Postwar American Poetry Research Articles

Poetic Politics in the Confessional Poetry of Lowell and Plath

This paper critically examines the cultural shifts the confessional poets mainly Robert Lowell and Sylvia Plath brought in post war American poetry. Under the rubric of postwar isolation ongoing developmental practices induced by Fordist culture whatever psychic disturbances the contemporary generations encountered, are reflected in Lowell and Plath’s poetry. Unlike St. Augustine’s sacramental confession, confessional poetry primarily aims at autobiographical self-exploration in essence. Yet, the confessional poetry departs from the life writing with its sharp delving into the poet’s life. The kernel point of this paper is to discuss the way the poets debunk the boundary between private and public domain and the way they prefer to write on socially stigmatized issues like alcoholism, mental illness, adultery, suicidal thought, and depression. By exploring these issues, I argue that confessional poetry penetrates into the poetics of politics under postmodernism which blurs the border line of raw and cooked, decent and profane matters. While examining the selected poems of Lowell and Plath, the cathartic motto of the poets has been highly focused when they express their troubled experiences which were indecent in the past.

A Network Analysis of Postwar American Poetry in the Age of Digital Audio Archives

From the New American Poetry to New Formalism, publishing networks such as literary magazines and social scenes such as poetry reading series have served as a capacious mod-el for understanding the varied poetic formations in the postwar period. As audio archives of poetry readings have been digitized in large volumes, Charles Bernstein has suggested that open access to digital archives allows readers of American poetry to create mixtapes in different configurations. Digital archives of poetry readings “offer an intriguing and powerful alternative” to organizing practices such as networks and scenes. Placing Bern-stein’s definition of the digital audio archive into contact with more conventional under-standings of poetic community gives us a composite vision of organizing principles in postwar American poetry. To accomplish this, we compared poetry reading venues as well as audio archives — alongside more familiar print networks constituted by poetry an-thologies and magazines — as important and distinct sites of reception for American poet-ry. We used network analysis to visualize the relationships of individual poets to venues where they have read, archives where their readings are stored, and text anthologies where their poetry has been printed. Examining several types of poetic archives offers us a new perspective in how we perceive the relationships between poets and their “networks and scenes,” understood both in terms of print and audio culture, as well as trends and chang-es in the formation of these poetic communities and affiliations. We suggest that this ap-proach may offer new ways of imagining the multiple dimensions contributing to the so-cial formation of contemporary American poetry.

Innovation and the Poetic Discourse: Reading Experimental Trends in Post-War American Poetry

This paper aims at analysing the rise of innovative and experimental poetics within the American poetic grounds and the factors that remain extremely influential in establishing an alternate poetic culture that emerged with the rise of modernism within poetic circles. With influential and significant American poetic voices like Ezra Pound, T.S. Eliot and innovative women poets like Gertrude Stein popularising the use of ‘experimental’ techniques within the processes of poetic construction, the American poetic culture witnessed the rapid growth of an alternate realm of poetic activity that particularly gained significant recognition in the post-war era. This paper attempts to present an overview of the various post-war poetic groupings that contributed to the establishment of an experimental tradition within contemporary American poetics.

Suburban Identity in the Poetry of John Updike

Abstract This paper provides a close reading of a representative selection of suburban poems by the American writer John Updike (1932–2009). It also draws upon the existing scholarship by suburban studies historians (including Kenneth Jackson, Dolores Hayden, John Archer, and James Howard Kunstler), who have argued for the cultural importance of American suburbia in fostering identity, and develops the argument by literary critics including Jo Gill, Peter Monacell, and Robert von Hallberg, who have championed the existence of a viable suburban tradition in postwar American poetry. By scrutinizing poems from Updike’s early poetry, represented by “Shillington”, up to his closing lyric opus, “Endpoint”, the paper argues that Updike’s unrecognized importance is that of a major postwar poet whose lyric work chronicles, in memorable, diverse, and important ways, the construction of individual identity within suburbia, in a dominant setting for most Americans from the 1950s up to the present.

