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Book Categories |
The impossible : Gertrude Stein | 11 | |
Review of Michel Butor's La modification | 15 | |
A note on Pierre Reverdy | 19 | |
Antonin Artaud : poet, actor, director, playwright | 24 | |
On Raymond Roussel | 33 | |
Introduction to Raymond Roussel's "In Havana" | 46 | |
A conversation with Kenneth Koch | 55 | |
Brooms and prisms : Jasper Johns | 68 | |
Tradition and talent : Philip Booth, Stanley Moss, and Adrienne Rich | 73 | |
Frank O'Hara, 1926-1966 | 78 | |
Writers and issues : Frank O'Hara's question | 80 | |
Jerboas, pelicans, and Peewee Reese : Marianne Moore | 83 | |
The decline of the verbs : Giorgio de Chirico | 88 | |
Introduction to a reading by Robert Duncan | 92 | |
Up from the underground : Jane Bowles | 94 | |
Alfred Chester's sweet freaks | 97 | |
A game with shifting mirrors : Jorge Luis Borges | 100 | |
Ecrivain Maudit : Witold Gombrowicz | 104 | |
Straight lines over rough terrain : Marianne Moore | 108 | |
The New York School of Poets | 113 | |
Comment on Lee Harwood's The white room | 116 | |
Review of Ted Berrigan's The sonnets | 117 | |
Throughout is this quality of thingness : Elizabeth Bishop | 120 | |
Further adventures of Qfwfq, et al. : Italo Calvino | 124 | |
Introduction to The collected poems of Frank O'Hara | 128 | |
North light : Louisa Matthiasdottir | 134 | |
In the American grain : A. R. Ammons and John Wheelwright | 137 | |
Jacques Rivette : Rivette masterpiece(s?) | 148 | |
Introduction to E. V. Lucas and George Morrow's What a life! | 153 | |
The figure in the carport : Kenward Elmslie | 159 | |
Second presentation of Elizabeth Bishop | 164 | |
A reminiscence : Frank O'Hara | 171 | |
Schubert's unfinished : David Schubert | 176 | |
On the poetry of F. T. Prince | 178 | |
Introduction to Fairfield Porter's The collected poems with selected drawings | 181 | |
Introduction to Marcel Allain and Pierre Souvestre's Fantomas | 183 | |
Featured poet : Nicholas Moore | 191 | |
An unpublished note : Raymond Roussel | 197 | |
A note on "Variation on a noel" | 198 | |
Foreword to The third rose : Gertrude Stein and her world | 200 | |
Introduction to The best American poetry | 202 | |
Introduction to a reading by James Schuyler | 208 | |
Poetical space | 210 | |
Introduction to a reading by Michael Palmer and James Tate | 216 | |
Introduction to Raymond Roussel's Documents to serve as an outline | 219 | |
Introduction to Gerrit Henry's The mirrored clubs of hell | 223 | |
Preface to Mary Butts's From altar to chimney-piece | 225 | |
Review of Mark Ford's Landlocked | 231 | |
Introduction to Pierre Martory's The landscape is behind the door | 237 | |
Introduction to a reading by Robert Creeley and Charles Tomlinson | 241 | |
Robert Frost medal address | 243 | |
Introduction to Robert Mapplethorpe's Pistils | 252 | |
Introduction to Joe Brainard : retrospective | 257 | |
Introduction to Trevor Winkfield's pageant | 259 | |
Frederic Church at Olana : an artist's fantasy on the Hudson River | 261 | |
Introduction to a reading by Charles North | 267 | |
Obituary for Pierre Martory | 268 | |
Foreword to Mark Ford's Raymond Roussel and the republic of dreams | 272 | |
Introduction to exhibition catalogue : Lynn Davis | 276 | |
On Jane Freilicher's View Over Mecox (yellow wall) | 278 | |
Introduction to James Schuyler's Alfred and Guinevere | 279 | |
Introduction to a reading by Tony Towle | 285 | |
Larry Rivers was dying : he asked to see friends | 286 | |
New York? Mais Oui! : Rudy Burckhardt | 290 | |
Foreword to Mark Ford's Soft sift | 291 | |
Preface to Paul Killebrew's Forget Rita | 294 | |
On the poetry of Joan Murray | 296 | |
On Val Lewton's The seventh victim | 299 | |
On F. T. Prince's "The moonflower" | 304 |
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Add Selected Prose, By the end of the book, Ashbery has laid out not only a course in contemporary poetics but a portrait of the artist teaching himself to become a thoroughly Modernist poet—-in small bites, easy to savor, easy to digest. —-Los Angeles Times Book Re, Selected Prose to the inventory that you are selling on WonderClubX
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Add Selected Prose, By the end of the book, Ashbery has laid out not only a course in contemporary poetics but a portrait of the artist teaching himself to become a thoroughly Modernist poet—-in small bites, easy to savor, easy to digest. —-Los Angeles Times Book Re, Selected Prose to your collection on WonderClub |