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Bibliographic code
A
Author
Ashbery, John
Title
'Street Musicians' (p. 1); 'The Other Tradition' (pp. 2-3); 'Variant' (p. 4); 'Collective Dawns' (pp. 5-6); 'Wooden Buildings' (p. 7); 'Pyrography' (pp. 8-10); 'The Gazing Grain' (p. 11); 'Unctuous Platitudes' (p. 12); 'The Couple in the Next Room' (p. 13); 'The Explanation' (pp. 14-15); 'Loving Mad Tom' (pp. 16-17); 'Business Personals' (pp. 18-20); 'Crazy Weather' (p. 21); 'On the Towpath' (pp. 22-23); 'Melodic Trains' (pp. 24-26); 'Bird's-Eye View of the Tool and Die Co.' (p. 27); 'Wet Casements' (p. 28); 'Saying It to Keep It from Happening' (pp. 29-30); 'Daffy Duck in Hollywood' (pp. 31-34); 'All Kinds of Caresses' (p. 35); 'Lost and Found and Lost Again' (p. 36); 'Two Deaths' (p. 37); 'Houseboat Days' (pp. 38-40); 'Whether It Exists' (p. 41); 'The Lament upon the Waters' (pp. 42-43); 'Drame Bourgeois' (p. 44); 'And Ut Pictura Poesis Is Her Name' (pp. 45-46); 'What Is Poetry' (p. 47); 'And Others, Vaguer Presences' (p. 48); 'The Wrong Kind of Insurance' (pp. 49-50); 'The Serious Doll' (p. 51); 'Friends' (pp. 52-53); 'The Thief of Poetry' (pp. 54-59); 'The Ice-Cream Wars' (pp. 60-61); 'Valentine' (pp. 62-65); 'Blue Sonata' (pp. 66-67); 'Spring Light' (p. 68); 'Syringa' (pp. 69-71); 'Fantasia on ''The Nut-Brown Maid''' (pp. 72-88)
Publication
Houseboat Days
Author/Editor
Ashbery, John
Language
English
Place of Publication
New York, NY
Publisher
Viking
Publication date
1977-00-00
Illustration
Cover art for Viking's 1977 paperback and hardcover and 1979 paperback and for FSG's 1999 paperback is a painting by R.B. Kitaj, 'Houseboat Days (for John Ashbery).' You may search this catalogue for a separate citation for Kitaj's painting. Find information on R.B. Kitaj at the index of Ashbery's influences and interests in visual art on the ARC website.

The author photograph for Viking's 1977 hardcover is by Thomas Victor.

Format
Book
Type
Poetry
Notes
The epigraph of 'Wet Casements' is by Franz Kafka, from 'Wedding Preparations in the Country': 'When Eduard Raban, coming along the passage, walked into the open doorway, he saw that it was raining. It was not raining much.' (Find information on Kafka at the index of Ashbery's influences and interests in literature on the ARC website.)

The epigraph of 'Friends' is from the Diary of Vaslav Nijinsky: 'I like to speak in rhymes, because I am a rhyme myself.' (Find information on Nijinsky's Diary at the index of Ashbery's influences and interests in literature on the ARC website.)

Ashbery has cited three sources of inspiration for his poem 'Houseboat Days': Florence H. Morden's article 'House-Boat Days in the Vale of Kashmir' (National Geographic Magazine LVI.4, National Geographic Society, Washington D.C., 1929-10-00, pp. 437-463: available at the ARC) (cited in American Poetry Review, 1984 May - June); Mildred A. Wirt's novel The Vanishing Houseboat (Cupples and Leon Company, New York, NY, 1939: available at the ARC) (cited in American Poetry Review, 1984 May - June); and Walter Pater's Plato and Platonism (e-book available at Project Gutenberg) (cited in P.N. Review, 1985). You may search this catalogue for separate citations for the interviews in which Ashbery made the identifications cited above; or you may find information on these sources at the index of Ashbery's influences and interests in literature on the ARC website.

In addition to Ashbery's poem 'The Other Tradition,' he has also published a collection of essays under the title 'Other Traditions.' You may search this catalogue to see the citation for that book.

The blurbs for Viking's 1977 paperback are from Donald Barthelme; Harold Bloom; Bookletter (1976-05-24), by Edmund White; and American Poetry Review, (1975 November - December), by Fred Moramarco. The blurbs for Viking's 1977 hardcover are the same as above and also include blurbs from the Georgia Review (1975 Winter), by David Bromwich; the New York Times Book Review (1975-08-10), by John Malcolm Brinnin; and the [London] Sunday Times (1985-11-27), by Robert Nye. The blurbs for Viking's 1979 paperback are only those by Barthelme, Bloom, White and Moramarco. Most of the blurbs printed on Viking's Houseboat Days are reprinted from Viking's edition of Self-Portrait in a Convex Mirror.

