Jean Hache-Béret, a famous French poet Miss Guinevere Moxley, a pursed American poet Ambrosine Philpotts, a humorless Queer Theorist James Schuyler, himself Velma Handler, a powerful literary critic Pearl Indeterminate, a slightly less powerful literary critic, archrival of Handler First Café Waiter, an American PhD candidate writing about Jean Hache-Béret Second Café Waiter, a poet and graduate of the Iowa Writers Workshop who blatantly imitates Hache-Béret in his work
Acrobats, c. 1972, collage, 3 ½ x 5 ½ inches, by John Ashbery. Courtesy Tibor de Nagy Gallery, New York.
Being an art critic is for the most part a low-paying job. It is particularly insecure if you do not have a position at a university. In the 1950s and ’60s, it was far worse than it is now.
In Jasper Johns’s “Painting Bitten by a Man,” the artist has bitten a hunk out of his painting, leaving behind teeth marks. The action of the bite transforms into an image to be seen, an image that relates to nothing else on the field of gray encaustic. The bite conjures the presence of the artist at work and a flash of spleen. The gesture of the bite keeps receding back into its intrinsic muteness, suggesting the frustration of a desire to communicate verbally.
John Ashbery at the Writers House. Photo by Arielle Brousse.
“Crowd Conditions” (click here to read) appears near the end of Ashbery’s 2000 book Your Name Here. As the title indicates, this is a book centrally, if playfully and earnestly, concerned with “you,” the mercurial second-person, singular and sometimes plural, pronoun. Your Name Here invites the reader to title it after her or himself, but this turns out to be a partial tease, since we are invited in, but never given full grammatical purchase.
Three FARMS dotted with various punctuation and a few hanging words — the only remaining, yet distinctive, characters of three short poems by John Ashbery — fenced in (along with various photocopy noise) by musical staves. A fragment of each poem casts moonglow down on the constellated marks below, which sparsely outline the poem’s transposed typographic space. In “Farm,” Ashbery writes:
