John Ashbery is a Kelly Writers House Fellow this season. Two events featuring him as a Fellow will be streamed live as webcasts.
1) On Monday, February 11, 2013, beginning at precisely 6:30 PM eastern time, J.A. will give a reading.
2) On Tuesday, February 12, 2013, beginning at precisely noon eastern time, I will interview J.A. and will moderate questions and comments from a live audience at the Kelly Writers House and a worldwide audience via webcast.
Jacket 14 carries an article by Brian Kim Stefans on the British poet Veronica Forrest-Thomson. (You can read it here.)
I had been excited by her first critical book, and had been waiting for decades to find someone as smart as Brian to introduce her to a wider public. His piece begins:
One of the misfortunes of the lack of attention being paid to English poetry of this century is the obscurity of Veronica Forrest-Thomson, a poet who died in 1975 at the age of 27. Forrest-Thomson is the author of Poetic Artifice, a book that outlined a theory of poetry from a critical perspective — i.e. a tool to determine the success or failure of a poem rather then merely a vocabulary for describing the phenomenon of a “poem” — but one which, rather than confirming or resisting a “tradition,” concentrated on those elements of the poem that resist quick interpretation or, in her terms, “naturalization” by the reader or critic.
I first came across John Ashbery’s work in the late 1960s. It had a great influence on my own poetry. As I say in my 2009 doctoral thesis, “the three poets who have most influenced [my] work [are] Arthur Rimbaud, the Australian hoax poet ‘Ern Malley’, and the contemporary US poet John Ashbery.”
The connections are interesting. As a young man, Ashbery lived in France for a decade, and he has recently translated Rimbaud’s “Illuminations”. Ern Malley: back in 2002 John wrote a few poems in the “voice” of “Ern Malley”, whose writing inspired him as a young man at Harvard. Jacket number 17 publishes two of these poems, “Potsdam” and “Aenobarbus”, here.