The blurbs for Farrar, Straus and Giroux's 1999 paperback are from Donald Barthelme; Harold Bloom; Bookletter (1976-05-24), by Edmund White; and American Poetry Review (1975 November - December), by Fred Moramarco.

Editions / Printings available at the ARC: Viking (New York, NY), 1977, unrevised bound proofs (including one holographic correction on p. 88, in David Kermani's hand); Viking, 1977, paperback (with an erratum slip); Viking, 1977, hardcover; Viking, 1979, paperback; Farrar, Straus and Giroux (New York, NY), 1999, paperback.

Houseboat Days was a finalist for the National Book Critics Circle Award in 1977.

Links   'Pyrography': Learn about the artistic technique of this name at the Free Art School website or at Pyrography.net.

'Loving Mad Tom': Read about Jack Lindsay, author of the original poem entitled 'Loving Mad Tom,' at Wikipedia, or read about Robert Graves' anthology Loving Mad Tom: Bedlamite Verses of the XVI and XVIIth Centuries at the Quarto website.

In Marjorie Perloff's essay 'Tangled Versions of the Truth: Ammons and Ashbery at 50' (American Poetry Review, 1978 September - October; you may search this catalogue for a separate citation for that periodical), she points out that the first line of Ashbery's 'Bird's-Eye View of the Tool and Die Co.' ('For a long time I used to get up early') is a variation on the opening sentence of Marcel Proust's Remembrance of Things Past ('For a long time I used to go to bed early.'). Find information on Proust at the index of Ashbery's influences and interests in literature on the ARC website.

Read Ashbery's poem 'Daffy Duck in Hollywood' at the Academy of American Poets website or the Poem Hunter website; and find information on Daffy Duck at the index of Ashbery's influences and interests in cinema on the ARC website.

'Drame Bourgeois': Read about this genre of theater, originated by Diderot, at the Encyclopedia Britannica website and the Wikipedia website (you may also search this catalogue for another example of Diderot's possible influence on Ashbery's work).

'Syringa': In spring of 2004, Ashbery observed the syringa bush flowering on his Hudson, NY, property, and mentioned to David Kermani that syringa had been the favorite flower of his mother, Helen Lawrence Ashbery. Read about the syringa flower and its connection with the Greek Pan-myth at the Devonian Botanic Garden website at the University of Alberta; read excerpts from critical essays about Ashbery's poem 'Syringa' at the Modern American Poetry website; read and hear Ashbery's poem 'Syringa' at the Academy of American Poets website; or read 'Syringa' at the Poem Hunter website.

'Fantasia on ''The Nut-Brown Maid''': Read Arthur Quiller-Couch's poem 'The Nut-Brown Maid' at the Bartelby.com website.

Read Ashbery's 'What Is Poetry' at the University of Pennsylvania / English 88 / Al Filreis website or the Nothing New Under the Sun Productions website.



Bibliographic code
A
Author
Ashbery, John
Title
Houseboat Days:
'Street Musicians' (p. 3); 'The Other Tradition' (pp. 4-5); 'Variant' (p. 6); 'Collective Dawns' (pp. 7-8); 'Wooden Buildings' (p. 9); 'Pyrography' (pp. 10-12); 'The Gazing Grain' (p. 13); 'Unctuous Platitudes' (p. 14); 'The Couple in the Next Room' (p. 15); 'The Explanation' (p. 16); 'Loving Mad Tom' (p. 17); 'Business Personals' (pp. 18-20); 'Crazy Weather' (p. 21); 'On the Towpath' (pp. 22-23); 'Melodic Trains' (pp. 24-26); 'Bird's-Eye View of the Tool and Die Co.' (p. 27); 'Wet Casements' (p. 28); 'Saying It to Keep It from Happening' (p. 29); 'Daffy Duck in Hollywood' (pp. 30-33); 'All Kinds of Caresses' (p. 34); 'Lost and Found and Lost Again' (p. 35); 'Two Deaths' (p. 36); 'Houseboat Days' (pp. 37-39); 'Whether It Exists' (p. 40); 'The Lament upon the Waters' (pp. 41-42); 'Drame Bourgeois' (p. 43); 'And Ut Pictura Poesis Is Her Name' (p. 44); 'What Is Poetry' (p. 45); 'And Others, Vaguer Presences' (p. 46); 'The Wrong Kind of Insurance' (pp. 47-48); 'The Serious Doll' (p. 49); 'Friends' (pp. 50-51); 'The Thief of Poetry' (pp. 52-57); 'The Ice-Cream Wars' (p. 58); 'Valentine' (pp. 59-61); 'Blue Sonata' (pp. 62-63); 'Spring Light' (p. 64); 'Syringa' (pp. 65-67); 'Fantasia on "The Nut Brown Maid''' (pp. 68-84)