Ghostly Figures: Memory and Belatedness in Postwar American Poetry by Ann Keniston

Ghostly Figures: Memory and Belatedness in Postwar American Poetry, by Ann Keniston. Iowa City: University of Iowa Press, 2015. 228 pages. In Ghostly Figures: Memory and Belatedness in Postwar American Poetry, Ann Keniston reopens two topics that are central to thinking about poetry but that each present a number of potential snares for the scholar who aims to train a critical eye upon them: temporality and figuration. Both topics are seemingly ubiquitous; they are not only the subjects of myriad books and articles written over the past several decades, but they are also topics that have occupied poets incessantly. In a number of respects, these two issues are at the very heart of the poetic enterprise, and so taking them on is akin to taking on nearly everything that might matter about poetry. Many of the most important statements about and theories of poetry over the past several hundred years emerge out of a consideration of one or the other of these issues, whether Wordsworth's theory of the affective temporality of poetic composition spontaneous overflow of powerful feelings that is, some time later, composed as a poem, recollected in tranquility [Gill 1984, 611]) or Eliot's notion of the proper mechanism for figuring emotion in poetry (the objective correlative [1953, 107]). For the most part, Keniston's interests in the temporalities and figures of poetry aren't directly focused on the act of composition, and her goal in Ghostly Figures is not to wrestle once again with Wordsworth or Eliot (although each comes to the surface at several points). However, her framing of these central issues introduces another set of formidable critical precursors. Near the start of her introduction, Keniston provides an important gloss on her central motif: often impacted tropes and figures in postwar poems reveal their inextricability from the difficulties of (5). So, on the one hand, Keniston means to intervene in a topic over which a small cache of essays by Paul de Man still holds remarkable sway. And, on the other hand, she aims to revive a term--belatedness--that is still bound to Harold Bloom's theory of literary influence. Keniston's argument isn't dedicated to overturning these powerful theories emerging from New Haven in the 1970s, and de Man's influence in particular is evident throughout the volume. Rather, Keniston aims to reroute her central themes--figuration, lyric address, belatedness--around these influential deconstructionist accounts of them, in order to make them newly relevant and vibrant within contemporary poetry criticism. This is part of the great value of Keniston's volume: under the broad rubric of belatedness, she provides an account of postwar American poetry that manages to reenergize and complicate a series of fundamental concepts. By examining the ways in which a handful of American poets from the past sixty years have figured and have experimented with and within the temporalities of poetic form and lyric address, Keniston's volume intercedes in current debates about lyric theory in the area in which the so-called New Lyric Studies is least well developed: the relationship between theories of lyric and contemporary poetry that, in whatever way, might be said to partake of some of the energies of lyric writing. The central figures associated with New Lyric Studies--Virginia Jackson, Yopie Prins, and, in a different way, Jonathan Culler--aren't prominent figures in Keniston's volume, but it is helpful to understand her work within this larger field. More particularly, Ghostly Figures shows, implicitly if not directly, a path that might--that should--be taken by those critics interested in lyric theory and historical poetics. That is to say, her volume might help New Lyric Studies turn more productively toward the consideration of new poetry. In Keniston's account, belatedness is a multivalent term. In its more literal sense, it refers to the complex lag endemic to memory, to a broader structure of feeling (what we might call the feeling of post-), to the difficulties of representing the past and especially historical trauma, and in a more literary-critical sense to the ways that writers relate to their precursors (in a quasi-Bloomian way). …

Ghostly Figures: Memory and Belatedness in Postwar American Poetry. Ann Keniston. Iowa City: University of Iowa Press, 2015. Pp. xii+240.

<i>Ghostly Figures: Memory and Belatedness in Postwar American Poetry</i>. Ann Keniston. Iowa City: University of Iowa Press, 2015. Pp. xii+240.

Marianne Moore's Postwar Fables and the Politics of Indirection

Marianne Moore's response to World War II took an unexpected form: her translation, published in 1954, of the fables of La Fontaine. While Moore's project emerged from a wartime effort of European cultural transmission, the fables' indirect speech also served more personal political ends. It afforded a protected means for entering a gendered debate about war and a language for writing about large issues—violence, suffering, injustice—that avoided the oversimplifications and divisiveness of wartime and Cold War rhetoric. Critics have mostly neglected Moore'sFablesalong with her politics, but both are essential to understanding not only her response to war but also the larger goals of postwar American poetry and translation as a political project—one that allowed Moore and her peers to offset the guilt of spectatorship by reclaiming intellectual labor as a mode of war participation.

