The poetry of Frank O'Hara is intimately connected to New York City. He explores the role of the individual subject in the city and the mechanics of the city itself; yet because he engages the urban landscape in an urbane manner many readers of Frank O'Hara view him as the prankish patron of the New York art scene who occasionally took pen to paper. Take this review by Herbert Leibowitz as an example:
A fascinating amalgam of fan, connoisseur, and propagandist, he was considered by his friends, in an excess of enthusiasm, as the Apollinaire of his generation, an aesthetic courtier who had taste and impudence and prodigious energy . . . From the start O'Hara exhibits a precocious air of command and a throwaway charm, as if to the verbal manner born . . . and indeed his world is full of events - parties, thoughtful acts, homosexual encounters, a painting or film to be commented on - that he supports with a sophisticated naïve wonder and generous emotion. [1]
Leibowitz's remarks occasion the publication of The Collected Poems of Frank O'Hara and decorate the back cover of the paperback version. I find it a little strange that a publisher reprinted a portion of this particular review of O'Hara's poetry. Leibowitz basically pans the book and dismisses O'Hara as a poet of minor importance. He views Frank O'Hara as "a Pan piping on city streets". This is a backhanded compliment at best but it does solder a connection between lyric poetry and the cityscape. Consider that O'Hara is following in the footsteps of another lyric poet of the urban landscape, Charles Baudelaire. Baudelaire attempts to embrace modernity, as he sees it, and to write the poetry of the city and the crowd. Although his intentions...
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[7] Neal Bowers. "The City Limits: Frank O'Hara's Poetry". Frank O'Hara: To Be True to a City, ed. Jim Elledge, University of Michigan Press, 1990 (321).
[8] This section is very problematic. I don't want to make reductive generalizations and assertions about Modernism. At the same time, I do not want to explore the work of any one writer in too much detail. I'm going to allude mainly to Eliot and Pound, for simplicity's sake.
[9] Frank O'Hara. "The Day Lady Died". The Collected Poems of Frank O'Hara, ed. Donald Allen. University of California Press, 1995 (325). Hereafter cited parenthetically by title of poem and line number.
[10] Kevin Stein. "Everything the Opposite: A Literary Basis for the Anti-Literary in Frank O'Hara's Lunch Poems" Frank O'Hara: To Be True to a City, ed. Jim Elledge. University of Michigan Press, 1990 (358).
O'Hara, Frank. "The Day Lady Died." The Norton Anthology of Modern and Contemporary Poetry. Ed. Jahan Ramazani et al. 3rd ed. 2 vols. New York: W.W. Norton and Company, 2003. 2: 365.
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. 7th ed. New York: W. W. Norton & Company, 2007. 348-350. Print.
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
Norton Anthology of American Literature. Ed. Nina Baym. 8th ed. Vol A. New York: W.
Poems, Poets, Poetry: An Introduction and Anthology. 3rd ed. Ed. Helen Vendler. Boston: Bedford/St. Martin’s,
In Jane Austen’s Pride and Prejudice, Jane uses the novel to show the common day romance of the time period. In the novel, Elizabeth Bennet, a sophisticated, lively girl manages to change Mr. Darcy, a cocky, stubborn man into a person who is head over heels in love. Although it takes her some time, Elizabeth is able to change the way Mr. Darcy feels about love in general and causes him to act differently then he has ever done before. Mr. Darcy’s self- discovery in response to Elizabeth Bennet’s blunt honestly allows him to re-evaluate his approach to love.
other from Mr Darcy. Mr Darcy is a wealthy man who is a friend of Mr
Raiger, Michael. “’’Large and Startling Figures’: The Grotesque and the Sublime in the Short Stories of Flannery O’Connor.’” Seeing into the Life of Things: Essays on Literature and Religious Experience (1998): 242-70. Rpt. in Short Story Criticism. Ed. Janet Witalec.
(Sept. 1976): 35-39. Rpt. in Short Story Criticism. Ed. Carol T. Gaffke. Vol. 26. Detroit:
Heller, Joseph. The Chelsea House Library of Literary Criticism. Twentieth-Century American Literature Vol. 3. New York. Chelsea House Publishers, 1986.
The text is Pride and Prejudice which is about the ups and downs of the connection/relationship between Elizabeth Bennet and Mr. Darcy. The person who changes the most throughout the novel is Mr. Darcy who changes for the affection of Elizabeth. The first copy of Pride and Prejudice was published in 1993 by Wordsworth Editions Limited. Jane Austen is the author and the genre of the novel is Historical/Romance. The book looks at Mr. Darcy and changing his personality, which characters remain static through the book, what Jane Austen is trying to say about the period of time the novel is set in and why Jane Austen has so many characters that stay the same all through the book.
man in possession of a good fortune must be in a want of a wife". This
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. (PP, 1)
Belasco, Susan, and Linck Johnson, eds. The Bedford Anthology of American Literature. Vol. 1, 2nd Ed., Boston: Bedford/St. Martin's, 2014. 1190-1203. Print.
As we read on, we see a change in Darcy, and feel that his heart of