Shadow Train:
'The Pursuit of Happiness' (p. 87); 'Punishing the Myth' (p. 88); 'Paradoxes and Oxymorons' (p. 89); 'Another Chain Letter' (p. 90); 'The Ivory Tower' (p. 91); 'Every Evening When the Sun Goes Down' (p. 92); 'The Freedom of the House' (p. 93); 'A Pact with Sullen Death' (p. 94); 'White-Collar Crime' (p. 95); 'At the Inn' (p. 96); 'The Absence of a Noble Presence' (p. 97); 'The Prophet Bird' (p. 98); 'Qualm' (p. 99); 'Breezy Stories' (p. 100); 'Oh, Nothing' (p. 101); 'Of the Islands' (p. 102); 'Farm Film' (p. 103); 'Here Everything Is Still Floating' (p. 104); 'Joe Leviathan' (p. 105); 'Some Old Tires' (p. 106); 'A Prison All the Same' (p. 107); 'Drunken Americans' (p. 108); 'Something Similar' (p. 109); 'Penny Parker's Mistake' (p. 110); 'Or in My Throat' (p. 111); 'Untilted' (p. 112 ); 'At Lotus Lodge' (p. 113); 'Corky's Car Keys' (p. 114); 'Night Life' (p. 115); 'Written in the Dark' (p. 116); 'Caesura' (p. 117); 'The Leasing of September' (p. 118); 'On the Terrace of Ingots' (p. 119); 'Tide Music' (p. 120); 'Unusual Precautions' (p. 121); 'Flow Blue' (p. 122); 'Hard Times' (p. 123); '''Moi, je suis la tulipe. . .''' (p. 124); 'Catalpas' (p. 125); 'We Hesitate' (p. 126); 'The Desperado' (p. 127); 'The Image of the Shark Confronts the Image of the Little Match Girl' (p. 128); 'Songs Without Words' (p. 129); 'Indelible, Inedible' (p. 130); 'School of Velocity' (p. 131); 'Frontispiece' (p. 132); 'Everyman's Library' (p. 133); 'Shadow Train' (p. 134); 'But Not That One' (p. 135); 'The Vegetarians' (p. 136)

A Wave:
'At North Farm' (p. 139); 'Rain Moving In' (p. 140); 'The Songs We Know Best' (pp. 141-143); 'When the Sun Went Down' (p. 144); 'Landscape (After Baudelaire)' (p. 145); 'Just Walking Around' (p. 146); 'A Fly' (pp. 147-148); 'The Ongoing Story' (p. 149); 'Thank You for Not Cooperating' (p. 150); 'But What Is the Reader to Make of This?' (p. 151); 'Down by the Station, Early in the Morning' (p. 152); 'Around the Rough and Rugged Rocks the Ragged Rascal Rudely Ran' (p. 153); 'More Pleasant Adventures' (p. 154); 'Purists Will Object' (p. 155); 'Description of a Masque' (pp. 156-169); 'The Path to the White Moon' (pp. 170-171); 'Ditto, Kiddo' (p. 172); 'Introduction' (p. 173); 'I See, Said the Blind Man, As He Put Down His Hammer and Saw' (p. 174); 'Edition Peters, Leipzig' (p. 175); '37 Haiku' (pp. 176-177); 'Haibun' (p. 178); 'Haibun 2' (p. 179); 'Haibun 3' (p. 180); 'Haibun 4' (p. 181); 'Haibun 5' (p. 182); 'Haibun 6' (p. 183); 'Variation on a Noel' (pp. 184-185); 'Staffage' (p. 186); 'The Lonedale Operator' (pp. 187-188); 'Proust's Questionnaire' (p. 189); 'Cups with Broken Handles' (p. 190); 'Just Someone You Say Hi To' (p. 191); 'They Like' (p. 192); 'So Many Lives' (pp. 193-194); 'Never Seek to Tell Thy Love' (p. 195); 'Darlene's Hospital' (pp. 196-198); 'Destiny Waltz' (p. 199); 'Try Me! I'm Different!' (p. 200); 'One of the Most Extraordinary Things in Life' (p. 201); 'Whatever It Is, Wherever You Are' (pp. 202-204); 'Trefoil' (p. 205); 'Problems [Rough stares, sometimes a hello,]' (p. 206); 'A Wave' (pp. 207-229)

Publication
Three Books [Houseboat Days (pp. 3-84), Shadow Train (pp. 87-136) and A Wave (pp. 139-229)
Author/Editor
Ashbery, John
Language
English
Place of Publication
New York, NY
Publisher
Penguin
Publication date
1993-00-00
Illustration
Cover art for Penguin's 1993 paperback is Vincent Van Gogh's painting 'Still-life with Books.'
Format
Book
Type
Poetry
Notes
Dedicated 'for Jane and Joe' [i.e., Jane Freilicher and Joe Hazan].

Editions / Printings available at the ARC: Penguin (New York, NY), 1993, paperback (only edition issued).



Bibliographic code
A
Author
Ashbery, John
Title
from Some Trees:
'Two Scenes' (p. 3); 'Popular Songs' (pp. 3-4); 'Eclogue' (pp. 4-5); 'The Instruction Manual' (pp. 5-8); 'The Grapevine' (p. 9); 'A Boy' (pp. 9-10); 'Glazunoviana' (p. 10); 'The Hero' (pp. 10-11); 'Poem' (pp. 11-12); 'Album Leaf' (p. 12); 'The Picture of Little J.A. in a Prospect of Flowers' (pp. 13-14); 'Pantoum' (pp. 14-15); 'Grand Abacus' (pp. 15-16); 'The Mythological Poet' (pp. 16-17); 'Sonnet' (p. 18); 'Chaos' (pp. 18-19); 'The Orioles' (pp. 19-20); 'The Young Son' (p. 20); 'The Thinnest Shadow' (p. 21); 'Canzone' (pp. 21-23); 'Errors' (p. 23-24); 'Illustration' (pp. 24-25); 'Some Trees' (p. 26); 'Hotel Dauphin' (pp. 26-27); 'The Painter' (pp. 27-28); 'And You Know' (pp. 29-30); 'He' (pp. 31-32); 'Meditations of a Parrot' (pp. 32-33); 'Sonnet' (p. 33); ' A Long Novel' (pp. 33-34); 'The Way They Took' (pp. 34-35); 'The Pied Piper' (p. 35); 'Answering a Question in the Mountains' (pp. 36-37); 'A Pastoral' (pp. 37-38); 'Le livre est sur la table' (pp. 38-39)

from The Tennis Court Oath:
'The Tennis Court Oath' (pp. 43-44); '''They Dream Only of America''' (pp. 44-45); 'Thoughts of a Young Girl' (p. 45); 'America' (pp. 46-51); 'Two Sonnets' (pp. 51-52); 'To Redouté' (p. 52); 'Night' (pp. 53-55); '''How Much Longer Will I Be Able to Inhabit the Divine Sepulcher . . .''' (pp. 56-58); 'Rain' (pp. 59-63); 'A White Paper' (p. 63); 'Leaving the Atocha Station' (pp. 63-65); 'White Roses' (pp. 65-66); 'The Suspended Life' (pp. 66-68); 'A Life Drama' (pp. 69-70); 'Our Youth' (pp. 71-72); 'The Ticket' (pp. 72-73); 'An Additional Poem' (p. 73); ' Measles' (pp. 73-75); 'Faust' (pp. 75-76); 'The Lozenges' (pp. 76-78); 'The Ascetic Sensualists' (pp. 78-82); 'Landscape' (pp. 82-83); 'A Last World' (pp. 83-87); 'The New Realism' (pp. 87-91); 'The Unknown Travelers' (p. 91); 'Europe' (pp. 91-113); 'To the Same Degree' (pp. 114-115); 'The Passive Preacher' (pp. 116-117); The Shower' (p. 117); 'Idaho' (pp. 118-121)

from Rivers and Mountains::
'These Lacustrine Cities' (p. 125); 'Rivers and Mountains' (pp. 126-128); 'Last Month' (p. 128); 'Civilization and Its Discontents' (pp. 129-130); 'If the Birds Knew' (pp. 130-131); 'Into the Dusk-Charged Air' (pp. 131-135); 'The Ecclesiast' (pp. 135-136); 'The Recent Past' (pp. 136-137); 'The Thousand Islands' (pp. 137-138); 'A Blessing in Disguise' (p. 139); 'Clepsydra' (pp. 140-146); 'The Skaters' (pp. 147-178)