The poetry of disturbance: the discomforts of post-war American poetry

In The Poetry of Disturbance, David Bergman argues that post-war poetry underwent a significant if subtle shift in emphasis, moving from the modernist concern with the poem as a visual text to one that was chiefly oral in nature. The resulting change was disturbing, especially for those brought up on the principles of high modernism. This new stress on orality implied a shift in the economy of the poem, away from the austerity of language advocated by Pound and Eliot to a style that conveyed freedom, expansiveness, and an innovative directness.

Ghostly figures: memory and belatedness in postwar American poetry

Ghostly figures: memory and belatedness in postwar American poetry

Surrealism, Beat Literature and the San Francisco Renaissance

AbstractThis article explores the reception of Surrealism in postwar American poetry, focussing on Beat and San Francisco Renaissance writers’ responses to the movement. Whilst Surrealism’s influence is frequently asserted the article suggests that its impact remains only partially explored. Existing scholarship on Surrealism’s presence in twentieth century American poetry has tended to differentiate between the small number of writers who joined Breton’s circle, and the large number of poets whose work testifies to the movement’s protean yet extensive influence on modern and postmodern verse. Taking Beat and San Francisco Renaissance writers as a case study, this article seeks to interrogate such classifications, arguing that a writer’s ‘distance’ from the epicentre of the movement is not necessarily a reliable guide to the nature of their interactions with Surrealism. Within Beat and San Francisco avant‐gardes we can find evidence of writers who joined the movement but who subjected its poetics, principles or politics to substantial modification, their particular versions of Surrealism not entirely congruent with Breton’s. Conversely, there are many writers who, it has been claimed, are influenced by the movement, yet this influence exceeded simply seasoning their work with the odd ‘surreal’ juxtaposition. For instance, though not a member of the group per se, Allen Ginsberg had extensive contact with the movement and he and his Beat colleagues helped redefine Surrealism’s postwar currency and profile. A‐historical assertions of basic similarities or differences between Beat writers and narrow definitions of Surrealism cannot capture the dynamics and complexities of these dialogues.

The Age of Auden (review)

Reviewed by: The Age of Auden Michael Clune The Age of Auden. Aidan Wasley. Princeton: Princeton University Press, 2011. Pp. xix + 258. $35.00 (cloth). In his new book, Aidan Wasley attempts to tell the story of postwar American poetry through the optic of W. H. Auden's ubiquitous presence as example, friend, judge, and teacher. Wasley develops this aim through two related theses. The first is that Auden's impact consists in large measure of the dissemination of a happy model of poetic influence that is free of anxiety. The second is that understanding the ways such major poets as John Ashbery and Adrianne Rich respond to Auden will illuminate their poetry in startling new ways. [End Page 205] Wasley argues that Auden, in his poetry, criticism, lectures, and conversation, shows American poets how to achieve an "unanxious assimilation of influences" (74). "It is an idea of influence based on acknowledgement, emulation, and creative utility" (55). Here he contrasts Auden's with two competing models. The first is Harold Bloom's vision of poetic affiliation in terms of the Freudian family romance, with son struggling to subdue the father and claim his own voice. The second is T. S. Eliot's vision of poetic impersonality as submission to the tradition. In contrast to both, Auden teaches young poets to see the tradition as a menu of options for constructing and enhancing the poetic voice. In part, this model of self-fashioning is a function of the poet's homosexuality. Auden's queerness, for Wasley, is utterly free of the violence and anti-social impulses that animate homosexual relations for a critic like Leo Bersani. Rather, the family romance is replaced by a benign erotics that promiscuously pursues unshadowed connections. These connections are unburdened by any sense of responsibility to the integrity of the whole that the poet's borrowings and graftings might add up to. The young poet under Auden's tutelage follows what he or she likes without worrying too much about what this says about his or her identity. Above all, this means that poets under Auden's influence don't need to worry about whether Rimbaud and Pound and Auden are appropriate materials for an American poetry. "To be an 'American' poet after Auden was to be . . . unfettered (or unassisted) by notions of native authenticity" (74). Auden offers America the "paradigm of the modern professional poet" (94). A polite, deracinated professionalism replaces anxious supplication and aggression. Auden's way of enacting and theorizing the poet's relation to the poetic tradition is itself an artifact of a thoroughly commercial concept of public and private life, and Wasley brings this out in contrasting Auden with Eliot. Both agree in attacking the straw man of a supposed romantic commitment to the self-authorizing creative self and in seeing the poet as composed of borrowed materials. What Auden adds to Eliot is that preeminent postwar civic and commercial value: choice (96). Eliot imagines that the tradition is singular and monolithic. Auden thinks that it is constituted by the free choice of the poet, browsing the bookstores of the world. Wasley develops the commercial dimension of Auden's influence in the book's most successful chapter, which describes James Merrill's absorption of that influence in his composition of The Changing Light at Sandhover. "The mystery of selfhood's debt to inheritance is perhaps the central theme of Merrill's life and his work," Wasley suggests (81). He cites the following, extraordinary lines of Merrill's to illustrate the extent to which the poet's career consists of a search to make others feel at home in his voice: "Young chameleon, I used to / Ask how on earth one got sufficiently / Imbued with otherness. And now I see" (90). But what, one might wonder, does Auden add to Merrill's séance-assisted quest for inspiration that Yeats couldn't have taught him? Wasley examines the terms by which Merrill solicits his ghosts, the curious bureaucratic structure of the afterlife that Ephraim and the others reveal, and the many-voiced entity that the poet "imbued with otherness" finally becomes. The mature Merrill, Walsey concludes, "is the poetic tradition incorporated" (92...

