Difference between revisions of "Frank O'Hara" - New World Encyclopedia

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*''XXIX Venice Biennale''. Selected U.S. representations for this internation exhibition, 1958.
 
*''XXIX Venice Biennale''. Selected U.S. representations for this internation exhibition, 1958.
 
*''Abstract Watercolors by 14 Americans.'' New York: Museum of Modern Art, shown widely after 1961.  / London: American Embassy, 1963. / Athens: Ellino-Amerikaniki Enosis, 1965.
 
*''Abstract Watercolors by 14 Americans.'' New York: Museum of Modern Art, shown widely after 1961.  / London: American Embassy, 1963. / Athens: Ellino-Amerikaniki Enosis, 1965.
*''David Smith.'' New York: Museum of Modern Art, shown widely after 1961. / ''David Smith''. Wrote the introduction for this catalog publised by the Museum of Modern Art, 1965. / ''David Smith, 1906-1965.'' London: Tate Gallery, August 18 - September 1966.
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*''David Smith.'' New York: Museum of Modern Art, shown widely after 1961. / ''David Smith''. Wrote the introduction for this catalog publised by the Museum of Modern Art, 1965. / ''David Smith, 1906-1965.'' London: Tate Gallery, August 18 - September 1966. / ''David Smith: 1906-1965: Rijksmuseum Kröller-Müller, Otterlo, 15 Mei - 17 Juli 1966.'' Amsterdam: Den Ouden, May 15 - July 17, 1966.
 
*''Drawings by David Smith.'' New York: Museum of Modern Art, shown widely after 1961.
 
*''Drawings by David Smith.'' New York: Museum of Modern Art, shown widely after 1961.
 
*''Documenta II '59.'' With Porter McCray. Kassel, Germany: 1959.
 
*''Documenta II '59.'' With Porter McCray. Kassel, Germany: 1959.

Revision as of 21:16, 21 June 2007


Francis Russell O'Hara (March 27, 1926 – July 25, 1966) was an American poet who, along with John Ashbery, James Schuyler and Kenneth Koch, was a key member of the New York School of poetry. He was heavily influenced by contemporary music and visual art, especially abstract expressionism, and gay male urban culture. The urgency and quickness of his voice allows the reader to experience life as O'Hara did in New York. O'Hara's most original volumes of verse, Meditations in an Emergency (1956) and Lunch Poems (1964), are a combination of impromptu lyrics, a jumble of witty talk, journalistic parodies, and surrealist imagery[1]. Before his life was cut short by an accident in 1966, he collaborated with many artists to create various different types of art, including "poem-paintings," lithographs, films and plays, to name a few. O'Hara was also a highly respected art critic of the 1950s and 60s. Though he only published six books during in his lifetime, O'Hara's scope of work was vast and he acomplished a such great deal of innovative work that one can easily recognize his brilliance and love of art.

Life

Early Years

Frank O'Hara, the son of Russell Joseph O'Hara and Katherine Broderick, was born in Baltimore, Maryland and grew up in Grafton, Massachusetts, a suburb of Worchester. He was educated at the private, Catholic schools of St. Paul and St. John in Worcester, and studied piano at the New England Conservatory in Boston from 1941 to 1944. He was loyal to his country and when World War II came, he enlisted in the U.S. Navy shortly after his high school graduation. O'Hara served in the South Pacific and Japan as a third class sonarsman on the destroyer USS Nicholas during World War II, though he was not engaged in any actual combat. He received an honorable discharge in 1946.

Post-Secondary Education

With the funding made available to veterans on the GI Bill, O’Hara attended Harvard University, in Boston, where he roomed with artist Edward Gorey. He was initially a music major and later changed his emphasis to English, though he continued to play the piano and still did some composing. He then met John Ashbery at Harvard and tried his hand in poetry. O'Hara especially appreciated the poets Rimbaud, Mallarme, Pasternak and Mayakovsky.[2] O'Hara began to publish poetry in the Harvard Advocate, he founded the Poets’ Theater at Harvard and took creative writing classes from John Ciardi (whose reccommemdation later helped O'Hara get into graduate school).[3] He graduated in 1950 with a B.A. in English.