from The Double Dream of Spring::
'The Task' (p. 181); 'Spring Day' (pp. 181-183); 'Plainness in Diversity' (pp. 183-184); 'Soonest Mended' (pp. 184-186); 'Summer' (pp. 186-187); 'It Was Raining in the Capital' (pp. 187-189); 'Variations, Calypso and Fugue on a Theme of Ella Wheeler Wilcox' (pp. 189-194); 'Song' (pp. 194-195); 'Decoy' (pp. 195-196); 'Evening in the Country' (pp. 196-198); 'For John Clare' (pp. 198-199); 'French Poems' (pp. 199-202); 'The Double Dream of Spring' (pp. 202-203); 'Rural Objects' (pp. 203-205); 'Years of Indiscretion' (pp. 205-206); 'Farm Implements and Rutabagas in a Landscape' (pp. 206-207); 'Sunrise in Suburbia' (pp. 208-211); 'Definition of Blue' (pp. 211-212); 'Parergon' (pp. 212-213); 'The Hod Carrier' (pp. 214-215); 'An Outing' (p. 216); 'Some Words' (pp. 216-220); 'Young Man With Letter' (p. 220-221); 'Clouds' (pp. 221-223); 'The Bungalows' (pp. 223-226); 'The Chateau Hardware' (p. 226); 'Sortes Vergilianae' (pp. 226-229); 'Fragment' (pp. 229-243)

from Three Poems:
'The New Spirit' (pp. 247-280); 'The System' (pp. 280-317); 'The Recital' (pp. 318-326)

The Vermont Notebook (with Joe Brainard) (pp. 327-423)

from Self-Portrait in a Convex Mirror:
'As One Put Drunk into the Packet-Boat' (pp. 427-428); 'Worsening Situation' (pp. 428-429); 'Forties Flick' (p. 429); 'As You Came from the Holy Land' (pp. 430-431); 'A Man of Words' (pp. 431-432); 'Scheherazade' (pp. 432-434); 'Absolute Clearance' (pp. 434-435); 'Grand Galop' (pp. 436-442); 'Poem in Three Parts' (pp. 442-444); 'Voyage in the Blue' (pp. 445-447); 'Farm' (p. 447); 'Farm II' (p. 448); 'Farm III' (p. 449); 'Hop O' My Thumb' (pp. 449-450); 'De Imagine Mundi' (pp. 451-452); 'Foreboding' (p. 452); 'The Tomb of Stuart Merrill' (pp. 453-454); 'Tarpaulin' (p. 455); 'River' (p. 455); 'Mixed Feelings' (pp. 455-456); 'The One Thing That Can Save America' (pp. 457-458); 'Tenth Symphony' (pp. 458-459); 'On Autumn Lake' (pp. 459-460); 'Fear of Death' (pp. 460-461); 'Ode to Bill' (pp. 461-462); 'Lithuanian Dance Band' (pp. 462-463); 'Sand Pail' (p. 464); 'No Way of Knowing' (pp. 464-466); 'Suite' (pp. 466-467); 'Märchenbilder' (pp. 467-468); 'City Afternoon' (pp. 468-469); 'Robin Hood's Barn' (pp. 469-470); 'All and Some' (pp. 470-472); 'Oleum Misericordiae' (pp. 472-473); 'Self-Portrait in a Convex Mirror' (pp. 474-487)

from Houseboat Days:
'Street Musicians' (p. 491); 'The Other Tradition' (pp. 491-492); 'Variant' (pp. 492-493); 'Collective Dawns' (pp. 493-494); 'Wooden Buildings' (pp. 494-495); 'Pyrography' (pp. 495-497); 'The Gazing Grain' (pp. 497-498); 'Unctuous Platitudes' (pp. 498-499); 'The Couple in the Next Room' (p. 499); 'The Explanation' (pp. 499-500); 'Loving Mad Tom' (pp. 500-501); 'Business Personals' (pp. 501-503); 'Crazy Weather' (pp. 503-504); 'On the Towpath' (pp. 504-505); 'Melodic Trains' (pp. 505-507); 'Bird's-Eye View of the Tool and Die Co.' (pp. 507-508); 'Wet Casements' (p. 508); 'Saying It to Keep It from Happening' (p. 509); 'Daffy Duck in Hollywood' (pp. 510-513); 'All Kinds of Caresses' (p. 513); 'Lost and Found and Lost Again' (p. 514); 'Two Deaths' (p. 514); 'Houseboat Days' (pp. 515-516); 'Whether It Exists' (p. 517); 'The Lament upon the Waters' (pp. 517-518); 'Drame Bourgeois' (pp. 518-519); 'And Ut Pictura Poesis Is Her Name' (pp. 519-520); 'What Is Poetry' (p. 520); 'And Others, Vaguer Presences' (pp. 520-521); 'The Wrong Kind of Insurance' (pp. 521-522); 'The Serious Doll' (p. 523); 'Friends' (pp. 523-524); 'The Thief of Poetry' (pp. 524-529); 'The Ice-Cream Wars' (p. 529); 'Valentine' (pp. 530-532); 'Blue Sonata' (pp. 532-533); 'Spring Light' (p. 534); 'Syringa' (pp. 534-536); 'Fantasia on ''The Nut-Brown Maid''' (pp. 537-550)

