měi guó  (1927nián)

 shīcí： 《shī xuǎn anthology》    yuèdòuyuē hàn · ā shénbǎi lì John Ashberyzài诗海dezuòpǐn!!!

　　shēng yú niǔ yuē zhōu de luó qiē sī tè， yǐ shī hé yì shù pī píng 'ér zhù míng， shì niǔ yuē pài de yī wèi zhòng yào shī rén。 tā de《 tū jìng zhōng de zì huà xiàng》（ 1975） huò pǔ lì cè jiǎng， guó jiā tú shū jiǎng hé guó jiā tú shū pī píng jiè jiǎng。 tā shì guó jiā xué yuàn hé yì shù xué yuàn jí guó jiā yì shù hé kē xué xué yuàn de chéng yuán。 cóng hěn zǎo qǐ， ā shénbǎi lì jiù yǐ bèi rèn wéi shì yī gè jù yòu jīng rén de chuàng zào xìng de shī rén。 ér tā de měi yī běn shī jí， dū jiā qiáng liǎo tā zuò wéi měi guó zuì zhòng yào de shī rén de dì wèi。 ā shénbǎi lì céng shēng chēng： “ wǒ gǎn dào wǒ néng zài yīnyuè zhōng zuì hǎo dì biǎo dá wǒ zì jǐ。 wǒ suǒ xǐ 'ài yīnyuè de yuán yīn， shì tā néng shǐ rén xìn fú， néng jiāng yī gè lùn diǎn shèng lì dì tuī jìn dào zhōng jié， suī rán zhè gè lùn diǎn de cuò cí réng rán shì wèi zhī liàng。 bǎo cún xià lái de shì jié gòu， lùn diǎn de jiàn zhù fāng shì， fēng jǐng huò gù shì。 wǒ yuàn zài shī gē lǐ zuò dào zhè diǎn。 ”
　　
　　 chú liǎo yīnyuè zhī wài， tā de shī hái shòu xiàn dài zhù yì huì huà yǐng xiǎng jí shēn。 tā de shī fēng duō biàn， dàn duō dài shén mì sè cǎi， yòu shí xiàng kǎ fū kǎ de yù yán， yòu shí yòu xiàng shì dá dá yì shù jiā de wán xiào， sì zhēn sì huàn， jīhū nán yǐ quán shì。 tā de shī tǐ xiàn liǎo dāng dài měi guó shī zhōng yī zhǒng kāi fàng de、 shí yàn xìng de qīng xiàng。
　　
　　 luó qiē sī tè bì yè yú hā fó dà xué hé gē lún bǐ yà dà xué， 1965 nián qián fǎ guó rèn《 xiān qū lùn tán bào》 yì shù píng lùn yuán， hòu huí niǔ yuē。 1974 nián qǐ zài dà xué rèn jiào。 niǔ yuē pài hé xīn rén wù。

　　John Ashbery (born July 28, 1927) is an American poet.[1] He has won nearly every major American award for poetry and is recognized as one of America's most important, though still controversial, poets. In an article on Elizabeth Bishop in his ___Select___ed Prose, he characterizes himself as having been described as "a harebrained, homegrown surrealist whose poetry defies even the rules and logic of Surrealism."
　　
　　"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.