O'Hara was given a graduate fellowship in comparative literature at the University of Michigan in Ann Arbor. While at Michigan, he won a major Hopwood Award for his collection of poems, “A Byzantine Place” (1951) and Try! Try! (1951), a verse play. Try! Try! and Change Your Bedding (1951), another play he wrote while at Michigan, were launched at the Poet’s Theater in Cambridge. O’Hara received his M.A. in English Literature in 1951.

New York City

In the fall of 1951, O’Hara moved into an apartment in New York City to join fellow poet and friend John Ashbery. O’Hara explored the city and was finally free to live openly as a homosexual. [4] He moved in with Joe LeSueur, who would be his roommate and sometimes lover for the next 11 years. O’Hara worked briefly as an assistant to photographer Cecil Beaton[5] until he found a position at the front desk of the Museum of Modern Art (MoMA), selling postcards, publications and tickets in December 1951. He wrote poems in his spare time at work and his friends in the art world would drop by and visit him, all the while having access to the paintings in the museum. He was always hanging around the artists’ studios and wanted to be as involved in the artistic process as possible, whether it meant stretching canvases or posing as a model. Thus, he was the subject of many portraits by New York School painters.[6] O’Hara began to write seriously and published one of his first books of poems, A City in Winter and Other Poems (1951, 1952).

In 1953, O’Hara left the MoMa to become an associate editor for Art News. He started writing art reviews and built a reputation for himself as an outstanding critic. He rejoined the staff of the MoMA in 1955 as a special assistant to the International Program, and in 1960 was appointed assistant curator of paintings and sculptures. He selected paintings for several important exhibitions, including The New American Painting (1958-59) and Twentieth Century Italian Art from American Collections (1960). Though O’Hara might have lacked the formal schooling usually necessary for curatorial museum work, his work was wide-ranging and critically acclaimed, as his eye for art and knowledge of painting were excellent.[7]

O'Hara became deeply involved in the New York art scene, and befriended many artists, such as abstract expressionists Willem De Kooning and Jackson Pollock, Norman Bluhm, Larry Rivers and Joan Mitchell. He was known throughout his life for his extreme sociability, passion, and warmth. He had hundreds of friends and lovers throughout his life, many from the New York art and poetry worlds.

Death

O'Hara died in an accident on Fire Island in which he was struck and injured by a beach dune buggy during the early morning of July 24, 1966. He died at age 40 the following day of internal injuries and is buried in Springs Cemetery, Long Island, New York.

Work

Diction, Style and Form

O'Hara's early work was considered both provocative and provoking.[8] His poems were witty and he enjoyed writing about the little things in life. Most of his work is, like Whitman's poems, organic, and, is often thought of as "unpoetic" because of it's originality, freedom and prose-like style.[9] His language was often colloquial and he would incorporate very specific details of daily life into his poems, even the mundane. This "I-do-this-I-do-that" style combines the picaresque ramblings of traditional American poets like Walt Whitman with the aleatory stylings of O'Hara's European heroes Mallarme and Mayakovsky. Nonetheless, his informal language is often paired with campy, scholarly language, to create a dreamlike, and almost messy tone, which corresponds to his urban New York environment.

Much of his work was spontaneous and very disorderly. His writing was immediate and often quickly typed out. One collection, Lunch Poems (1964), was so named (by City Lights publisher Lawrence Ferlinghetti) because O'Hara wrote the poems in the collection during his lunch hour. He would often write poems in the spare moments he had between friends and the art world. Most of his work was left laying around his apartment or written out in letters to friends.[10] He was notoriously disorganized, and legend holds that before publishing O'Hara's poems, Ferlinghetti had to fly from San Francisco to New York and search through all of O'Hara's coat pockets to find them. It is unknown how many of O'Hara's poems may have been lost. A sometimes-playwright, O'Hara once absentmindedly left his typewriter and a finished play in a train station. His devoted friends created a collection to buy him another typewriter; but, the play was never recovered.