from As We Know:
'Litany' (pp. 553-656); 'Sleeping in the Corners of Our Lives' (p. 659); 'Silhouette' (pp. 659-660); 'Many Wagons Ago' (pp. 660-661); 'As We Know' (p. 661); 'Figures in a Landscape' (p. 662); 'Statuary' (p. 662-663); 'Otherwise' (p. 663); 'Five Pedantic Pieces' (pp. 663-664); 'Flowering Death' (pp. 664-665); 'Haunted Landscape' (pp. 665-667); 'My Erotic Double' (p. 667); 'I Might Have Seen It' (pp. 667-668); 'The Hills and Shadows of a New Adventure' (pp. 668-669); 'Knocking Around' (pp. 669-670); 'Not Only / But Also' (pp. 670-671); 'Train Rising out of the Sea' (pp. 671-672); 'Late Echo' (pp. 672-673); 'And I'd Love You to Be in It' (pp. 673); 'Tapestry' (p. 674); 'The Preludes' (pp. 674-675); 'A Box and Its Contents' (p. 675); 'The Cathedral Is' (p. 676); 'I Had Thought Things Were Going Along Well' (p. 676); 'Out over the Bay the Rattle of Firecrackers' (p. 676); 'We Were on the Terrace Drinking Gin and Tonics' (p. 676); 'Fallen Tree' (pp. 676-677); 'The Picnic Grounds' (pp. 677-678); 'A Sparkler' (pp. 678-679); 'The Wine' (pp. 679-680); 'A Love Poem' (p. 680); 'There's No Difference' (pp. 680-681); 'Distant Relatives' (pp. 681-682); 'Histoire Universelle' (p. 682); 'Hittite Lullaby' (p. 683); 'In a Boat' (pp. 683-684); 'Variations on an Original Theme' (pp. 684-685); 'Homesickness' (pp. 685-686); 'This Configuration' (pp. 686-687); 'Metamorphosis' (pp. 687-688); 'Their Day' (pp. 688-689); 'A Tone Poem' (pp. 689-690); 'The Other Cindy' (pp. 690-691); 'No, but I Seen One You Know You Don't Own' (p. 691); 'The Shower' (p. 692); 'Landscapeople' (pp. 692-693); 'The Sun' (pp. 693-694); 'The Plural of ''Jack-in-the-Box''' (p. 694)

from Shadow Train:
'The Pursuit of Happiness' (p. 697); 'Punishing the Myth' (pp. 697-698); 'Paradoxes and Oxymorons' (p. 698); 'Another Chain Letter' (p. 699); 'The Ivory Tower' (pp. 699-700); 'Every Evening When the Sun Goes Down' (p. 700); 'The Freedom of the House' (p. 701); 'A Pact with Sullen Death' (pp. 701-702); 'White-Collar Crime' (p. 702); 'At the Inn' (p. 703); 'The Absence of a Noble Presence' (pp. 703-704); 'The Prophet Bird' (p. 704); 'Qualm' (pp. 704-705); 'Breezy Stories' (pp. 705-706); 'Oh, Nothing' (p. 706); 'Of the Islands' (pp. 706-707); 'Farm Film' (pp. 707-708); 'Here Everything Is Still Floating' (p. 708); 'Joe Leviathan' (pp. 708-709); 'Some Old Tires' (p. 709); 'A Prison All the Same' (p. 710); 'Drunken Americans' (pp. 710-711); 'Something Similar' (p. 711); 'Penny Parker's Mistake' (p. 712); 'Or in My Throat' (pp. 712-713); 'Untilted' (p. 713 ); 'At Lotus Lodge' (p. 714); 'Corky's Car Keys' (pp. 714-715); 'Night Life' (p. 715); 'Written in the Dark' (p. 716); 'Caesura' (pp. 716-717); 'The Leasing of September' (p. 717); 'On the Terrace of Ingots' (p. 718); 'Tide Music' (pp. 718-719); 'Unusual Precautions' (p. 719); 'Flow Blue' (p. 720); 'Hard Times' (pp. 720-721); '''Moi, je suis la tulipe. . .''' (p. 721); 'Catalpas' (p. 722); 'We Hesitate' (pp. 722-723); 'The Desperado' (p. 723); 'The Image of the Shark Confronts the Image of the Little Match Girl' (p. 724); 'Songs Without Words' (pp. 724-725); 'Indelible, Inedible' (p. 725); 'School of Velocity' (p. 726); 'Frontispiece' (pp. 726-727); 'Everyman's Library' (p. 727); 'Shadow Train' (pp. 727-728); 'But Not That One' (p. 728); 'The Vegetarians' (p. 729)

