Frank O'Hara and the poetics of the digital

Criticism

Volumn 56, Issue 1, 2014, Pages 45-61

  Tietchen, Todd ^a  

^a UNIVERSITY OF MASSACHUSETTS   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84901592668     PISSN: 00111589     EISSN: 15360342     Source Type: Journal    
DOI: 10.13110/criticism.56.1.0045     Document Type: Article

References (32)

1. Lev Manovich, "Art after Web 2.0," The Art of Participation, 1950 to Now, ed. Rudolph Frieling (San Francisco: San Francisco Museum of Modern Art, 2008), 66-79, quotation on 74.
2. Frank O'Hara, Selected Poems, ed. Mark Ford, Borzoi Poetry (New York: Alfred A. Knopf, 2008), 177.
3. Benjamin Lee, "Frank O'Hara and the Turn to Friendship," Criticism 49, no. 2 (2007): 243-47, quotation on 244.
4. N. Katherine Hayles, How We Think: Digital Media and Contemporary Technogenesis (Chicago: University of Chicago Press, 2012), 7.
5. Those interested in fully immersing themselves in the swirl of debates raging around traditional and digital humanities should consult Debates in the Digital Humanities, ed. Matthew K. Gold (Minneapolis: University of Minnesota Press, 2012).
6. O'Hara, Selected Poems, 26.
7. Lewis Mumford, Technics and Civilization (New York: Harbinger, 1962), 16.
8. Allen Ginsberg, Collected Poems, 1947-1980 (New York: Harper Perennial, 1988), 344.
9. Sherry Turkle, Alone Together: Why We Expect More from Technology and Less from Each Other (New York: Basic Books, 2011), 161.
10. Donald Allen and George F. Butterick, preface to The Postmoderns: The New AmericanPoetry Revised (New York: Grove Weidenfeld, 1982), 9-12, quotation on 9.
11. Lytle Shaw, "Gesture in 1960: Toward Literal Situations," in New York Cool: Painting and Sculpture from the NYU Art Collection, ed. Pepe Karmel (New York: Grey Art Gallery of New York University, 2009), 37-66, quotation on 44.
12. Tim Hunt, "'Blow as Deep as You Want to Blow': Time, Textuality, and Jack Kerouac's Development of Spontaneous Prose," Journal of Beat Studies 1, no. 1 (2012): 49-87, quotation on 49-50.
13. Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006), 2.
14. Donald Allen, preface to The New American Poetry, 1945-1960 (Berkeley: University of California Press, 1960), xi-xiv, quotation on xii.
15. John Ashbery's 1975 collaboration with Joe Brainard for Black Sparrow Press, the Vermont Journal, contains an updated list of the American avant-garde poets undivided by school or region. The list appears opposite a simple illustration by Brainard (recto to the illustration's verso) of eight human figures arranged in a circle on their backs with their arms outstretched and nearly touching-a pairing that seemingly gets at the importance of affiliation for the poets of Ashbery's time. Moreover, Ashbery included his list in a work that is ostensibly a faux diary, a symbol of print-era secrecy constituting a playful nod to the tradition of the literary underground. The pages in question have since been
16. reprinted in John Ashbery's Collected Poems 1956-1987, ed. Mark Ford (New York: Library of America, 2008), 344-45.
17. Allen, preface, xi.
18. Various versions of this argument might be found in Michael Davidson's Guys Like Us: Citing Masculinity in Cold War Poetics (Chicago: University of Chicago Press, 2003)
19. and The San Francisco Renaissance: Poetics and Community at Mid-century, Cambridge Studies in American Literature and Culture, vol. 35 (Cambridge: Cambridge University Press, 1991);
20. Andrew Epstein's Beautiful Enemies: Friendship and Postwar American Poetry (New York: Oxford University Press, 2009);
21. Daniel Kane's All Poet's Welcome: The Lower East Side Poetry Scene in the 1960s (Berkeley: University of California Press, 2003);
22. and Ronald Sukenick's Down and In: Life in the Underground (New York: Collier, 1988).
23. David Lehman, The Last Avant-Garde: The Making of the New York School of Poets (New York: Doubleday, 1998), 340.
24. Elaine Tyler May's Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 2008) provides an in-depth analysis of the role of the suburbs in the era's containment culture.
25. Lee, "Frank O'Hara," 244.
26. O'Hara, Selected Poems, 159.
27. Lehman, Last Avant-Garde, 35.
28. Thomas Streeter, The Net Effect: Romanticism, Capitalism, and the Internet, Critical Cultural Communication (New York: New York University Press, 2010), 1.
29. Also see George Dyson's Turing's Cathedral: The Origins of the Digital Universe (New York: Pantheon, 2012), 70-80;
30. and James Gleick's The Information: A History, a Theory, a Flood (New York: Vintage, 2011), 204-68.
31. Streeter, Net Effect, 45.
32. See especially Jaron Lanier's discussion of the "oracle illusion" in You Are Not a Gadget: A Manifesto (New York: Vintage, 2011), 32-35.