“De pressa!, a last poem I left, that I missed class.” The poems of Frank O’Hara (1926-1966) conveyed a sense of urgency, from notes written in volume to um not forcing the impressions of the moment Va escriure Compulsively continuing his professional life as a professor and art curator at MoMA while studying music and literature, he became one of the main members of the notorious New York School, a group of poets on good terms with the painters who adhere to abstract impressionism. S’hi immediately recognizes the influence of this painting to reflect the shapes, colors and movements on the parabolas. And the parabolas are available in the flat with traces of color in the filling.
Poems for the Hour of the Dinar
160 pages. 18 euros
The poem, even with the Quadre, will produce an emotional impact, and per això it does not always have a specific purpose, nor is it suddenly crowned by a moral conclusion. Les coses simply pass by and the poet seeks attention, destroys it, exposes it, surprises it or commouen it without entering into a debate about its meaning. Faces that it is the tract of a poetry that goes from peus to terra, so to speak, and is not lost through the viaranys of automatic writing, although I have also noticed the influence of the experiments of the European avant-gardes, especially surrealism . In a poem in which he explains a passeig to Dinar time, els carrers per on passa, aparadors, anuncis, gent que veu, i certs pensaments que li venen mentrestant, O’Hara said at the end: “El meu cor és a the butxaca , is poetry by Pierre Reverdy”. Enmig de l’enrenou, the evocation of one of the most unique poets of superrealism, who will spend the second month of his life in a monastery.
Of these poems, published in 1964, the most characteristic are those that reflect the noisy, busy, and conflicted life of the big city, against which a single evil is to preserve serenity and clarity; In these cases, an art professional, with multiple commitments and interests and attentive to the signs of the times, especially cinema. “American Seas | Deixeu que els vostres fills vagin al cine…”: a whole generation of “l’ànima que creix a les fosques mentre imatges platejades li donen relleu”. We’re like the New York of the late fifties and early sixties that I saw in the Mad Men series in an episode where, not coincidentally, the protagonist reflects his status d’anime in a poem by O’Hara. New York isn’t the protagonist, but it’s the setting, the frame of mind that gives shape to these dinar hour poems.
The menysteniment of the form, the more or less feigned improvisation and colloquial eloquence combine with the pictorial aesthetics that prevailed at the time, as well as with jazz and experimental music. L’autoironia is also a notable feature at O’Hara. In a manifesto on Personism, the seu pretès moviment poètic unipersonal affirms: “I was not raised in God, so I do not have to develop elaborate sound structures”, and establishes a connection, dens de significats, between faith and formal creation. I also said that personism would take a day when I returned to write someone a poem and it would surprise me that I could trick-li in lloc d’això by phone. El’s poems d’O’Hara – els seus “I do this, I do that” poems, in deia – have sovint l’aire de trucades, in which someone annotates appreciatively with li ha anat el dia; the maximum of subjectivity and the minimum of implication.