Note: Many of the resource pages linked to below have been recreated from the original Ashbery Resource Center website, which had been dormant for some time, and are currently in the process of being updated.
The Ashbery Resource Center, a project of The Flow Chart Foundation, consists of this portal to various Ashbery-related resources, as well as an archival and research facility located in Hudson, NY (initially developed in cooperation with Bard College).
As custodian of large portions of the John Ashbery archive and collections, The Flow Chart Foundation coordinates the continued development of the Ashbery Resource Center to facilitate the identification, organization, documentation, maintenance, and preservation of its holdings, and to provide a rich virtual resource. The objective is to make available to scholars and researchers a variety of resources relevant to the study of Ashbery's legacy, emphasizing the contexts in which he created his work in order to provide additional insight into its significance. Scholars and researchers involved in significant Ashbery studies identified by The Flow Chart Foundation, who may be unable to locate certain Ashbery-related materials through the libraries of their affiliated institutions or through online research, are occasionally invited to work with the Ashbery Resource Center’s holdings in person. Note that the Center is not open for general perusal, nor does it maintain regular open hours. A searchable online catalog of holdings can be found below, particularly useful for identifying related materials that can be readily accessed elsewhere, as well as a variety of online resources related to Ashbery’s life and work available to all.
Predicated on David Kermani's extensively annotated bibliography of Ashbery works through 1976, the Ashbery Resource has worked (and continue to work) on providing a comprehensive reference site for Ashbery scholars and enthusiasts who may search the catalogue of the physical Ashbery Resource Center here.
Note: While basic searches through the Ashbery Resource Center catalog may currently be accomplished, complete SEARCH functions are currently under construction.
ABOUT JOHN ASHBERY
The information presented here provides a general overview of the highlights of John Ashbery's career, as well as providing biographical, chronological, and critical contexts for evaluating Ashbery's work. Although not comprehensive, the material below offers quick reference and provides answers to many of the most frequently asked questions.
A small gathering of miscellaneous online materials unlikely to be found elsewhere that may be of interest to Ashbery scholars and enthusiasts...
Juniper from a seminar by Dara Wier
READINGS BY ASHBERY OF HIS POEMS
A significant number of recordings gathered by the Ashbery Resource Center can be streamed through PennSound. A small selection follows:
Numerous discussions about Ashbery’s work, conversations with him, and readings by others of his poetry can also be found at PennSound. The Flow Chart Foundation is grateful to PennSound for digitizing recordings from the Ashbery Resource Center and making them available.
The worst side of it all—
The White Sunlight not the polished floor—
Pressed into service,
And then the window closed
And the night ends and begins again.
Her face goes green, her eyes are green,
In the dark corner playing “The Stars and Stripes Forever,” I try to describe for you,
But you will not listen, you are like the swan.
No stars are there,
But a blind man’s cane poking, however clumsily, into the inmost corners of the house.
Nothing can be harmed! Night and day are beginning again!
So put away the book,
The flowers you were keeping to give someone:
Only the white, tremendous foam of the street has any importance,
The new white flowers that are beginning to shoot up about now.
— from The Tennis Court Oath (© 1962 Estate of John Ashbery. All rights reserved. Used by arrangement with Georges Borchardt, Inc.)
We were sitting there, and
I made a joke about how
it doesn’t dovetail: time,
one minute running out
faster then the one in front
it catches up to.
That way, I said,
there can be no waste,
Waste is virtually eliminated.
To come back for a few hours to
the present subject, a painting,
looking like it was seen,
half turning around, slightly apprehensive,
but it has to pay attention
to what’s up ahead: a vision.
There poetry dissolves in
brilliant moisture and reads us
A faint notion. Too many words,
— from Planisphere (© 2009 Estate of John Ashbery. All rights reserved. Used by arrangement with Georges Borchardt, Inc).