Apocryphal Lorca: Translation, Parody, Kitsch (review)

MAYHEW, Jonathan. Apocryphal Lorca: Translation, Parody, Kitsch. Chicago: U of Chicago P, 2009. xvii + 222 pp.Jonathan Mayhew's new work belongs to certain class of surprising books: those so obviously necessary once they appear that it apparently required stroke of genius to come up with the idea for them. A quick glance at the table of contents of Apocryphal reveals an astonishing truth, all the more astonishing as it lay there in plain view for all to see, unnoticed until Mayhew made us see it: that remarkably broad and comprehensive overview of postwar American poetry can be conducted simply by tracing how various poets and schools translated, appropriated, pastiched, copied, and learned from the single figure of Federico Garcia Lorca. Everyone from the Beats, the San Francisco Renaissance, the New York School, and the Black Mountain poets to the more mainstream deep image poets of the sixties and seventies is covered. In addition, Mayhew examines distinctive African-American tradition of reception, and among the many surprises he uncovers is Langston Hughes's role as Lorca's earliest American translator, and one of his best. As Mayhew's title clear, the real relationship to Lorca's work of the many poets who claimed his heritage was often tenuous at best, yet postwar American poetry has become inconceivable without him. Mayhew's goal is to tell this extraordinary tale of Lorca's centrality, while fully acknowledging the extent to which his privileged position has been based on stereotypes, cliches, misreading, mistranslations, mystification, and wishful thinking.Indeed, again and again Mayhew points to the violence with which is appropriated by those who claim to write in his wake but leave him Americanized beyond recognition (22). In his chapter Deep Image, for example, Mayhew consistently denies that the poetry of Robert Bly, James Wright, or Jerome Rothenberg owes any real debt to or represents substantive engagement with that of Lorca; he concludes that the preeminence given to him and to Spanishlanguage poetry in its surrealist vein more generally is in fact retrospective interpretation when applied to Robert Kelly or Rothenberg, and equally difficult to pin down for Wright and Bly (88). In the next chapter, he goes on to show that Robert Creeley's short lyric After Lorca was only following what one must call cursory knowledge of Lorca's work - to put it generously. His longer discussion of Jack Spicer's post-Poundian untranslation project (to use one of Spicer's own terms), also titled After Lorca, discusses what Spicer himself happily acknowledges within that work: that not only does he take large and deliberate liberties with his renderings, but that some lines or entire poems have no corresponding originals at all! Obviously then, for Spicer, quite openly figures as kind of pretext upon which he can write his own poems, but Spicer's self-critical and ironic investigation of this appropriation within After Lorca prevents from becoming for Spicer what Mayhew feels he is to Creeley: a blank slate onto which any cultural meme associated with the Spanish-speaking world might be written (106). Indeed, if Spicer's recourse to is the most obviously violent of Mayhew's examples, Mayhew nevertheless concludes quite convincingly that it is Spicer, of all the poets he studies, who makes the most intense and productive use of Lorca (175). Certainly, the subsequent investigations of Lorquian moments in Frank O'Hara, Kenneth Koch, and the later, postdeep image Rothenberg of The Variations all reveal to different degrees similarly unsatisfying engagement with Lorca's work. Mayhew's initial thesis, 'American Lorca' who is the subject of this book is not corpus of texts, but an authorial construction with pronounced ideological effects (7) is admirably borne out by his study.However, to significant degree Mayhew's book is victim of its own success, for if he convincingly shows how superficial or uninformed much of the interest in has been, this leaves the fact of Lorca's recurrence as reference point all the more bizarre and unexplained. …

