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About this poet

John Ashbery was born in Rochester, New York, on July 28, 1927. He is the author of more than twenty books of poetry, including Quick Question (Ecco, 2012); Planisphere (HarperCollins, 2009); A Worldly Country (Ecco, 2007); Where Shall I Wander (HarperCollins, 2005); Chinese Whispers (Farrar, Straus and Giroux, 2002); Your Name Here (Farrar, Straus and Giroux, 2000); Girls on the Run: A Poem (Farrar, Straus and Giroux, 1999); Wakefulness (Farrar, Straus and Giroux, 1998); Can You Hear, Bird (Farrar, Straus and Giroux, 1995); And the Stars Were Shining (Farrar, Straus and Giroux, 1994); Hotel Lautrémont (Alfred A. Knopf, 1992); Flow Chart (Alfred A. Knopf, 1991); and April Galleons (Penguin, 1987).

Ashbery has won nearly every major American award for poetry. His collection A Wave (Viking, 1984) won the Lenore Marshall Poetry Prize; Self-Portrait in a Convex Mirror (Viking, 1975) received the Pulitzer Prize for Poetry, the National Book Critics Circle Award, and the National Book Award; and Some Trees (Yale University Press, 1956) was selected by W. H. Auden for the Yale Younger Poets Series.

He has also published Collected French Translations: Poetry (Farrar, Straus and Giroux, 2014); Collected French Translations: Prose (Farrar, Straus and Giroux, 2014); Other Traditions: the Charles Eliot Norton Lectures (Harvard University Press, 2000); Reported Sightings (Alfred A. Knopf, 1989), a book of art criticism; a collection of plays; a novel, A Nest of Ninnies (Dutton, 1969), with James Schuyler; and edited The Best American Poetry 1988.

Ashbery served as the poet laureate of New York State from 2001 to 2003. He was also the first English-language poet to win the Grand Prix de Biennales Internationales de Poésie (Brussels), and has also received the Bollingen Prize, the English Speaking Union Prize, the Feltrinelli Prize, the Ruth Lilly Poetry Prize, two Ingram Merrill Foundation grants, the MLA Common Wealth Award in Literature, the Harriet Monroe Memorial Prize, the Frank O'Hara Prize, the Shelley Memorial Award, and fellowships from the Academy of American Poets, the Fulbright Foundation, the Guggenheim Foundation, and the MacArthur Foundation.

A former Chancellor of the Academy of American Poets, Ashbery is currently the Charles P. Stevenson, Jr., Professor of Languages and Literature at Bard College. He divides his time between New York City and Hudson, New York.


Selected Bibliography

Poetry

Quick Question (Ecco, 2012)
Planisphere (HarperCollins, 2009)
A Worldly Country (Ecco, 2007)
Where Shall I Wander (HarperCollins, 2005)
Chinese Whispers (Farrar, Straus and Giroux, 2002)
Your Name Here (Farrar, Straus and Giroux, 2000)
Girls on the Run: A Poem (Farrar, Straus and Giroux, 1999)
Wakefulness (Farrar, Straus and Giroux, 1998)
Can You Hear, Bird (Farrar, Straus and Giroux, 1995)
And the Stars Were Shining (Farrar, Straus and Giroux, 1994)
Hotel Lautrémont (Alfred A. Knopf, 1992)
Flow Chart (Alfred A. Knopf, 1991)
April Galleons (Penguin, 1987)
Wave (Viking, 1984)
Self-Portrait in a Convex Mirror (Viking, 1975)
Some Trees (Yale University Press, 1956) 

Fiction

A Nest of Ninnies (Dutton, 1969)

Nonfiction

Other Traditions: the Charles Eliot Norton Lectures (Harvard University Press, 2000)
Reported Sightings (Alfred A. Knopf, 1989)

Translation

Collected French Translations: Poetry (Farrar, Straus and Giroux, 2014)
Collected French Translations: Prose (Farrar, Straus and Giroux, 2014)


Multimedia

From the Image ArchiveFrom The Poet's View: Intimate Profiles of Five Major American Poets, available in the Poetry Store.   