from A Wave:
'At North Farm' (p. 733); 'Rain Moving In' (p. 733); 'The Songs We Know Best' (pp. 734-736); 'When the Sun Went Down' (pp. 736-737); 'Landscape (After Baudelaire)' (p. 737); 'Just Walking Around' (p. 738); 'A Fly' (pp. 738-739); 'The Ongoing Story' (pp. 739-740); 'Thank You for Not Cooperating' (p. 741); 'But What Is the Reader to Make of This?' (p. 742); 'Down by the Station, Early in the Morning' (p. 743); 'Around the Rough and Rugged Rocks the Ragged Rascal Rudely Ran' (p. 744); 'More Pleasant Adventures' (pp. 744-745); 'Purists Will Object' (pp. 745-746); 'Description of a Masque' (pp. 746-758); 'The Path to the White Moon' (pp. 758-759); 'Ditto, Kiddo' (pp. 759-760); 'Introduction' (p. 760); 'I See, Said the Blind Man, As He Put Down His Hammer and Saw' (p. 761); 'Edition Peters, Leipzig' (pp. 761-762); '37 Haiku' (pp. 762-764); 'Haibun' (pp. 764-765); 'Haibun 2' (p. 765-766); 'Haibun 3' (p. 766); 'Haibun 4' (pp. 766-767); 'Haibun 5' (pp. 767-768); 'Haibun 6' (pp. 768-769); 'Variation on a Noel' (pp. 769-771); 'Staffage' (p. 771); 'The Lonedale Operator' (pp. 771-773); 'Proust's Questionnaire' (pp. 773-774); 'Cups with Broken Handles' (pp. 774-775); 'Just Someone You Say Hi To' (p. 775); 'They Like' (p. 776); 'So Many Lives' (pp. 777-778); 'Never Seek to Tell Thy Love' (p. 778-779); 'Darlene's Hospital' (pp. 779-781); 'Destiny Waltz' (pp. 781-782); 'Try Me! I'm Different!' (pp. 782-783); 'One of the Most Extraordinary Things in Life' (p. 783); 'Whatever It Is, Wherever You Are' (pp. 784-786); 'Trefoil' (p. 786); 'Problems' (p. 787); 'A Wave' (pp. 787-808)

from April Galleons:
'Vetiver' (p. 811); 'Riddle Me' (pp. 812-813); 'Morning Jitters' (pp. 813-814); 'A Snowball in Hell' (p. 814); 'Dreams of Adulthood' (pp. 815-817); 'A Mood of Quiet Beauty' (pp. 817-818); 'When half the time they don't know themselves. . .' (pp. 818-819); 'Adam Snow' (pp. 819-820); 'Forgotten Song' (pp. 820-821); ' Finnish Rhapsody' (pp. 821-824); 'Forgotten Sex' (pp. 824-825); 'Insane Decisions' (p. 826); 'No I Don't' (pp. 826-828); 'Posture of Unease' (pp. 828-829); 'Alone in the Lumber Business' (pp. 829-830); 'Vaucanson' (pp. 830-831); 'Unreleased Movie' (pp. 832-834); 'Disguised Zenith' (p. 835); 'Railroad Bridge' (pp. 836-837); 'October at the Window' (pp. 837-838); 'No Two Alike' (pp. 838-839); 'Amid Mounting Evidence' (pp. 839-841); 'Letters I Did or Did Not Get' (pp. 841-843); 'Frost' (pp. 843-844); 'Life as a Book That Has Been Put Down' (pp. 844-845); 'Too Happy, Happy Tree' (pp. 845-846); 'Song of the Windshield Wipers' (pp. 847-848); 'The Mouse' (pp. 848-849); 'Song: ''Mostly Places...''' (pp. 849-850); 'Sighs and Inhibitions' (pp. 851-852); 'Someone You Have Seen Before' (pp. 852-854); 'Ostensibly' (pp. 854-855); 'Becalmed on Strange Waters' (pp. 855-856); 'The Big Cloud' (pp. 856-857); 'Not a First' (pp. 857-858); 'Polite Distortions' (pp. 858-859); 'Fourth Prize' (pp. 859-860); 'Some Money' (p. 861); 'Winter Weather Advisory' (pp. 861-863); 'Never to Get It Really Right' (pp. 863-864); 'Gorboduc' (pp. 864-865); 'The Romantic Entanglement' (p. 866); 'Wet Are the Boards' (pp. 867-868); 'And Some Were Playing Cards, Some Were Playing Dice' (pp. 868-869); 'Fall Pageant' (pp. 869-872); 'One Coat of Paint' (p. 872); 'Offshore Breeze' (p. 873); 'Savage Menace' (pp. 873-875); 'The Leopard and the Lemur' (pp. 875-876); 'By the Flooded Canal' (pp. 877-878); 'Bilking the Statues' (pp. 878-880); 'The Ice Storm' (pp. 880-883); 'April Galleons' (pp. 884-885)

