Joe Brainard’s Collaged Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
Contemporary Poetry ◽  
General Tendency ◽  
New York School ◽  
Text And Image ◽  
Avant Garde ◽  
Spatial Poetics ◽  
Letter Writer ◽  
First And Second Generation

Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary poetry involved in an overlooked dialogue with collage art? This chapter suggests a general tendency towards assembly across the disciplines of text and image which govern both first- and second-generation New York School aesthetics. This chapter showcases how Brainard’s work instigates and propels the collaged poetry of The New York Schools from the real and influential side-lines of their poems? This examination of Brainard’s work argues that though his work sat in the margins of New York School poetry, it informingly lined, bound, and shaped the spatial poetics of this avant-garde American school.

Spatial Poetics

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Urban Space ◽  
First Generation ◽  
Second Generation ◽  
Urban Life ◽  
New York School ◽  
Domestic Spaces ◽  
Avant Garde ◽  
Spatial Poetics ◽  
Alice Notley

Emphatically coming after the enthusiastic, dexterous, and avant-garde First Generation New York School poets, the Second Generation New York School poets Ted Berrigan, Alice Notley, Ron Padgett, and Joe Brainard engaged with highways and byways of both the poetic line and Manhattan’s grid. These poets lived in and wrote from alternative domestic spaces—untidy, disordered, congested apartments in downtown New York City. This study argues that the forms of their poems are accordingly untraditional, highlighting how New York School stanzas often take on the contours of these spaces, becoming linguistic rooms riddled with the tensions of urban life. Building on recent urban and spatial theory, this book offers a history and close reading of Second Generation New York School Poetry, which reads into the subtle formal elements of this supposedly wild poetry, while also suggesting that the dimensions of lived in urban space inform those elements. This first examination of the formal ramifications of Second Generation New York School poetry aims to situate these later twentieth-century American poetries within larger critical narratives of postmodern American innovation.

Ted Berrigan’s Stanzaic Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
John Donne ◽  
New York School ◽  
Poetic Form ◽  
Verse Form

After suggesting (and agreeing) that Berrigan led the Second Generation New York School, this chapter treats the actual forms of Berrigan’s poems, focusing on his sonnets to show that these poets interpret poems as spaces in which to recreate rooms. Berrigan, perhaps more obviously than any other New York School poet, took deliberate steps towards integrating aspects of traditional poetic verse form: Where John Donne encouraged: “We’ll build in sonnets pretty rooms,” Berrigan retorts (repeated throughout his Sonnets): “Is there room in the room that you room in?” riddling the form with domestic, urban and aesthetic complications. Berrigan explained to an interviewer: “I always thought of each one of my poems, like the sonnets, as being a room. And before that, I used to think of each stanza as being a room.” Accordingly, this chapter examines Berrigan’s stanzas as rooms, arguing that this responsive poetic form functions organically.

Denby, Edwin (1903–1983)

2018 ◽  
Author(s):  
Harris Feinsod
Keyword(s):  
New York ◽  
Practical Experience ◽  
Point Of View ◽  
New York School ◽  
John Ashbery ◽  
Visual Artists ◽  
Frank O'hara ◽  
Avant Garde ◽  
Downtown Scene ◽  
James Schuyler

Edwin Denby is best remembered as one of the preeminent critics of dance modernism, yet he was also an accomplished poet and an experienced dancer, choreographer, and librettist. Both his poetic gifts and his practical experience in the theater informed his dance criticism, first collected in Looking at the Dance (1949) and amplified in Dancers, Buildingsand People in the Streets (1965). As the title of his 1965 volume suggests, Denby placed primacy on the pleasures of perception, recording what he saw rather than advocating for a distinct point of view, as did his contemporaries Lincoln Kirstein and John Martin. Denby’s sensibility was widely admired in New York’s postwar avant-garde milieus, and he became an important friend, muse, mentor, and tutelary spirit to visual artists—including Rudy Burckhardt, Willem and Elaine de Kooning, and Alex Katz—and to New York School poets—especially Frank O’Hara, James Schuyler, John Ashbery, Ted Berrigan, Ron Padgett, and Anne Waldman. In the last several decades of his life, Denby continued to be a key figure in the downtown scene across several performance genres.

scholarly journals Poeci-tłumacze jako „awangarda” lat 90.

Wielogłos ◽  
2020 ◽  
pp. 57-73
Author(s):  
Joanna Orska
Keyword(s):  
New York ◽  
Experimental Poetry ◽  
New York School ◽  
Avant Garde ◽  
The Public

Poets-Translators as the “Avant-Garde” of the 1990s David Lehman in his book The Last Avant-Garde. The Making of the New York School of Poets sustains the avant-garde character of the New York School (painters and poets), pointing to the resistance of the public to their works as to one of the symptoms showing their anti-normative and emancipatory message. New experimental poetry in post-transformational Poland of the 1990s was, in general, following the innovations of foreign neo-avant-garde practices – in respect to the methods, interests, and creative ideas. The New York School tradition became the main source of inspiration, due to its reception by poets-translators of the circle of “Literatura na Świecie” magazine: Piotr Sommer, Bohdan Zadura, Andrzej Sosnowski, and Tadeusz Pióro. This article shows that their literary statements on art, which could be seen as programmatic in the avant- -garde way, displayed certain outlines similar to the New York School ideas. One might risk the thesis that at the turn of the centuries in Poland not only American neo-avant-garde poetry aroused the interest of Polish poets-translators. Also the programme of the New York School poets, however vague, became important for their experience and it was being “translated” alongside the poems, though its features would turn out different in Polish conditions.

Sign in / Sign up

Export Citation Format

Share Document