New Releases by John Ashbery

An intimate and unique collection of the work of John Ashbery—a prolific poet and art critic—pairing poetry and art writings with playlists of music from his personal library. This book places poetry by Ashbery (1927–2017), gathered from his later collections, in conversation with a selection of contemporaneous art writing. In addition, as Ashbery loved music and listened to it while writing, the “playlists” here present samplings of music from these same years, culled from his own library of recordings. Ashbery’s poetry is frequently described as ekphrastic, though, rather than writing a poem “based on” or “inspired” by the content of an artwork or piece of music, he engages with how the experience of seeing it and the artistic strategies employed offer ways of thinking about it and through it. Many observations from Ashbery’s art writing also provide keys to how we might read his poetry. Many recordings he listened to feature contemporary classical works that emphasize complex textures, disparate sounds, and disjunct phrases. Ashbery’s poetry similarly plays with a diversity of poetic textures and sudden turns such that a reader might construct multiple narratives or pathways of meaning. He rarely offers linear stories or focuses on evocative descriptions of a scene or object. In exploring this ekphrastic book project, the reader is invited to discover how, for Ashbery, these three forms might illuminate and inform one another. In Mónica de la Torre’s introduction, she explores the connection between the three muses of music, art, and poetry, and the ekphrastic experience of reading Ashbery.

A stunning collection of work from beloved poet John Ashbery, his first posthumous book Renowned for his inventive mind, ambitious play with language, and dexterity with a wide range of tones and styles, John Ashbery has been a major artistic figure in the cultural life of our time. Parallel Movement of the Hands gathers unpublished, book-length projects and long poems written between 1993 and 2007, along with one (as yet) undated work, to showcase Ashbery’s diverse and multifaceted artistic obsessions and sources, from children’s literature, cliffhanger cinema reels, silent films, and classical music variations by Beethoven’s pupil Carl Czerny to the history of early photography. Ashbery even provides a fresh and humorous take on a well-worn parable from the Gospel of Matthew. These works demonstrate that while producing and publishing the shorter, discrete poems often associated with his late career, Ashbery continued to practice the long-form, project-based writing that has long been an important element of his oeuvre. Edited and introduced by Ashbery’s former assistant poet Emily Skillings and including a preface by acclaimed poet and novelist Ben Lerner, this compelling and varied collection offers new insights into the process and creative interests of a poet whose work continues to influence generations of artists and poets with its signature intertextuality, openness, and simultaneity. A landmark publication of never-before-seen works, this book will enlighten scholars as well as new readers of one of America’s most prominent and celebrated poets.

The second volume of Library of America''s definitive edition, including the modern classic Flow Chart in a newly corrected text. Published for his ninetieth birthday, Library of America presents the second volume of John Ashbery’s collected poems, spanning a crucial and prolific decade in the poet’s work. The volume opens with the indispensable Flow Chart (1991), in a complete text for the first time. The other collections gathered here—Hotel Lautréamont (1992), And the Stars Were Shining (1994), Can You Hear, Bird (1995), Wakefulness (1998), and Your Name Here (2000)—show Ashbery perfecting the playful, cerebral style that has made his poetry a genre unto itself, highly influential and often imitated. Long an art critic and one of the shrewdest observers of the American art scene, Ashbery engages with the renowned outsider artist Henry Darger in the fascinating book-length poem Girls on the Run (1999), inspired by the exuberant, unsettling fictional universe Darger created. The volume concludes with a selection of twenty-six previously uncollected poems. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

A crackling, moving new collection from one of America’s greatest living poets. In over twenty-six original books, the poems of John Ashbery have long served as signposts guiding us through the delights, woes, hypocrisies, and uncertainties of living in the modern world. With language harvested from everyday speech, fragments of pop culture, objects and figures borrowed from art and literature, his work makes light out of darkness, playing with tone and style to show how even the seemingly frivolous stuff of existence can be employed to express the deepest levels of feeling. Commotion of the Birds showcases once again Ashbery’s mastery of a staggering range of voices and his singular lyric agility: wry, frank, contemplative, resigned, bemused, and ecstatic. The poet in this new collection is at once removed from and immersed in the terrain of his examination. Disarmingly conversational, he invites the reader to join him in looking out onto the future with humor, curiosity, and insight. The lines of these poems achieve a low-humming, thrilling point of vibration, a jostling of feathers before flight.

