{"id":3450,"date":"2017-10-28T19:48:16","date_gmt":"2017-10-28T19:48:16","guid":{"rendered":"http:\/\/courses.suzannechurchill.com\/eng394-f17\/?p=3450"},"modified":"2017-10-28T19:48:16","modified_gmt":"2017-10-28T19:48:16","slug":"royce-annotated-bib","status":"publish","type":"post","link":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/10\/28\/royce-annotated-bib\/","title":{"rendered":"Royce Annotated Bib"},"content":{"rendered":"

Royce Chen<\/span><\/p>\n

Dr. Churchill<\/span><\/p>\n

ENG 394 – The Avant Garde<\/span><\/p>\n

28 October 2017<\/span><\/p>\n

Annotated Bibliography<\/span><\/p>\n

Breslin, James. \u201cThe Contradictions Of Frank O\u2019Hara.\u201d <\/span>The American Poetry Review<\/span><\/i>, vol. 12, no. 6, 1983, pp. 7\u201316, <\/span>http:\/\/www.jstor.org\/stable\/27777276<\/span><\/a>.<\/span><\/p>\n

This article notes the \u201ccontradictions\u201d that many others have noted in Frank O\u2019Hara\u2019s life and poetry. \u201cO\u2019Hara\u2019s poems are filled with signals that . . . interpretive procedures are not appropriate to them,\u201d writes Breslin (8). One example in O\u2019Hara\u2019s \u201cPersonal Poem\u201d: \u201c[T]he reader may be tempted to stop and to metaphorize the \u2018old Roman coin\u2019 and the \u2018bolt-head\u2019–the one rare and the otehr plain–but he is not given enough clues to justify such a procedure,\u201d Breslin explains (8). The article explores many other such dichotomies regarding themes such as surrealism, sex, and intimacy in O\u2019Hara\u2019s poetry.<\/span><\/p>\n

Chiasson, Dan. \u201cFast Company.\u201d <\/span>The New Yorker<\/span><\/i>, Mar. 2008, <\/span>https:\/\/www.newyorker.com\/magazine\/2008\/04\/07\/fast-company<\/span><\/a>.<\/span><\/p>\n

This article is also biographical like the below source \u201cFrank O\u2019Hara\u201d by <\/span>Poets.org<\/span><\/i>), but goes more in-depth by avoiding a simple listing of the facts and dates, opting instead to offer a nuanced and sometimes subjective view on O\u2019Hara\u2019s personality. It particularly notes the casual and \u201cimprovised\u201d nature of O\u2019Hara\u2019s poetry and lifestyle, recalling, \u201cPeople in the high-toned literary circles, the <\/span>Partisan Review<\/span><\/i> crowd, considered him weird or frivolous, and he considered them, in their suits and black dresses, cadavers before their time.\u201d This lifestyle, the article notes, showed itself in his writing, which was \u201czigzag[ging],\u201d \u201cswerv[ing],\u201d \u201cveer[ing],\u201d and eventually \u201ccorrect[ing]\u201d in its nature and diversity of topics (from sex to aspirin) and cultural allusions.<\/span><\/p>\n

Doty, Mark. \u201cFrank O’Hara.\u201d A Profile of Twentieth-Century American Poetry, edited by Jack Myers and David Wojahn, Southern Illinois University Press, 1991.<\/span><\/p>\n

This excerpt focuses on O\u2019Hara\u2019s charactericstic style of poetry–\u201c[u]rbane, ironic, sometimes genuinely celebratory and often wildly funny\u201d–and considers the simultaneously universalizing and personalizing effect of O\u2019Hara\u2019s affinity for utilizing popular culture references in his poems. <\/span><\/p>\n

Equi, Elaine. \u201cFrank O\u2019Hara: Nothing Personal.\u201d <\/span>Conjunctions<\/span><\/i>, no. 29, 1997, pp. 145\u201355, <\/span>http:\/\/www.jstor.org\/stable\/24515725<\/span><\/a>.<\/span><\/p>\n

