Breezeway: New Poems, by John Ashbery
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Breezeway: New Poems, by John Ashbery
Free PDF Ebook Online Breezeway: New Poems, by John Ashbery
A bold, striking new collection of poems from one of America’s most influential and inventive poets.
With more than twenty poetry collections to his name, John Ashbery is one of our most agile, philosophically complex, and visionary poets. In Breezeway, Ashbery’s powers of observation are at their most astute; his insight at its most penetrating. Demonstrating his extraordinary command of language and his ability to move fluidly and elegantly between wide-ranging thoughts and ideas—from the irreverent and slyly humorous to the tender, the sad, and the heartbreaking—Ashbery shows that he is a virtuoso fluent in diverse styles and tones of language, from the chatty and whimsical to the lyrical and urbane. Filled with allusions to literature and art, as well as to the absurdities and delights of the everyday world around us, Ashbery’s poems are haunting, surprising, hilarious, and knowing all at once, the work of a master craftsman with a keen understanding of the age in which he lives and writes, an age whose fears and fragmentation he conjures and critiques with humor, pathos, and a provocative wit.
Vital and imaginative, Ashbery’s poems not only touch on the “big questions” and crises of life in the twenty-first century, but also delicately capture the small moments between and among people. Imaginative, linguistically dazzling, and artistically ambitious, Breezeway is John Ashbery’s sharpest and most arresting collection yet.
Breezeway: New Poems, by John Ashbery- Amazon Sales Rank: #419303 in Books
- Brand: Ashbery, John
- Published on: 2015-05-12
- Released on: 2015-05-12
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .57" w x 6.00" l, 1.42 pounds
- Binding: Hardcover
- 128 pages
Review As always, his poems evoke the sound of a single voice engaged in simultaneous multiple conversations. . . . Ashbery remains an engaging trickster, still able to slip the occasional shrewd commentary (”Our networks will be joining you in progress”) into the playfully distracting chaos.” (Library Journal)“One of the most anticipated poetry collections this spring, Breezeway is delightfully ambitious and imaginative - which is to say, everything we’ve come to expect from Ashbery.” (Buzzfeed)“John Ashbery is the Walt Whitman of our postwar pop age, the prolific chronicler of American consciousness...Yet his long career has proven resilient precisely because-like few other species of modern poetics-he’s been so joyously able to absorb and adapt...Breezeway...is one of his best books.” (Interview)“John Ashbery’s Breezeway is one of the most anticipated collections of the year. Readers who appreciate his mind-bending work will find the same kind of challenging richness he has offered in more than 20 collections of poetry.” (Washington Post)“Ashbery’s familiar charms are all in evidence: his playful style and his stylish play, his knack for bent idiom and his rhetorical questions.” (Boston Globe)“If you’ve ever had trouble appreciating the disjunctive, not entirely sensical work of America’s most celebrated living poet, try reading it out loud after getting high. Studies show that this method is most effective with Ashbery’s later work, so no harm starting your experiments with his excellent new collection.” (New York magazine)
From the Back Cover
With more than twenty poetry collections to his name, John Ashbery is one of our most agile, philosophically complex, and visionary poets. In Breezeway, Ashbery’s powers of observation are at their most astute; his insight at its most penetrating. Filled with allusions to literature and art, as well as to the absurdities and delights of the everyday world around us, Ashbery’s poems are haunting, surprising, hilarious, and knowing all at once, the work of a master craftsman with a keen understanding of the age in which he lives and writes, an age whose fears and fragmentation he conjures and critiques with humor, pathos, and a provocative wit.
“No one writing poems in the English language is likelier than Ashbery to survive the severe judgments of time....He is joining that American sequence that includes Whitman, Dickinson, Stevens, and Hart Crane.”—Harold Bloom
About the Author
John Ashbery was born in Rochester, New York, in 1927. He is the author of more than twenty books of poetry, including Quick Question; Planisphere; Notes from the Air; A Worldly Country; Where Shall I Wander; and Self-Portrait in a Convex Mirror, which received the Pulitzer Prize for Poetry, the National Book Critics Circle Award, and the National Book Award. He lives in New York.