Whether on a picnic blanket or a porch swing, the fiction, nonfiction, and poetry in Tin House will help you while away the hours. Tin House is your literary companion for the dog days of Summer. Whether on a picnic blanket or a porch swing, the fiction, nonfiction, and poetry in Tin House will help you while away the hours. Featuring new work from Miller Oberman, Michael Dickman, and Malerie Willens.

A bold, striking new collection of poems from one of America’s most influential and inventive poets. With more than twenty poetry collections to his name, John Ashbery is one of our most agile, philosophically complex, and visionary poets. In Breezeway, Ashbery’s powers of observation are at their most astute; his insight at its most penetrating. Demonstrating his extraordinary command of language and his ability to move fluidly and elegantly between wide-ranging thoughts and ideas—from the irreverent and slyly humorous to the tender, the sad, and the heartbreaking—Ashbery shows that he is a virtuoso fluent in diverse styles and tones of language, from the chatty and whimsical to the lyrical and urbane. Filled with allusions to literature and art, as well as to the absurdities and delights of the everyday world around us, Ashbery’s poems are haunting, surprising, hilarious, and knowing all at once, the work of a master craftsman with a keen understanding of the age in which he lives and writes, an age whose fears and fragmentation he conjures and critiques with humor, pathos, and a provocative wit. Vital and imaginative, Ashbery’s poems not only touch on the “big questions” and crises of life in the twenty-first century, but also delicately capture the small moments between and among people. Imaginative, linguistically dazzling, and artistically ambitious, Breezeway is John Ashbery’s sharpest and most arresting collection yet.

Is poetry the act of putting something together, or the art of taking something apart? Houseboat Days, one of John Ashbery’s most celebrated collections, offers its own answer Remarkable for its introspection and for the response it elicited when it was first published in 1977, Houseboat Days is Ashbery’s much-discussed follow-up to his 1975 masterpiece Self-Portrait in a Convex Mirror, and remains one of his most studied books to date. Houseboat Days begins with the moving, unforgettable poem “Street Musicians,” an allegory of artistic and personal loss that came ten years after the death of Ashbery’s friend and fellow New York poet Frank O’Hara. But while many of the poems in Houseboat Days are strikingly personal, especially when compared to Ashbery’s work from the 1950s and 1960s, the collection is less about the poet than about the act of writing poetry. In such widely anthologized poems as “Wet Casements,” “Syringa,” “And Ut Pictura Poesis Is Her Name,” and “What Is Poetry,” Ashbery embraces the challenge of his own ars poetica, exploring and exploding the trusses, foundations, and underground caverns that underlie the creative act, and specifically, the act of creating a poem. Marjorie Perloff of the Washington Post Book World called Houseboat Days “the most exciting, most original book of poems to have appeared in the 1970s.”

Witty yet heartbreaking, conversational yet richly lyrical, John Ashbery’s sixteenth poetry collection showcases a mastery uniquely his own And the Stars Were Shining originally appeared in 1994, toward the midpoint of a startlingly creative period in Ashbery’s long career, during which the great American poet published no fewer than nine books in ten years. The collection brings together more than fifty compact, jewellike, intensely felt poems, including the well-known “Like a Sentence” (“How little we know, / and when we know it!”) and the lyrical, deeply moving thirteen-part title poem recognized as one of the author’s greatest. This collection is Ashbery at his most accessible, graceful, and elegiac.

A quintessentially American epic poem that rewrites all the rules of epic poetry—starting with the one that says epic poetry can’t be about the writing of epic poetry itself The appearance of Flow Chart in 1991 marked the kickoff of a remarkably prolific period in John Ashbery’s long career, a decade during which he published seven all-new books of poetry as well as a collected series of lectures on poetic form and practice. So it comes as no surprise that this book-length poem—one of the longest ever written by an American poet—reads like a rocket launch: charged, propulsive, mesmerizing, a series of careful explosions that, together, create a radical forward motion. It’s been said that Flow Chart was written in response to a dare of sorts: Artist and friend Trevor Winkfield suggested that Ashbery write a poem of exactly one hundred pages, a challenge that Ashbery took up with plans to complete the poem in one hundred days. But the celebrated work that ultimately emerged from its squared-off origin story was one that the poet himself called “a continuum, a diary.” In six connected, constantly surprising movements of free verse—with the famous “sunflower” double sestina thrown in, just to reinforce the poem’s own multivarious logic—Ashbery’s poem maps a path through modern American consciousness with all its attendant noise, clamor, and signal: “Words, however, are not the culprit. They are at worst a placebo, / leading nowhere (though nowhere, it must be added, can sometimes be a cozy / place, preferable in many cases to somewhere).”

John Ashbery’s wild, deliriously inventive book-length poem, inspired by the adventures of Henry Darger’s Vivian Girls Henry Darger, the prolific American outsider artist who died in 1973, leaving behind over twenty thousand pages of manuscripts and hundreds of artworks, is famous for the elaborate alternate universe he both constructed and inhabited, a “realm of the unreal” where a plucky band of young girls, the Vivians, helps lead an epic rebellion against dark forces of chaos. Darger’s work is now renowned for its brilliant appropriation of cultural ephemera, its dense and otherworldly prose, and its utterly unique high-low juxtaposition of popular culture and the divine—some of the very same traits that decades of critics and readers have responded to in John Ashbery’s many groundbreaking works of poetry. In Girls on the Run, Ashbery’s unmatched poetic inventiveness travels to new territory, inspired by the characters and cataclysms of Darger’s imagined universe. Girls on the Run is a disquieting, gorgeous, and often hilarious mash-up that finds two radical American artists engaged in an unlikely conversation, a dialogue of reinvention and strange beauty.

A mesmerizing, endlessly entertaining collection that shows John Ashbery at his most exuberant, honest, and inviting John Ashbery’s nineteenth original collection of poetry, first published in 2000, might be one of the “Ashberyest” of his long and varied career. In these poems, the slippery pronouns (who is speaking, who is being spoken to?), the high-low allusions (Daffy Duck, please meet Rimbaud), and the twists of context (where are we anyway, and what’s happening here?) that have long been hallmarks of Ashbery’s poetry are on full, rambunctious display. Beginning with the book’s very title, Ashbery invites the reader into the world of his poetry like never before; each poem can be read as a postcard to experiences that could be yours, his, or anyone’s. And yet the poems in Your Name Here are also personal and particular. The collection is dedicated to an old friend, and in the well-known “History of My Life,” Ashbery strikes a rare autobiographical chord. Some of the best-known poems of Ashbery’s later career are here, including “Not You Again,” “Crossroads in the Past,” and “They Don’t Just Go Away, Either.” Polyphonic, deeply honest, and frequently very funny, Your Name Here is both wonder filled and wonderful.

One of Ashbery’s most acclaimed and beloved collections since Self-Portrait in a Convex Mirror, filled with his signature wit and generous intelligence The poems in John Ashbery’s award-winning 1984 collection A Wave address the impermanence of language, the nature of mortality, and the fluidity of consciousness—matters of life and death that in other hands might run the risk of sentimentality. For John Ashbery, however, these considerations provide an opportunity to display his prodigious poetic gifts: the unerring ear for our evolving modern language and its ever-expanding universe of meanings, the fierce eye trained on glimmers underwater, and the wry humor that runs through observations both surprising and familiar. As the poem “The Path to the White Moon” has it, “We know what is coming, that we are moving / Dangerously and gracefully / Toward the resolution of time / Blurred but alive with many separate meanings / Inside this conversation.” The long title poem of A Wave, which closes the book, is considered one of Ashbery’s most distinguished works, praised by critic Helen Vendler for its “genius for a free and accurate American rendition of very elusive inner feelings, and especially for transitive states between feelings.” Winner of both the Lenore Marshall Poetry Prize and the Bollingen Prize, this book is one to be read, reread, and remembered.

