Drawing extensively upon the poet's unpublished manuscripts - poems, journals, essays, and letters - as well as all his published works, Marjorie Perloff presents Frank O'Hara as one of the central poets of the postwar period and an important critic of the visual arts. Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in the poetic climate in recent years.
具體描述
讀後感
用戶評價
"How funny you are today New York. Like Ginger Rogers in Swingtime and St. Bridget’s steeple leaning a little to the left." - Steps. 喜歡New York School 詩人營造那很爵士的畫麵感。
评分弗蘭剋·奧哈拉（1926--1966）紐約派重要詩人。其詩采用口語及開放的結構，開創瞭反文雅反高貴的詩風，影響很大。1966年不幸死於車禍。
评分弗蘭剋·奧哈拉（1926--1966）紐約派重要詩人。其詩采用口語及開放的結構，開創瞭反文雅反高貴的詩風，影響很大。1966年不幸死於車禍。
评分"How funny you are today New York. Like Ginger Rogers in Swingtime and St. Bridget’s steeple leaning a little to the left." - Steps. 喜歡New York School 詩人營造那很爵士的畫麵感。
评分"How funny you are today New York. Like Ginger Rogers in Swingtime and St. Bridget’s steeple leaning a little to the left." - Steps. 喜歡New York School 詩人營造那很爵士的畫麵感。
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