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The appearance of
in 1991 marked the kickoff of a remarkably prolific period in John Ashbery's long career, a decade during which he published seven all-new books of poetry as well as a collected series of lectures on poetic form and practice. So it comes as no surprise that this book-length poem—one of the longest ever written by an American poet—reads like a rocket launch: charged, propulsive, mesmerizing, a series of careful explosions that, together, create a radical forward motion.
It's been said that
was written in response to a dare of sorts: Artist and friend Trevor Winkfield suggested that Ashbery write a poem of exactly one hundred pages, a challenge that Ashbery took up with plans to complete the poem in one hundred days. But the celebrated work that ultimately emerged from its squared-off origin story was one that the poet himself called "a continuum, a diary." In six connected, constantly surprising movements of free verse—with the famous "sunflower" double sestina thrown in, just to reinforce the poem's own multivarious logic—Ashbery's poem maps a path through modern American consciousness with all its attendant noise, clamor, and signal: "Words, however, are not the culprit. They are at worst a placebo, / leading nowhere (though nowhere, it must be added, can sometimes be a cozy / place, preferable in many cases to somewhere)."
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About John Ashbery
's latest book of poems is
. From 1960 to 1965, he was the
art critic and
Paris correspondent. France has named him Chevalier des Arts et des Lettres and Officier of the Légion d'Honneur. He has received a National Book Foundation Medal for Distinguished Contribution to American Letters, and President Obama awarded him a National Humanities Medal.
and
's latest poetry book is
They have edited Ashbery's essays in
and in
, as well as his translations of Pierre Martory. She teaches at the U.S. Merchant Marine Academy; he is the director of writing at Pace University.
Other books by John Ashbery
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