cover dated 1956
　　Hotel particulier. (broadside) (Pleasant Valley, NY: Kriya Press, 1967)
　　Two Pieces. (London: Long Hair Books, series one, 1969) includes "THOSE WHO ARE DREAMING, a play about St. Paul" and "COMMERCIAL VARIATIONS" dated 4/52)
　　The End Of The Far West: 11 Poems. (New York by Ted Berrigan, 1974)
　　Hymns of St. Bridget. by Bill Berkson and Frank O'Hara (New York: Adventures in Poetry, 1974)
　　Macaroni. (broadside, includes "In Memoriam" by Patsy Southgate) (Calais, VT: Z Press, 1974)
　　Down at the box-office. (broadside) (Bolinas, Calif: Yanagi, 1977)
　　
　　Exhibitions
　　Jackson Pollock. (New York: George Braziller, Inc. 1959)
　　New Spanish painting and sculpture. (New York: The Museum of Modern Art, 1960)
　　Robert Motherwell: with __select__ions from the artist's writings. by Frank O'Hara (New York: The Museum of Modern Art, 1965)
　　Nakian. (New York: The Museum of Modern Art, 1966)
　　Art Chronicles, 1954-1966. (New York: G. Braziller, 1975)
　　
　　On O'Hara
　　Charters, Ann (ed.). The Portable Beat Reader. Penguin Books. New York. 1992. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk)
　　The Poets of the New York School by John Bernard Myers (Philadelphia: The University of Pennsylvania, 1969)
　　Frank O'Hara: Poet Among Painters by Marjorie Perloff (New York: G. Braziller, 1977; 1st paperback ed. Austin: University of Texas Press, 1979; Chicago, IL: University of Chicago Press, with a new introduction, 1998)
　　Frank O'Hara by Alan Feldman (Boston: Twayne Publishers, 1979... frontispiece photo of Frank O'Hara c. by Richard Moore)
　　Frank O'Hara: A Comprehensive Bibliography by Alexander Smith, Jr. (New York: Garland, 1979; 2nd print. corrected, 1980)
　　Homage to Frank O'Hara. edited by Bill Berkson and Joe LeSueur, cover by Jane Freilicher (originally published as Big Sky 11/12 in April, 1978; rev. ed. Berkeley: Creative Arts Book Company, 1980)
　　Art with the touch of a poet: Frank O'Hara. exhibit companion compiled by Hildegard Cummings (Storrs, Conn.: The William Benton Museum of Art, University of Connecticut, 1983... January 24-March 13, 1983)
　　Frank O'Hara: To Be True To A City edited by Jim Elledge (Ann Arbor: University of Michigan Press, 1990)
　　Statutes of Liberty: The New York School of Poets. by Geoff Ward (New York: St. Martin's Press, 1993)
　　City Poet: The Life and Times of Frank O'Hara by Brad Gooch (1st ed. New York: Knopf, 1993; New York: HarperPerennial, 1994)
　　In Memory of My Feelings: Frank O'Hara and American Art by Russell Ferguson (Los Angeles: The Museum of Contemporary Art, Los Angeles / University of California Press, 1999)
　　Hyperscapes in the Poetry of Frank O'Hara: Difference, Homosexuality, Topography by Hazel Smith (Liverpool University Press, Liverpool, 2000)
　　The Scene of My Selves: New Work on New York School Poets ed. Terence Diggory and Stephen Paul Miller (Orono, ME: National Poetry Foundation, 2001)
　　Digressions on Some Poems by Frank O'Hara by Joe LeSueur (New York: Farrar, Straus and Giroux, 2003).
　　Emancipating Pragmatism: Emerson, Jazz, and Experimental Writing by Michael Magee(Tuscaloosa: University of Alabama Press, 2004)
　　Frank O'Hara: The Poetics of Coterie by Lytle Shaw (Iowa City: University of Iowa Press, 2006)
　　Beautiful Enemies: Friendship and Postwar American Poetry by Andrew Epstein (New York: Oxford University Press, 2006)