This seemingly careless approach, however, was not completely random in structure and his narraive pacing is brilliant.[11] O'Hara's poetry was free verse, though sonnet form can be seen in many of his poems. Moreover, his line breaks may appear arbitrary[12] and definately appear to follow the aleatory form of some of his predecesors, but they are very effective in bringing the reader's attention to certain the sound and immediacy of his words. Thus, his reliance upon the unexpected or chance may have been more deliberate than not. O'Hara's reaction against modernism and non-traditional techniques, nonetheless, are said to have returned American poetry back towards being critical and innovative.[13]

New York School and Abstract Expressionism

O'Hara became one of the most distinguished members of the New York School of poets, which also included John Ashbery, James Schuyler, Kenneth Koch and Barbara Guest. These poets promoted instability and change, openness and movement, thus producing some of the most experimental Americn poerty written in the 1950s and 60s.[14] All the while, the abstract expressionism movement, whose major artists included Willem de Kooning, Franz Kline, Jackson Pollock, and Jasper Johns was flourishing in New York. O'Hara became a major contributor to the avant-garde art scene,[15] and this art became one of the main sources of inspiration for his highly original poetry.

Not only did O'Hara's work reflect the urgency, mobility and randomness of the New York School, but he also used New York City as the subject for much of his work. He embraced urban gay male culture and highly regarded the moments, people, places and objects prevalent in New York daily life. He also incorporated the art and names of abstract expressionists into his poetry. His interest in painting allowed him to take risks and explore art in a way that changed poetry as it stood prior to the New York School movement. His poems, like real city life, spill into one another and display the various aspects of the O'Hara's extremely busy life.[16] O'Hara loved New York City and all it had to offer. He embraced and eternalized his experiences, and in "Meditations in an Emergency" he wrote, "One need never leave the confines of New York to get all the greenery one wishes—I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life."

To O'Hara, art was a process.[17] As he acquired inspiration from the streets and culture of New York, he emphasized the process of creation and the materiality of the artistic medium.[18] Like many abstract expressionsits before him, O'Hara was greatly affected by the paint and colors that surrounded him. Thus, the influence of art can be seen in his writings. His first major volume of poetry, A City Winter and Other Poems demonstrates a preoccupation with surrealism, dadaist collage and montage techniques.[19] O'Hara often collaboratefd with other artists to create innovative and different art forms — he did not confine himself to simply writing poems. For instance, O'Hara worked with other artists to create "poem-paintings", which were paintings with word texts. O'Hara's poems were also combined with lithographs by Larry Rivers in Stones (1959); and, Odes (1960) was illustrated by serigraphs by Mike Goldberg.

He attempted to produce with words the effects abstract expressionists had created on the canvas.[20] Though many of his poems also speak to the ways in which he felt the emotional power of painting exceeded that of poetry. In "To Larry Rivers," for example, O'Hara wrote, "You do what I can only name." In O'Hara's Personism: A Manifesto, he explains that although he does not object to abstract thinking, he disapproves of abstraction in poetry and felt as though poetry should not be forced.[21] O'Hara thought that poetry should be personal, and one should feel the artist's voice or presence in his or her work. Thus, while he did object to abstraction in poetry, he did not object to it in painting because he felt as though one could still feel the personal style of abstract expressionists in their paintings.[22]

Bibliography

Books in lifetime

  • A City Winter and Other Poems. Two Drawings by Larry Rivers. New York: Editions of the Tibor de Nagy Gallery, 1951, 1952.
  • Love Poems (Tentative Title). New York: Tibor de Nagy Gallery Editions, 1965.
  • Lunch Poems. San Francisco: City Lights Books, 1964, 1999. / The Pocket Poets Series, No. 19. San Francisco: City Lights Books, 1964. / The Pocket Poets Series, Vol. 3, No. 19. Millwood, N.Y.: Kraus Reprint Co, 1973. / Lunch Poems and Other Poems. Koln, Germany: Kiepenheuer & Witsch, 1969.
  • Meditations in an Emergency. New York: Grove Press, 1957, 1967, 1996. / Bueursti, Romania: Editura University, 1971, 1980.
  • Odes. Prints by Michael Goldberg. New York: Tiber Press, 1960. / New York: Poets Press, 1969.
  • Oranges: 12 Pastorals. New York: Tibor de Nagy Gallery, 1953. / New York: Angel Hair Books, 1969, 1970.
  • Second Avenue. Cover drawing by Larry Rivers. New York: Totem Press, 1960.

