Everything honks, everything creaks: Frank O'Hara and the early poetry of James Schuyler

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cris.lastimport.scopus2024-11-26T04:12:51Z
dc.abstract.enIn 1993, Geoff Ward stated that "O'Hara's methods were in a sense absorbed and filtered by Schuyler, his more exploratory and prolific output converted to a series of moves, a repertoire, that Schuyler could then deploy at will" (14–15). Schuyler, however, did not simply mimick the characteristic rhetorical gestures of O'Hara's improvisational approach. O'Hara's influence on Schuyler's poetic sensitivity is undeniable, but this does not mean that Schuyler's work can be adequately described as an amalgam of elements gleaned from O'Hara. Despite many formal and thematic resemblances, Schuyler was interested in issues significantly different from those which absorbed O'Hara. O'Hara donned many costumes; in short, there are many different Frank O'Haras. I suggest taking a closer look at particular poems (the early ones) to see which of these costumes Schuyler at times borrowed from his friend.
dc.affiliationWydział Nauk Humanistycznych
dc.affiliationWydział Nauk Humanistycznych w Warszawie
dc.affiliationInstytut Nauk Humanistycznych
dc.contributor.authorWiśniewski, Mikołaj
dc.date.accessioned2024-11-13T11:37:09Z
dc.date.available2024-11-13T11:37:09Z
dc.date.created2023
dc.date.issued2024-11
dc.description.abstract<jats:p xml:lang="en"> Abstract: In 1993, Geoff Ward stated that "O'Hara's methods were in a sense absorbed and filtered by Schuyler, his more exploratory and prolific output converted to a series of moves, a repertoire, that Schuyler could then deploy at will" (14–15). Schuyler, however, did not simply mimick the characteristic rhetorical gestures of O'Hara's improvisational approach. O'Hara's influence on Schuyler's poetic sensitivity is undeniable, but this does not mean that Schuyler's work can be adequately described as an amalgam of elements gleaned from O'Hara. Despite many formal and thematic resemblances, Schuyler was interested in issues significantly different from those which absorbed O'Hara. O'Hara donned many costumes; in short, there are many different Frank O'Haras. I suggest taking a closer look at particular poems (the early ones) to see which of these costumes Schuyler at times borrowed from his friend.</jats:p>
dc.description.accesstimeat_publication
dc.description.issue3
dc.description.physical123-146
dc.description.versionfinal_published
dc.description.volume80
dc.identifier.doi10.1353/arq.2024.a941983
dc.identifier.eissn1558-9595
dc.identifier.issn0004-1610
dc.identifier.urihttps://share.swps.edu.pl/handle/swps/1095
dc.identifier.weblinkhttps://muse.jhu.edu/pub/1/article/941983
dc.languageen
dc.pbn.affiliationliteraturoznawstwo
dc.rightsClosedAccess
dc.rights.explanationWersja za Pay-Wallem
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dc.titleEverything honks, everything creaks: Frank O'Hara and the early poetry of James Schuyler
dc.title.journalArizona Quarterly
dc.typeJournalArticle
dspace.entity.typeArticle