 

Syringa

John Ashbery, 1927
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
Can't withstand it. The sky shudders from one horizon
To the other, almost ready to give up wholeness.
Then Apollo quietly told him: "Leave it all on earth.
Your lute, what point? Why pick at a dull pavan few care to 
Follow, except a few birds of dusty feather,
Not vivid performances of the past." But why not?
All other things must change too.
The seasons are no longer what they once were,
But it is the nature of things to be seen only once,
As they happen along, bumping into other things, getting along
Somehow. That's where Orpheus made his mistake.
Of course Eurydice vanished into the shade;
She would have even if he hadn't turned around.
No use standing there like a gray stone toga as the whole wheel
Of recorded history flashes past, struck dumb, unable to 
   utter an intelligent
Comment on the most thought-provoking element in its train.
Only love stays on the brain, and something these people,
These other ones, call life. Singing accurately
So that the notes mount straight up out of the well of
Dim noon and rival the tiny, sparkling yellow flowers
Growing around the brink of the quarry, encapsulizes
The different weights of the things. 
					But it isn't enough
To just go on singing. Orpheus realized this
And didn't mind so much about his reward being in heaven
After the Bacchantes had torn him apart, driven
Half out of their minds by his music, what it was doing to them.
Some say it was for his treatment of Eurydice.
But probably the music had more to do with it, and
The way music passes, emblematic
Of life and how you cannot isolate a note of it
And say it is good or bad. You must
Wait till it's over. "The end crowns all,"
Meaning also that the "tableau"
Is wrong. For although memories, of a season, for example,
Melt into a single snapshot, one cannot guard, treasure
That stalled moment. It too is flowing, fleeting;
It is a picture of flowing, scenery, though living, mortal,
Over which an abstract action is laid out in blunt,
Harsh strokes. And to ask more than this
Is to become the tossing reeds of that slow, 
Powerful stream, the trailing grasses
Playfully tugged at, but to participate in the action
No more than this. Then in the lowering gentian sky
Electric twitches are faintly apparent first, then burst forth
Into a shower of fixed, cream-colored flares. The horses
Have each seen a share of the truth, though each thinks, 
"I'm a maverick. Nothing of this is happening to me,
Though I can understand the language of birds, and
The itinerary of the lights caught in the storm is 
   fully apparent to me.
Their jousting ends in music much
As trees move more easily in the wind after a summer storm
And is happening in lacy shadows of shore-trees, now, 
   day after day."

But how late to be regretting all this, even
Bearing in mind that regrets are always late, too late!
To which Orpheus, a bluish cloud with white contours,
Replies that these are of course not regrets at all,
Merely a careful, scholarly setting down of
Unquestioned facts, a record of pebbles along the way.
And no matter how all this disappeared,
Or got where it was going, it is no longer
Material for a poem. Its subject
Matters too much, and not enough, standing there helplessly
While the poem streaked by, its tail afire, a bad
Comet screaming hate and disaster, but so turned inward
That the meaning, good or other, can never
Become known. The singer thinks
Constructively, builds up his chant in progressive stages
Like a skyscraper, but at the last minute turns away.
The song is engulfed in an instant in blackness
Which must in turn flood the whole continent
With blackness, for it cannot see. The singer
Must then pass out of sight, not even relieved
Of the evil burthen of the words. Stellification
Is for the few, and comes about much later
When all record of these people and their lives
Has disappeared into libraries, onto microfilm.
A few are still interested in them. "But what about
So-and-so?" is still asked on occasion. But they lie
Frozen and out of touch until an arbitrary chorus
Speaks of a totally different incident with a similar name
In whose tale are hidden syllables
Of what happened so long before that
In some small town, one indifferent summer. 

From Houseboat Days by John Ashbery. Copyright © 1975, 1976, 1977 by John Ashbery. Used with permission of Georges Borchardt, Inc., Literary Agency. All rights reserved.

From Houseboat Days by John Ashbery. Copyright © 1975, 1976, 1977 by John Ashbery. Used with permission of Georges Borchardt, Inc., Literary Agency. All rights reserved.

John Ashbery

John Ashbery

John Ashbery was born in Rochester, New York, on July 28, 1927.

by this poet

poem
For just as a misunderstanding germinates
in a clear sky, climbing like a comma
from rack to misunderstood rack of worried clouds,
now difficult, now brusque, foregrounded, amoral,
the last birds took off into the abyss.
Now it was just us, though shielded,
separate, disparate. It almost seems—
and yet it doesn'
poem
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."
Meanwhile the Sea Hag was relaxing on a green couch: "How 
   pleasant
To spend one's vacation en la casa de Popeye," she
poem
Anyone, growing up in a space you hadn't used yet
would've done the same: bother the family's bickering
to head straight into the channel. My, those times
crackled near about us, from sickly melodrama
instead of losing, and the odd confusion...confusion.

I thought of it then, and in the mountains.
During the