Posthumous works

  • "1951;" "Aix-en-Provence;" Bill's Bunoose;" "Very Rainy Light, an Eclogue." Ant's Forefoot, No. 7/8. Toronto: Coach House Press, Winter/Spring 1971.
  • Art Chronicles, 1954-1966. New York: G. Braziller, 1975, 1990.
  • Belgrade, November 19, 1963. New York: Adventures in Poetry, 1972 or 1973.
  • Biotherm (for Bill Berkson). Ed. Bill Berkson, Jim Dine and Andrew Hoyem. San Francisco: Arion Press, 1990.
  • The Collected Poems of Frank O'Hara. Ed. Donald Merriam Allen. New York: Knopf, 1971. / Introduction by John Ashbery. New York: Alfred A. Knopf, 1972. / Berkeley: London: University of California Press, 1995.
  • "Dear Mike". By Frank O'Hara, Michael Goldberg and John Ashbery. Telephone. No. 6: 4-5. Spring 1972.
  • Early Writing. Bolinas, Calif: Grey Fox, 1977.
  • "Falling in Love." World, No. 25. New York: St. Mark's Church-in-the-Bowery Poerty Project, 1972.
  • "Four Poems," Big Sky No. 8. Bolinas, CA, 1974. / World, No. 13. New York: St. Mark's Church-in-the-Bowery Poerty Project, November 1968.
  • Homage to Frank O'Hara. Ed. Bill Berkson and Joe LeSueur. Bolinas, CA: Big Sky, 1978. / Berkeley: Creative Arts Book Co., 1980.
  • In Memory of My Feelings, A Selection of Poems. Ed. Bill Berkson. New York: The Museum of Modern Art, 1967, 2005.
  • New York Poets: Frank O'Hara, John Ashbery, Kenneth Koch, James Schuyler: An Anthology. Ed. Mark Ford. Manchester: Carcanet, 2004.
  • Poems. Ed. Willem De Kooning and Benjamin Shiff. New York: Limited Editions Club, 1988. / Poems. Ed. Willem De Kooning. New York: The Limited Editions Club, 1988. / Poems. Ed. Willem De Kooning and Riva Castleman. New York: Limited Editions Club, 1988.
  • "Poem Paintings," World No. 27. By Frank O'Hara, et al. New York: St. Mark's Church-in-the-Bowery Poerty Project, April 1973.
  • "Poems and Translations". By Frank O'Hara, et al. World, No. 27. New York: St. Mark's Church-in-the-Bowery Poerty Project, April 1973.
  • Poems from the Tibor De Nagy Editions, 1952-1966: A City Winter, Oranges, Love Poems (Tentative Title). Ed. Bill Berkson and Larry Rivers. New York: Tibor de Nagy Editions, 2006.
  • Poems Retrieved. Ed. Donald Merriam Allen. Bolinas, Calif: Grey Fox Press, 1977. / San Francisco: Grey Fox Press, 1996.
  • Poesie (Poetries). Trans. Carlo Alberto Corsi. Milan: Guanda, 1976.
  • Selected Plays. New York: Full Court Press, 1978. / Amorous Nightmares of Delay: Selected Plays. Baltimore, MD: Johns Hopkins University Press, 1997.
  • The Selected Poems of Frank O'Hara. Ed. Donald Merriam Allen. New York: Knopf, 1974. / New York: Vintage Books, 1974. / London: Penguin, 1994. / Manchester: Carcanet, 1991, 2005.
  • "Seventeen Poems," American Poetry Review, Vol. 6 No. 3: 3-5. Ed. Marjorie Perloff. Philadelphia: American Poetry Magazine, May/June 1977.
  • Standing Still and Walking in New York. Bolinas, Calif: Grey Fox Press, 1975. / San Francisco: Grey Fox Press, 1983. / Eugene, OR: Subco, 1983.
  • "Walking to Work;" "Walking;" "Places for Oscar Salvador;" Sudden Snow." Poetry, Vol. 113, No. 5. February 1969.
  • What's with Modern Art: Selected Short Reviews & Other Art Writings. Ed. Bill Berkson. Austin, TX: Mike & Dale's Press, 1999.
  • Why I Am Not a Painter. Ed. Mark Ford. New York: Martha Jackson Gallery, 1966. / Berkeley: Poltroon Press, 1996. / Why I Am Not a Painter and Other Poems. Ed. Mark Ford. Manchester: Carcanet, 2003.

