Biography of John Ashbery
John Lawrence Ashbery is an American poet. He has published more than twenty volumes of poetry and won nearly every major American award for poetry, including a Pulitzer Prize in 1976 for his collection Self-Portrait in a Convex Mirror. But Ashbery's work still proves controversial. In an article on Elizabeth Bishop in his Selected Prose, he characterizes himself as having been described as "a harebrained, homegrown surrealist whose poetry defies even the rules and logic of Surrealism." Although renowned for the postmodern complexity and opacity of his work, Ashbery has stated that he wishes it to be accessible to as many people as possible, not a private dialogue.
"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." 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".
Ashbery was born in Rochester, New York, the son of Helen (née Lawrence), a biology teacher, and Chester Frederick Ashbery, a farmer. He was 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 and Dylan Thomas, and began writing poetry. Two of his poems were published in Poetry magazine, although under the name of a classmate who had submitted them 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 11 until he was 15 Ashbery 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.
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 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 near the end of 1965 and was welcomed with a large party at the Factory. He became close friends with poet Gerard Malanga, 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. He was elected a Fellow of the American Academy of Arts and Sciences in 1983. In the 1980s, he moved to Bard College, where he was the Charles P. Stevenson, Jr., Professor of Languages and Literature, until 2008, when he retired; since that time, he has continued to win awards, present readings, and work with graduate and undergraduates at many other institutions. 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. He serves on the contributing editorial board of the literary journal Conjunctions. He was a Millet Writing Fellow at Wesleyan University, in 2010, and participated in Wesleyan's Distinguished Writers Series. Ashbery lives in New York City and Hudson, New York, with his partner, David Kermani.
Ashbery's long list of awards began with the Yale Younger Poets Prize in 1956. The selection, by W. H. Auden, of Ashbery's first collection, Some Trees, later caused some controversy. 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, John Bernard Myers, co-owner of the Tibor de Nagy Gallery, 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 poets (though still one of its most controversial). After the publication of Three Poems (1973) came Self-portrait in a Convex Mirror. For that Ashbery won all three major American poetry awards: the Pulitzer Prize, the National Book Award and the National Book Critics Circle Award). 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. Ashbery once said that his goal was "to produce a poem that the critic cannot even talk about." 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 approaching a reconciliation between tradition and innovation 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, Selected Prose and his poetry volume Where shall I wander? appeared in 2005. In 2008, his Collected Poems 1956–1987 was published as part of the Library of America series.
In 2009 the Oxonian Review summarized Ashbery's work as follows:
This past October, the Library of America released John Ashbery’s Collected Poems (1956–1987), making him the first living poet to be “canonised” in the series. It is a fitting honour for a man whose decades-long reign as one of the high priests of the contemporary American poetry scene has always been something of a paradox. Having received nearly every major award for achievement in the humanities, he continues to incite considerable debate as to whether his poems “mean” anything at all. To read an Ashbery poem with the intent to explicate in the traditional sense is to make a daring, perhaps foolhardy, leap of semantic faith.
Awards and honors
2011, National Book Foundation Medal for Distinguished Contribution to American Letters
John Ashbery's Works:
Turandot and Other Poems (1953)
Some Trees (1956), winner of the Yale Younger Poets Prize
The Tennis Court Oath (1962)
Rivers and Mountains (1966)
The Double Dream of Spring (1970)
Three Poems (1972)
The Vermont Notebook (1975), illustrated prose poems
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
April Galleons (1987)
Flow Chart (1991), book-length poem
Hotel Lautréamont (1992)
And the Stars Were Shining (1994)
Can You Hear, Bird? (1995)
Girls on the Run (1999), a book-length poem inspired by the work of Henry Darger
Your Name Here (2000)
As Umbrellas Follow Rain (2001)
Chinese Whispers (2002)
Where Shall I Wander (2005) (finalist for the National Book Award)
A Worldly Country (2007)
Collections, Prose, and Translations
The Ice Storm (1987), 32-page pamphlet
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)
Other Traditions, 6 long essays on 6 other poets (2000)
100 Multiple-Choice Questions (2000) (reprint of 1970 experimental pamphlet)
Selected Prose 1953-2003 (2005)
Notes from the Air: Selected Later Poems (2007) (winner of the 2008 International Griffin Poetry Prize)
Martory, Pierre The Landscapist Ashbery (Tr.) Carcanet Press (2008)
Collected Poems 1956-87 (Carcanet Press) (2010), ed. Mark Ford
Rimbaud, Arthur Illuminations Ashbery (Tr.) W. W. Norton & Company (2011)
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John Ashbery Poems
Self-Portrait In A Convex Mirror
As Parmigianino did it, the right hand Bigger than the head, thrust at the viewer And swerving easily away, as though to protect What it advertises. A few leaded panes, old beams,
Daffy Duck In Hollywood
Something strange is creeping across me. La Celestina has only to warble the first few bars Of "I Thought about You" or something mellow from Amadigi di Gaula for everything--a mint-condition can
My Philosophy Of Life
Just when I thought there wasn't room enough for another thought in my head, I had this great idea-- call it a philosophy of life, if you will.Briefly, it involved living the way philosophers live,
Just Walking Around
What name do I have for you? Certainly there is not name for you In the sense that the stars have names That somehow fit them. Just walking around,
Farm Implements And Rutabagas In A Lands...
The first of the undecoded messages read: "Popeye sits in thunder, Unthought of. From that shoebox of an apartment, From livid curtain's hue, a tangram emerges: a country."
Into The Dusk-Charged Air
Far from the Rappahannock, the silent Danube moves along toward the sea. The brown and green Nile rolls slowly Like the Niagara's welling descent.
The man with the red hat And the polar bear, is he here too? The window giving on shade, Is that here too?
Orpheus liked the glad personal quality Of the things beneath the sky. Of course, Eurydice was a part Of this. Then one day, everything changed. He rends Rocks into fissures with lament. Gullies, hummocks
For John Clare
Poem At The New Year
Once, out on the water in the clear, early nineteenth-century twilight, you asked time to suspend its flight. If wishes could beget more than sobs, that would be my wish for you, my darling, my angel. But other principles prevail in this glum haven, don't they? If that's what it is.
The Instruction Manual
As I sit looking out of a window of the building I wish I did not have to write the instruction manual on the uses of a new metal. I look down into the street and see people, each walking with an inner peace, And envy them—they are so far away from me!
Barely tolerated, living on the margin In our technological society, we were always having to be rescued On the brink of destruction, like heroines in Orlando Furioso
The Dong With The Luminous Nose
Within a windowed niche of that high hall I wake and feel the fell of dark, not day. I shall rush out as I am, and walk the street The lights begin to twinkle from the rocks
Eyes shining without mystery, Footprints eager for the past Through the vague snow of many clay pipes, And what is in store?
Daffy Duck In Hollywood
Something strange is creeping across me.
La Celestina has only to warble the first few bars
Of "I Thought about You" or something mellow from
Amadigi di Gaula for everything--a mint-condition can
Of Rumford's Baking Powder, a celluloid earring, Speedy
Gonzales, the latest from Helen Topping Miller's fertile
Escritoire, a sheaf of suggestive pix on greige, deckle-edged
Stock--to come clattering through the rainbow trellis
Where Pistachio Avenue rams the 2300 block of Highland