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"Frank O'Hara: The Poetics of Coterie is an outstanding study of a remarkable, underrated poet and critic. Combining incisive reading of specific poems and.
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He then attended graduate school at the University of Michigan in Ann Arbor.

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While at Michigan, he won a Hopwood Award and received his M. 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 Museum of Modern Art , selling postcards at the admissions desk, and began to write seriously.

In the early morning hours of July 24, , O'Hara was struck by a jeep on the Fire Island beach, after the beach taxi in which he had been riding with a group of friends broke down in the dark.

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Attempts to bring negligent homicide charges against year-old driver Kenneth L. Ruzicka were unsuccessful; many of O'Hara's friends felt the local police had conducted a lax investigation to protect one of their own locals. Warren died on October 25, , 51 years after O'Hara's death. While O'Hara's poetry is generally autobiographical, it tends to be based on his observations of New York life rather than exploring his past.

What is happening to me, allowing for lies and exaggerations which I try to avoid, goes into my poems.

I don't think my experiences are clarified or made beautiful for myself or anyone else, they are just there in whatever form I can find them. My formal "stance" is found at the crossroads where what I know and can't get meets what is left of that I know and can bear without hatred. It may be that poetry makes life's nebulous events tangible to me and restores their detail; or conversely that poetry brings forth the intangible quality of incidents which are all too concrete and circumstantial. Or each on specific occasions, or both all the time.

John's High School began to shape a distinguished style of solitary observation that would later inform his poems. Immersed in regimented daily routine, first Catholic school then the Navy, he was able to separate himself from the situation and make witty and often singular studies. Sometimes these were cataloged for use in later writing, or, perhaps more often, put into letters.

This skill of scrutinizing and recording during the bustle and churn of daily life would, later, be one of the important aspects that shaped O'Hara as an urban poet writing off the cuff.

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Among his friends, O'Hara was known to treat poetry dismissively, as something to be done only in the moment. John Ashbery claims he witnessed O'Hara "Dashing the poems off at odd moments — in his office at the Museum of Modern Art, in the street at lunchtime or even in a room full of people — he would then put them away in drawers and cartons and half forget them. In the summer of , O'Hara read a manifesto in The Kenyon Review written by the poet, novelist and anarchistic social critic Paul Goodman.

In the essay, Goodman argues that the postwar American "advanced guard" writers must articulate the deep-seated, personal disquiet felt across the culture but left unvoiced. The essay encouraged O'Hara to write poetry that was embarrassing in its directness, and even seen as hostile to literary standards then in place. O'Hara's poetry began to erase poetry's cautious border between what is public and what is private.

In , he wrote a mock manifesto originally published in Yugen in called Personism: A Manifesto , in which he explains his position on formal structure: "I don't You just go on your nerve. If someone's chasing you down the street with a knife you just run, you don't turn around and shout, 'Give it up!

Frank O'Hara: Poet among Painters

I was a track star for Mineola Prep. There's nothing metaphysical about it. It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person other than the poet himself , thus evoking overtones of love without destroying love's life-giving vulgarity, and sustaining the poet's feelings toward the poem while preventing love from distracting him into feeling about the person.

His poetry shows the influence of Abstract Expressionism , Surrealism , Russian poetry , and poets associated with French Symbolism.

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Ashbery says, "Frank O'Hara's concept of the poem as the chronicle of the creative act that produces it was strengthened by his intimate experience of Pollock 's, Kline 's, and de Kooning 's great paintings of the late '40s and early '50s and of the imaginative realism of painters like Jane Freilicher and Larry Rivers.

O'Hara was also influenced by William Carlos Williams , so much so that he lists Williams along with Hart Crane and Walt Whitman as one of three poets who were "better than the movies. Rilo Kiley 's album More Adventurous is titled after a line in O'Hara's poem "Meditations in an Emergency": "Each time my heart is broken it makes me feel more adventurous Frankie Cosmos 's music is also known to be influenced by O'Hara's works, visible in 2 of her albums, Zentropy and Next Thing.

An Introduction to the New York School of Poets

Greta Kline has also stated that her stage name derived from the poet. In the film Beastly , the lovestruck main characters read O'Hara's poem "Having a Coke with You" aloud to each other. The first episode shows a character reading from it over lunch in a bar recalling O'Hara's collection Lunch Poems as does the last episode, which uses the book's title as its episode title. From Wikipedia, the free encyclopedia. For the Australian rules footballer, see Frank O'Hara footballer. Your reading intentions are also stored in your profile for future reference. To set a reading intention, click through to any list item, and look for the panel on the left hand side:.

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