“All I Do Is Think About You”: Some Notes on Pragmatist Longing in Recent Literary Study of Amiri Baraka

This essay examines Amiri Baraka's improvisatory, always changing commitment to literary and performative formal innovation in the service of his radical politics. It charts the coupling of romantic longing with radical political prescription in Baraka's career and suggests a reading of his poem “Nightmare Bush'it Whirl” as a corrective to recent trends in neopragmatist approaches to Baraka studies. As a recording, “Nightmare” interpolates Stevie Wonder's “All I Do” and conflates romantic longing with a catalog of various defeats and anticipated victories in the international socialist and Black radical movement. This essay presents an immanent critique of Richard Poirier's categories as it applies to recent scholarship on Baraka's poetics, including Andrew Epstein's book-length study Beautiful Enemies: Friendship and Postwar American Poetry. It attempts to theorize a critical encounter between Poirier and Baraka by offering up a reading of Poirier's mention of Baraka in the pages of Partisan Review, and it applies Poirier's critical categories to a sampling of Baraka's literary production.

Perfecting Friendship: Politics and Affiliation in Early American Literature; Beautiful Enemies: Friendship and Postwar American Poetry

Book Review| September 01 2009 Perfecting Friendship: Politics and Affiliation in Early American Literature; Beautiful Enemies: Friendship and Postwar American Poetry Betsy Klimasmith Betsy Klimasmith Search for other works by this author on: This Site Google American Literature (2009) 81 (3): 615–617. https://doi.org/10.1215/00029831-2009-029 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Betsy Klimasmith; Perfecting Friendship: Politics and Affiliation in Early American Literature; Beautiful Enemies: Friendship and Postwar American Poetry. American Literature 1 September 2009; 81 (3): 615–617. doi: https://doi.org/10.1215/00029831-2009-029 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter Books & JournalsAll JournalsAmerican Literature Search Advanced Search The text of this article is only available as a PDF. © 2009 by Duke University Press2009 Article PDF first page preview Close Modal Issue Section: Book Reviews You do not currently have access to this content.

‘Language is the House We Live in:’ Language-Centeredness and the Limits of Political Activism in Post-War American Poetry (1950-1980)

This article discusses the political dimension of post-war American Poetry from around 1950-1980. The underlying argument is that the antirepresentationalist poetry produced in and around the LANGUAGE-school in the 1970s is the necessary continuation of the political and social activism initially opted for by the Beat Generation. I assert that the kind of language-centeredness typical for many works of the LANGUAGE- school was already entailed in central texts of the 1950s and 1960s, as writers began to examine processes of meaning production/construction in the social sphere. Looking at selected poems by Allen Ginsberg (“A Supermarket in California”, “Wichita Vortex Sutra”), Denise Levertov (the text collection To Stay Alive ) and Bruce Andrews (“I Guess Work the Time Up”), the article traces a specific feature of postmodern poetry, spotlighting the growing ambivalence inherent in the search for an alternative cultural politics instigated by post-war American poets. I point out how the increased interest in the (linguistic) constructedness of political realities resulted in a poetics of “nonnarrativity” and hermetic closure that began gradually to jeopardize the communicative foundation of their collective political goals. My article concludes by suggesting a conceptual link between the projects of multiauthorship engaged in by several LANGUAGE-poets and the Habermasian notion of “communicative rationality.”