Other works

  • "About Zhivago and His Poems," Evergreen Review Vol. 2 No. 7. New York, Winter 1959.
  • Art: New York Series. Interviewed David Smith and Barnett Newman for this National Educational Television. 1964.
  • Audit/Poetry, Vol. IV, No. 1, "Featuring Frank O'Hara". Buffalo: Audit-Poetry, 1964.
  • "Ave Maria." New York: Royal Publications, 1961.
  • Awake in Spain. Produced by the Living Theater and published in Hasty Papers, 1960. / New York: American Theater for Poets, 1960.
  • "A Byzantine Place." Manuscript of poems, 1951.
  • Change Your Bedding. Cambridge: Poets' Theater, 1951.
  • The Compromise. He produced and acted in this play by John Ashbery. Cambridge: Poets' Theater, 1956.
  • A Cordial Invitation to Celebrate the Sixtieth Birthday of Edwin Denby at a Dinner to Be Given by His Friends. S.I: Privately printed, 1963.
  • Desire Caught by the Tail. Acted in Living Theater's production of this work by Picasso at the Cherry Lane Theater, 1953.
  • Down at the Box-Office ...: Collage and Poem. Yanagi IV broadside series. Berkeley: Yanagi, 1977.
  • The End of the Far West: 11 Poems. S.l: s.n, 1974.
  • Everyman. By John Ashberry. He composed the incidental music, 1958.
  • "Franz Kline Talking", Evergreen Review Vol. 2 No. 6, New York: Autumn, 1958.
  • The General's Return from One Place to Another. New York?: s.n, 1964. / The General Returns from One Place to Another. New York?: s.n, 1960. / "The General Returns from One Place to Another". Art and Literature Vol. 4.:125-55. 1965. / Present Stages Offers The General Returns from One Place to Another. New York: Present Stages, 1964. / "'A Little Travel Diary; The General's Return from One Place to Another: Scenes from the Play". Signal Vol. 1, No. 1: 24-25. Fall 1963.
  • Hartigan and Rivers with O'Hara. By Tibor de Nagy Gallery, Grace Hartigan, Larry Rivers, and Frank O'Hara. New York: Tibor de Nagy Gallery, 1959.
  • Hotel Particulier. S.l: s.n., 1967.
  • Hymns of St. Bridget. By Bill Berkson, Frank O'Hara and Larry Rivers. New York: Adventures in Poetry, 1974. / Hymns of St. Bridget & Other Writings. Woodacre, CA: Owl Press, 2001.
  • "In Memory of My Feelings", Evergreen Review Vol. 2 No. 6 New York: Autumn 1958.
  • "An Interview with Larry Rivers,"Horizon Vol. 2, No. 1. New York: James Parton, 1959.
  • Jackson Pollock: 1912-56. New York: G. Baziller, 1958-59, 1993.
  • Last Clean Shirt. Colaborated with Al Leslie on this film, for which he wrote the subtitles. 1963-64.
  • Love's Labor, an eclogue. New York: Produced by the Living Theater, 1959. / S.I.: Privately Printed, 1962.
  • Macaroni. By Frank O'Hara and Patsy Southgate. Calais, Vt: Z Press, 1974.
  • Nakian. By the Museum of Modern Art and Frank O'Hara. Garden City, NY: Distributed by Doubleday, 1966.
  • "Nature and New American Painting," Folder Magazine of Literature and Art (1953-1955) Folder 3/Series III - Correspondence 1946-1966. 1954. / "Nature and New Painting". New York: Tiber Press, 1954.
  • New Spanish Painting and Sculpture: Rafael Canogar and Others. New York: Distributed by Doubleday, Garden City, N.Y., 1960.
  • "Personism: A Manifesto." Poetry in Theory. 1959.
  • Philosophy in the Bedroom. Collaborated with Al Leslie on the film, for which he wrote the subtitles. 1965.
  • Poem-Paintings by Frank O’Hara and Norman Bluhm. New York: New York University, Loeb Student Center, 1967. / Published by Grove Press: October, 1960.
  • Robert Motherwell: With Selections from the Artist's Writings. By Frank O'Hara and the Museum of Modern Art. New York: Distributed by Doubleday, Garden City, N.Y., 1965.
  • Stones. Lithographs he made with Larry Rivers. S.I.: Universal Art Editions (ULAE), 1958, 1959.
  • Two Pieces. London: Long Hair Books, 1969.
  • "Two Poems." Partisan Review. New York: 1936. / Vol. 44, No. 1., 1977.
  • Try! Try! A verse play. Cambridge: Poets' Theater, 1951. / In Artists' Theater, Ed. Jerbert Machiz. Grove Press, 1960.
  • Undercover Lover. Collaborated with Arnold Weinstein and John Gruen on this musical comedy. New York: 1956, 1966.
  • The YM & YWHA Poetry Center Presents (Poetry Center Introductions). New York: The Poetry Center, 1951.