A collection of poems that recall, in their powerful transformations of language, the moment of clarity that arrives upon waking from a dream One of John Ashbery’s most critically acclaimed collections since his iconic works of the mid-1970s, Wakefulness was praised in 1999 for its beauty and alertness. In these pages, the great poet is at once luring the reader into a vivid dream and waking us up with a jolt of recognition. In poems such as “The Village of Sleep,” “Shadows in the Street,” and “Wakefulness,” dreams, sleeplessness, and other transformational and liminal states are revealed to be part of a ceaseless continuity of accelerating changes. Even the most seemingly familiar phrases (“stop me if you’ve heard this one”) are ever in the process of changing their meanings, especially in Ashbery’s hands. And distinctive new realities are created constantly by the power of words, in strange and beautiful combinations. With every word and every line, Ashbery questions the real and summons a new reality.

A captivating experiment in traditional poetic form, from one of the most untraditional American poets ever to set pen to paper At first glance, John Ashbery’s Shadow Train seems to embrace the constraints of traditional poetic form—but closer reading reveals that this work is Ashbery at his revolutionary best. In fifty poems, each consisting solely of four connected quatrains, Ashbery apparently plays by the rules while simultaneously violating every single one. Over and over again, the familiar, almost sonnet-like sixteen-line form creates an outline of a poem within which, one would expect, poetry is meant to arrive—as a station waits for a train. And yet, as with many of the world’s greatest poems, the act of creating poetry also relies on the reading and the reader—in other words, as this collection’s signature poem “Paradoxes and Oxymorons” puts it, “the poem is / you.” In Shadow Train, Ashbery demonstrates how language influences our experience of reality, creating it and sustaining it while also remaining mysterious and ineffable: constantly arriving, but impossible to catch.

John Ashbery’s restless, witty meditation on aging and the music of change: A must-read collection from America’s greatest modern poet The child’s game Chinese Whispers, known in America as Telephone, is an exercise in transforming the recognizable into something beautifully strange. John Ashbery’s twenty-fourth collection of poems, Chinese Whispers, re-creates in every line the accidentally transformative logic of the language game for which the book is named. In sixty-three charged and often very funny poems, Ashbery confronts the relentlessness of age and time while demonstrating, in his unmistakable, self-reflexive style, the process by which a single thought unravels, multiplies, distends, travels, and finally arrives, changed and unfamiliar. First published in 2002, shortly after Ashbery’s seventy-fifth birthday, Chinese Whispers is a collection in which fairy tales, mysteries, and magic dollhouses interleave effortlessly with the everyday of pancakes and popular culture. Ashbery’s language is absolutely recognizable from modern life as it is experienced, but at the same time is as dreamlike and disquieting as intercepted transmissions from another world.

An essential, vibrant collection of masterful translations by one of the finest poets at work today Collected French Translations: Prose, the second volume in a landmark two-volume selection of John Ashbery's translations, focuses on prose writing. Ashbery's own prose writings and engagement with prose writers—through translations, essays, and criticism—have had a profound impact on the cultural landscape of the past half century. This book presents his versions of, among others, the classic French fairy tale "The White Cat" by Marie-Catherine d'Aulnoy, as well as works by such innovative masters as Raymond Roussel and Giorgio de Chirico. Here are all of Roussel's Documents to Serve as an Outline and extracts from his Impressions of Africa; selections from Georges Bataille's darkly erotic first novella, L'abbé C; Antonin Artaud's correspondence with the writer Jacques Rivière; Salvador Dalí on Willem de Kooning's art; Jacques Dupin on Giacometti; and key theoretical and conceptual texts by Odilon Redon, Jean Hélion, Iannis Xenakis, and Marcelin Pleynet. Several of these twenty-nine prose pieces, by seventeen fiction writers, playwrights, artists, musicians, and critics, are previously unpublished or have been long unavailable. Many are modern classics, such as Pierre Reverdy's Haunted House. This book provides fresh insight into the range of French cultural influence on Ashbery's life and work in literature and the arts.

