By John Ashbery

With greater than twenty poetry collections to his identify, John Ashbery is considered one of our so much agile, philosophically complicated, and visionary poets. In Breezeway, Ashbery's powers of remark are at their such a lot astute; his perception at its so much penetrating. Demonstrating his amazing command of language and his skill to maneuver fluidly and assuredly among wide-ranging recommendations and ideas—from the irreverent and slyly funny to the gentle, the sorrowful, and the heartbreaking—Ashbery indicates that he's a virtuoso fluent in assorted kinds and tones of language, from the chatty and kooky to the lyrical and urbane. packed with allusions to literature and paintings, in addition to to the absurdities and delights of the typical global round us, Ashbery's poems are haunting, staggering, hilarious, and understanding suddenly, the paintings of a grasp craftsman with a prepared realizing of the age within which he lives and writes, an age whose fears and fragmentation he conjures and opinions with humor, pathos, and a provocative wit.

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Because of this shift in psychology and practice, digital poetry’s formal qualities (made through programming, software, and database operations) are not as uniquely pointed and do not compare to highly crafted, singular exhortations composed by historic poets. 13 While this may be proven, I am nonetheless reminded of Olson’s potent utterances, in The Maximus Poems, that “limits / are what each of us / are inside of ” (21). Despite the restrictions of technology, the works I gather under the rubric of digital poetry unquestionably craft language (along with other materials).

Wilson writes in the essay “And/Or: One or the Other, or Both,” postmodernism “was invented when language looked like a game, or like several games with resemblances among them, and when the rules for words, or the rules for playing games with words, required that uses of a word be arranged in an array that has a lot of play—to-and-fro movement— within it. These oscillations might not look as serious as some more stable older thought, and the vacillations that accompany undecidability can resemble mere decisiveness.

The principles involved with the poesis of such works—especially in works that regenerate themselves—move away from creating singular artifacts; such models of expression are, as Peter Bürger has remarked, “not works of art but manifestations” (Perloff 5). , William Blake). 8 While visual design is a characteristic of many digital poems, the relationship between graphical digital poems and the aforementioned models often exists on the surface but is not intrinsically supported by shared ideologies or methods, especially in contemporary forms where elements are not always ¤xed into place.

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