Uncollected Poems:
'Seasonal' (p. 889); 'Lost Cove' (pp. 889-890); 'A Sermon: Amos 8:11-14' (pp. 890-891); 'Elegy' (pp. 891-892); 'A Fable' (p. 892); 'Song from a Play' (p. 893); 'Why We Forget Dreams' (pp. 893-894); 'For a European Child' (pp. 894-895); 'Friar Laurence's Cell' (pp. 895-896); 'From a Diary' (p. 896); 'The Dolors of Columbine' (pp. 897-898); 'A Dream' (pp. 898-899); 'Turandot' (pp. 899-904); 'White' (pp. 904-905); 'The Minstrel Boy' (pp. 905-907); 'Chinatown' (pp. 907-911); 'Abstentions' (p. 911); 'April Fool's Day' (pp. 912-913); 'The Poems' (pp. 914-917); 'The Night Cry' (p. 917); 'Evening Quatrains' (pp. 918-919); ' 'Fortune' (pp. 919-922); 'To a Waterfowl' (pp. 922-923); 'A Vase of Flowers' (p. 924); 'The Young Prince and the Young Princess' (pp. 924-925); 'Maintenance' (p. 925); 'The Adirondacks' (pp. 926-928); 'Late December' (p. 928); 'Copy of a Copy' (pp. 929-930); 'Undated' (pp. 930-932); 'Balance of Payments' (pp. 933-934); 'Blackthorn' (pp. 935-936); 'Upper Silesia' (p. 936); 'Faster than Birds Can Fly' (p. 937); 'One Hundred Multiple-Choice Questions' (pp. 938-952); '"I open my eyes to the strange unhappiness of autumn,"' (pp. 952-953); 'Scenery' (p. 953); 'The Enchanted Lake' (p. 954); 'Nouvelles Pièces Froides' (p. 955); 'All the Sonatas' (pp. 956-957); 'Sponge' (p. 957); 'Aurora de ti Misma' (p. 958); 'Dangling Modifiers' (pp. 958-960); 'Fretwork' (p. 960); 'Happy Autumn Fields' (p. 961); 'Stance' (pp. 961-962); 'Once Upon a Time' (pp. 963-964); '"Kannst Du Die Alten Lieder Noch Spielen?"' (p. 964-969); 'Morning in Helsinki' (p. 970); 'Winter Scene' (p. 971); 'Background Music' (pp. 971-973); 'The Foggiest' (pp. 973-974); 'Shining the Blue' (pp. 974-975); 'The Strayed Reveller' (pp. 975-976); 'Endless Variation' (p. 976); 'Nothing to Steal' (pp. 977-978); 'The Bushiness of Infinity' (pp. 978-979); 'Dream Overture' (p. 979); 'Imperfect Sympathies' (pp. 980-981); 'The Good Old Days' (pp. 981-982); 'Art Songs' (p. 983); 'Drab Shutters' (pp. 983-985); '"Meanwhile / far above / the street"' (p. 985); 'Deep in My Heart, Dear' (pp. 986-988); 'Minor Traveler' (pp. 988-989)

Chronology (p. 993); Note on the Texts (p. 1006); Notes (p. 1014); Index of Titles and First Lines (p. 1030)

Publication
John Ashbery: Collected Poems 1956-1987
Author/Editor
Ford, Mark (volume editor); O'Brien, Geoffrey (series editor)
Language
English
Place of Publication
New York, NY
Publisher
Library of America / Literary Classics of the United States, Inc.
Publication date
2008-10-00
Illustration
Cover art includes an image of the painting 'John Ashbery' (1957) by Fairfield Porter.
Format
Book
Type
Poetry
Notes
This volume is the first in a series.

The ARC also has a copy of this publication's advanced uncorrected proofs, as well as the Library of America Fall 2008 catalog (which featured Ashbery's book on its front and back covers).

In connection with this publication, Rich Kelley conducted an interview with John Ashbery for the Library of America e-Newsletter. You may search this catalogue for a separate citation for that item.




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