Exhibitions

  • IV Bienal. Selected U.S. representations for this internation exhibition. São Paulo, Brazil, 1957.
  • IV International Art Exhibition. Selected U.S. representations for this internation exhibition. Japan, 1957.
  • XXIX Venice Biennale. Selected U.S. representations for this internation exhibition, 1958.
  • Abstract Watercolors by 14 Americans. New York: Museum of Modern Art, shown widely after 1961. / London: American Embassy, 1963. / Athens: Ellino-Amerikaniki Enosis, 1965.
  • David Smith. New York: Museum of Modern Art, shown widely after 1961. / David Smith. Wrote the introduction for this catalog publised by the Museum of Modern Art, 1965. / David Smith, 1906-1965. London: Tate Gallery, August 18 - September 1966. / David Smith: 1906-1965: Rijksmuseum Kröller-Müller, Otterlo, 15 Mei - 17 Juli 1966. Amsterdam: Den Ouden, May 15 - July 17, 1966.
  • Drawings by David Smith. New York: Museum of Modern Art, shown widely after 1961.
  • Documenta II '59. With Porter McCray. Kassel, Germany: 1959.
  • Drawings by Arshile Gorky. New York: Museum of Modern Art, shown widely after 1961.
  • Franz Kilne. New York: Museum of Modern Art, shown widely after 1961. / Franz Kline: A Retrospective Exhibition. London: Whitechapel Gallery, 1964.
  • Gaston Lachaise. New York: Museum of Modern Art, shown widely after 1961.
  • Jackson Pollock: 1912-56. Europe, 1958-59.
  • Magritte-Tanguy. New York: Museum of Modern Art, shown widely after 1961.
  • Modern Sculpture: U.S.A. Codirected with René d'Harnoncourt, Director of the Museum of Modern Art. Paris, Berlin & Baden-Baden, 1965-66.
  • The New American Painting. Europe: Museum of Modern Art, 1958-59.
  • New Spanish Painting and Sculpture. New York: Museum of Modern Art, 1966.
  • Recent Landscapes by 8 Americans. New York: Museum of Modern Art, shown widely after 1961.
  • Robert Motherwell: Works on Paper. New York: Museum of Modern Art, shown widely after 1961. / Robert Motherwell. New York: Museum of Modern Art, 1965. / Robert Motherwell: Catalogus Stedelijk Museum Amsterdam. By Frank O'Hara, Robert Motherwell and Stedelijk Museum. Amsterdam: Stedelijk Museum, 1966.
  • Reuben Nakian. New York: Museum of Modern Art, 1966. / Nakian: [Catalogue of an Exhibit]. New York: Museum of Modern Art, 1966.
  • Twentieth Century Italian Art from American Collections. Milan & Rome: Museum of Modern Art, 1960.

Audio

  • Frank O'Hara. Voice of the Poet. Santa Ana, CA: Books on Tape, 2005.
  • Frank O'Hara. Voice of the Poet. By Frank O'Hara and J. D. McClatchy. New York: Random House Audio, 2004.