This article offers the American poet Elaine Equi\u2019s perspective of and homage to Frank O\u2019Hara, revealing his deep influence on the American poetry as a whole. She, like, others, sees Frank O\u2019Hara as a simultaneously intimate and distant writer. She credits him with \u201cfirst ma[king her] understand the intrinsically sociable . \u00a0. . aspect to writing poetry\u201d (146), but also declares, \u201c[His poems] end up telegraphing a curious mix of the heartfelt and the insincere. Is he serious or putting us on?\u201d (149) This effect is created through the dichotomy exclamation points–\u201corgasms\u201d of emotion (149)–as well as \u201ctragic\u201d undertones mixed in (154). Equi notes, \u201cI still read Frank O\u2019Hara today for the same reason as when I first read him in college: he makes me want to write\u201d (146).<\/span><\/p>\n

\u201cFrank O’Hara.\u201d <\/span>Poets.org<\/span><\/i>, Academy of American Poets, 6 Oct. 2015, <\/span>www.poets.org\/poetsorg\/poet\/frank-ohara<\/span><\/a>.<\/span><\/p>\n

This brief biography of O\u2019Hara gives a broad and digestible outline of his life: it covers his upbringing and education in Massachusetts, and follows him into his Harvard years, during which he was influenced by poets like Mallarm\u00e9 and Mayakovsky. It cites him as one of the \u201cmost distinguished members of the New York School,\u201d and describes his original volumes <\/span>Meditations in an Emergency <\/span><\/i>and <\/span>Lunch Poems<\/span><\/i> as \u201cwitty talk, journalistic parodies, and surrealist imagery.\u201d<\/span><\/p>\n

Girard, Didier. \u201cFrank O\u2019Hara’s Anti-Disciplinarian Discipline.\u201d <\/span>KulturPoetik<\/span><\/i>, vol. 13, no. 1, 2013, pp. 82\u201393, <\/span>http:\/\/www.jstor.org\/stable\/23608423<\/span><\/a>.<\/span><\/p>\n

This article notes Frank O\u2019Hara\u2019s standalone personality (\u201can inveterate alcoholic and a flamboyant homosexual\u201d (83) is how it describes him as a person) and frames him as a unique poet for his use of three primary techniques: writing with the goal of \u201cpainting\u201d a picture rather than simply utilizing prose, writing \u201caction poetry\u201d that took place in the moment but still touched deeper than immediately obvious, and channelling mass, or \u201cpop,\u201d culture in his poetry.<\/span><\/p>\n

Sadoff, Ira. \u201cFrank O\u2019Hara’s Intimate Fictions.\u201d <\/span>The American Poetry Review<\/span><\/i>, vol. 35, no. 6, 2006, pp. 49\u201352, <\/span>http:\/\/www.jstor.org\/stable\/20683351<\/span><\/a>.<\/span><\/p>\n

This article focuses on the tone that Frank O\u2019Hara takes in his poetry–playful, humorous, oddly specific, and sometimes cold–and analyzes the way that O\u2019Hara initiates a significant intimacy with his readers. Using poems \u201cThe Day Lady Died\u201d and \u201cOn Rachmaninoff\u2019s Birthday\u201d as an example, Sadoff cites O\u2019Hara\u2019s casual style of composition (his \u201clunch poems\u201d), his well-known allusions, and his sense of humor as tools that he uses to create closeness.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Royce Chen Dr. Churchill ENG 394 – The Avant Garde 28 October 2017 Annotated Bibliography Breslin, James. \u201cThe Contradictions Of Frank O\u2019Hara.\u201d The American Poetry Review, vol. 12, no. 6, 1983, pp. 7\u201316, http:\/\/www.jstor.org\/stable\/27777276. This article notes the… Read More<\/a><\/p>\n","protected":false},"author":188,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[40],"tags":[],"class_list":["post-3450","post","type-post","status-publish","format-standard","hentry","category-ag-bib"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3450","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/188"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3450"}],"version-history":[{"count":1,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3450\/revisions"}],"predecessor-version":[{"id":3451,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3450\/revisions\/3451"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3450"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3450"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3450"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}