Frank O’Hara and the Turn to Friendship

A couple of bright new books on Frank O'Hara and the New York School of poets underscore two notable trends in scholarship on twentieth-century U.S. poetry and culture. The first of these trends is fairly easy to describe. Since his stunning death in 1966—struck by a beach buggy late at night on Fire Island—O'Hara has been transformed from an influential though little-known poet and supporter of experimental art into a full-fledged member of the literary canon. Donald Allen's The Collected Poems of Frank O'Hara (1971) and Marjorie Perloff's Frank O'Hara: Poet among Painters (1977) were early and indispensable steps in the rise of pop ular and scholarly interest in O'Hara, which continued apace throughout the 1980s and '90s, fueled in part by the invention of queer theory and the growing influence of cultural studies. O'Hara's poems captured a number of movements that scholars were keen to describe, flitting easily across the great divide between high art and popular culture, meditating cleverly on the practice of everyday life in the postindustrial city, and addressing both the pleasures and difficulties of articulating queer desire in the public sphere. By now we have a biography, sev eral tributes and essay collections, and recent books on O'Hara and the New York School marketed to broader audiences.1 I'm so grateful to you! O'Hara might have exclaimed to his growing audience in the new millennium, with his char acteristic combination of self-deprecating ambition and joy.2 Lytle Shaw's Frank O'Hara: The Poetics ojCoterie and Andrew Epstein's Beauti ful Enemies: Friendship and Postwar American Poetry confirm O'Hara's position as a charismatic and irresistible figure in discussions of postwar American poetry. They underscore a second trend as well, at once more intriguing and more difficult to

Selected Affinities

Review Article| June 01 2008 Selected Affinities Selected Poems, by O’Hara, Frank, New edition. Edited by Ford, Mark. New York: Alfred A. Knopf, 2008. 265 pages.Beautiful Enemies: Friendship and Postwar American Poetry, by Epstein, Andrew, New York: Oxford University Press, 2006. 359 pages. Terence Diggory Terence Diggory Search for other works by this author on: This Site Google Twentieth-Century Literature (2008) 54 (2): 263–272. https://doi.org/10.1215/0041462X-2008-3007 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Terence Diggory; Selected Affinities. Twentieth-Century Literature 1 June 2008; 54 (2): 263–272. doi: https://doi.org/10.1215/0041462X-2008-3007 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsTwentieth-Century Literature Search Advanced Search The text of this article is only available as a PDF. Copyright © Hofstra University2008 Article PDF first page preview Close Modal You do not currently have access to this content.

"Between the Poet and the Person": Dilemmas of Friendship in Contemporary Poetry

In the speech Larry Rivers gave at O'Hara's 1966 funeral, he said: Frank O'Hara was my best There are at least sixty people in New York who thought O'Hara was _their best friend. He later rooted this impossibility in O'Hara himself, calling the poet dream of contradictions.1 Andrew Epstein cites Rivers's eulogy at the outset of his fascinating reading of the artistically generative conflicts between self and friendship in O'Hara's life and work, an analysis that forms the core of Beautiful Enemies: Friendship and Postwar American Poetry. From O'Hara's death on, friends, lovers, critics, and scholars have all helped to con tribute to the myth that the poet actually achieved the proliferated intimacies Rivers describes?that, in O'Hara's words, he managed to be everything to everybody everywhere (qtd. in Beautiful Enemies 117), without personal consequence and in the breezy mood that buoys his most famous poems. Epstein's skepticism, bred of a much more sophisticated understanding of the relationship between O'Hara's poems and friendship as subject matter, biogra phical factor, philosophical riddle, or textual consideration (87), offers a sobering, and deeply humanizing, alternative to what

Beautiful enemies: friendship and postwar American poetry

ABBREVIATIONS INTRODUCTION 1. Situation the Avant-Garde in Postwar America COMMUNITY, INDIVIDUALISM, AND COLD WAR CULTURE 2. Emerson, Pragmatism, and the New American Poetry 3. My Force Is in Mobility SELFHOOD AND FRIENDSHIP IN FRANK O'HARA'S POETRY 4. Growing Up with Our Brothers All Around JOHN ASHBERY AND THE INTERPERSONAL 5. Amiri Baraka and the Poetics of Turning Away 6. Against the Speech of Friends BARAKA'S WHITE FRIEND BLUES 7. A Rainy Wool Frankie and Johnny O'HARA, ASHBERY, AND THE PARADOXES OF FRIENDSHIP CONCLUSION NOTES WORKS CITED INDEX

Mastery's End: Travel and Postwar American Poetry

Mastery's End: Travel and Postwar American Poetry