Notes

  1. “Frank O’Hara.” Poets.Org from the Academy of American Poets. [[1]]. Retrieved 6/1/2007, 1.
  2. "Frank O’Hara". Worchester Area Writers. ([[2]]. Retrieved 5/30/2007), 1.
  3. Doty, Mark and Claudia Milstead. “Frank O’Hara’s Life and Career.” Modern American Poetry. ([[3]]. Retrieved 5/30/2007), 2.
  4. Ibid., 3.
  5. Ibid., 3
  6. “Frank O’Hara: A Poet Among Painters.” Poets.Org from the Academy of American Poets. [[4]]. Retrieved 6/1/2007.
  7. Ibid., 1.
  8. O'Hara, Frank. The Collected Poems of Frank O'Hara. Ed. Donaly Allen, with an Introduction by John Ashbery, vii..
  9. Carroll, Paul. The Poem in Its Skin. (Chicago: Follette Publishing Company, 1968), 157-186.
  10. Ellman, Richard, Robert O’Clair and Jahan Ramazani, ed, “Frank O’Hara (1926-1966)” in The Norton Anthology of Modern and Contemporary Poetry. Vol. 2 Contemporary Poetry, 3rd ed. (New York: W.W. Norton & Company, Inc., 2003), 362.
  11. Ibid., 362.
  12. Bergman, David, ed. “Frank O’Hara (1926-1966)," 2.
  13. Elliott, Emory. Columbia Literary History of the United States. New York: Columbia University Press, 1988, 1099.
  14. Ibid., 1097.
  15. Doty, Mark and Claudia Milstead. “Frank O’Hara’s Life and Career.” Modern American Poetry, 2.
  16. Ibid., 1.
  17. O'Hara, Frank. The Collected Poems of Frank O'Hara. Edited by Donald Allen, with an Introduction by John Ashbery, viii.
  18. Ellman, Richard, Robert O’Clair and Jahan Ramazani, ed, “Frank O’Hara (1926-1966)” in The Norton Anthology of Modern and Contemporary Poetry Norton,362.
  19. “O’Hara, Frank (1926-1966).” glbtq, an encyclopedia of gay, lesbian, bisexual, trangender and queer culture. ([[5]]. Retrieved 5/30/2007), 2.
  20. “Frank O’Hara.” Poets.Org from the Academy of American Poets, 1.
  21. Elliott, Emory. Columbia Literary History of the United States, 1099.
  22. Ellman, Richard, Robert O’Clair and Jahan Ramazani, ed, “Frank O’Hara (1926-1966)” in The Norton Anthology of Modern and Contemporary Poetry, 361.

Further Reading

  • Carroll, Paul. The Poem in Its Skin. Chicago, Follette Publishing Company, 1968. ISBN: 9780695871468.
  • Elliott, Emory. Columbia Literary History of the United States. New York: Columbia University Press, 1988. ISBN: 9780585041520.
  • Ellman, Richard, Robert O’Clair and Jahan Ramazani, ed, “Frank O’Hara (1926-1966)” in The Norton Anthology of Modern and Contemporary Poetry. Vol. 2 Contemporary Poetry, 3rd ed. New York: W.W. Norton & Company, Inc., 2003. ISBN: 0393977927.
  • Feldman, Alan. Frank O'Hara. Boston: Twayne Publishers, 1979 IBSN: 080577277.
  • Kamm, Anthony. Biographical Companion to English Literature. Lanham, MD: Scarecrow Press, 1997. ISBN: 9780585257549.
  • O'Hara, Frank. The Collected Poems of Frank O'Hara. Edited by Donald Allen, with an Introduction by John Ashbery. Berkeley: University of California Press, 1995. ISBN: 0520201663.

External links

  • Doty, Mark and Claudia Milstead. “Frank O’Hara’s Life and Career.” Modern American Poetry. [[6]]. Retrieved 5/30/2007.
  • Bergman, David, ed. “Frank O’Hara (1926-1966).” [[7]]. Retrieved 5/30/2007.
  • “Frank O’Hara.” The Beat Page. [[8]]. Retrieved 5/30/2007.
  • “Frank O’Hara.” Poets.Org from the Academy of American Poets. [[9]]. Retrieved 6/1/2007.
  • “Frank O’Hara: A Poet Among Painters.” Poets.Org from the Academy of American Poets. [[10]]. Retrieved 6/1/2007.
  • “Frank O’Hara.” Worchester Area Writers. [[11]]. Retrieved 5/30/2007.
  • “O’Hara, Frank (1926-1966).” glbtq, an encyclopedia of gay, lesbian, bisexual, trangender and queer culture. [[12]]. Retrieved 5/30/2007.

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