Celebrates and reassesses the reinvention of portraiture in post-World War 2 American art.

Hailed by Harold Bloom as "America’s greatest living poet," John Ashbery has won every major American literary award for his poetry, including the Pulitzer Prize, the National Book Award, the Griffin Poetry Prize, and the National Book Critics Circle Award. A beloved and gifted artist, Ashbery takes his place beside Whitman, Dickinson, Stevens, and Hart Crane in the canon of great American poets. With Quick Question, a new collection of poems published in time for his 85th birthday, John Ashbery proves that his creative power has only grown stronger with age.

Breathlike Just as the day could use another hour, I need another idea. Not a concept or a slogan. Something more like a rut made thousands of years ago by one of the first wheels as it rolled along. It never came back to see what it had done, and the rut just stayed there, not thinking of itself or calling attention to itself in any way. Sun baked it. Water stood, or rather sat in it. Wind covered it with dust, then blew it away. Always it was available to itself when it wished to be, which wasn't often. Then there was a cup and ball theory I told you about. A lot of people had left the coast. Squirt conditions obtained. I forgot I overwhelmed you once upon a time, between everybody's sound sleep and waking afterward, trying to piece together what had happened. The rut glimmered through centuries of snow and after. I suppose it was trying to make some point but we never found out about that, having come to know each other years later when our interest in zoning had revived again.

This monumental work traces Ashbery''s work from the start of his career to his establishment as the world''s greatest living English-language poet. Beginning with Some Trees (1956), chosen by W.H. Auden for the Yale Younger Poets Prize, this volume spans a dozen of his most important collections.Ashbery supervised the publication of the present volume; he specified which variant readings he prefers, approved teh editor''s correction of a few unambiguous typographical errors, and advised about stanza breaks where it is not clear from teh original printings whether a page break is also a stanza break--Note on the texts, p. 1007.

Winner of the 2008 Griffin International Poetry Prize His long-awaited volume, a new selection of his later poems, spans ten major collections by one of America's most visionary and influential poets. Chosen by the author himself, the poems in Notes from the Air represent John Ashbery's best work from the past two decades, from the critically acclaimed April Galleons and Flow Chart to the 2005 National Book Award finalist Where Shall I Wander. While Ashbery has long been considered a powerful force in twentieth-century culture, Notes from the Air demonstrates clearly how important and relevant his writing continues to be, well into the twenty-first century. Many of the books from which these poems are drawn are regularly taught in university classrooms across the country, and critics and scholars vigorously debate his newest works as well as his classics. He has already published four major books since the turn of the new millennium, and, although 2007 marks his eightieth birthday, this legendary literary figure continues to write fresh, new, and vibrant poetry that remains as stimulating, provocative, and controversial as ever. Notes from the Air reveals, for the first time in one volume, the remarkable evolution of Ashbery's poetry from the mid-1980s into the new century, and offers an irresistible sampling of some of the finest work by this "national treasure."

On the heels of his National Book Award-nominated "Where Shall I Wander" comes a breathtaking book of new poems from John Ashbery.

You meant more than life to me. I lived through you not knowing, not knowing I was living. I learned that you called for me. I came to where you were living, up a stair. There was no one there. No one to appreciate me. The legality of it upset a chair. Many times to celebrate we were called together and where we had been there was nothing there, nothing that is anywhere. We passed obliquely, leaving no stare. When the sun was done muttering, in an optimistic way, it was time to leave that there. -- from "The New Higher"

Fifty years of writing on literature, film, and art by one of the most influential poets and critics of our time