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Most helpful customer reviews
6 of 7 people found the following review helpful. Some of Ashbery's best recent poems By Christopher C. Wilson The poems in John Ashbery's latest collection are comic in their appropriation of contemporary language and, more important, deeply moving. The speaker shifts between seeming affectionate, insistent, anxious, offhand, annoyed, frustrated, hopeful, and nostalgic. The startling combinations of words simultaneously don't make sense -- on a surface level -- and make perfect sense. After reading one, I felt that I knew what the poem was about, though the language defies the rational (making me wonder whether this is how all of us actually sound in conversation). The theme of transience runs throughout, as Dan Chiasson points out in his excellent review in the New Yorker where he suggests that Ashbery's recent poems are posthumous in their "monitoring of the past" with its "allegedly trivial experiences." Beautiful book, and I look forward to rereading each poem slowly and carefully.
3 of 4 people found the following review helpful. A Brief Look at Breezeway By Amazon Customer A Brief Look at Breezeway Review by Jorge DiazJohn Ashbery… John. Ashbery. Forgive my momentary mental lapse, but I’m still recovering from my third read through of John Ashbery’s latest literary work, “Breezeway” (2015). I told myself (as a reader) that if I just gave some time to process this 105 page compendium of short poems, that it would change the way it’s sitting in my stomach right now: unsettled. His adapted style of twisted linguistics falls on the eyes like nails on a chalkboard do on the ears. There are times where the reader has to literally stop and wonder if John chooses the verbs of his next line by drawing them out of a hat, or targeting them with darts on a board. With lines that deliver complete bafflement: “I was quite different then, / guilty of changing the money. Look, I- / Thanks. So you can do this at home, / on a whoopee calendar. But don’t do that. // Sleeping”. (Ashbery 8). No, you didn’t miss anything – it only gets stranger as you read. This review will attempt to give you an average Joe’s opinion on what makes “Breezeway” unique and how it both hurts and helps the writer in his avant-garde approach to poetry.Looking back at older, tamer Ashbery works, I wouldn’t have thought his writing to take this far of a turn, “As We Know” (1979) and “The Ice Storm” (1987) were the infancy of this frivolous writing style. With “Breezeway”, it’s hard to tell where the sentiment lies because the amount of tongue-in-cheek garbage filling up some pieces. At first glance, there is a schizophrenic flatness to it; the mixed efforts of a child with ADHD that has just found where grandmother stores the secrets stash of sweets and a pseudo-intellectual hipster poet adventuring abroad in a city (possibly foreign). The fusion of pop culture with the scenarios presented by the speaker help pique your interest just as you’re starting to wonder what the hell you’re reading. Take “Wherever Your Sun Takes You” for example: Holy Grail, Batman! Can’t you see it? Ice cream fell on his arm when I went to explore and found students reading papers. Please join the opera of interesting things. (Ashbery 8)Every few poems, Ashbery drops tiny Easter Eggs alluding to something in pop culture like the Kardashians, Batman, Scooby Doo, and a few popular television commercials. The references pop out at you, never attempting to be subtle, but even that can’t exactly help you fluently read through the lines of his book, not without developing a migraine at least. As a reader, you’re continuously forced to a halt every few lines to ensure you didn’t skip or miss something in context. His piece “Ruffle Theory” helps describe this: I’m the wardrobe expert. Electrocuted! You can’t mean that. All those years nothing but his blond ticking hair, and vote for him. Whomever. And then we never did hear much from him. (Ashbery 69)If you really wanted to dissect it, you could say that the “wardrobe expert” is a campaign manager whose primary candidate for office has just been “electrocuted” or caught in a stunning whirlwind of bad PR for some scandalous affair. He is a poster boy, a visage whose appearance has been defiled, but one that is easily replaced, hence, “vote for him. Whomever.” This is the nod at most politicians being duds/placeholders, a.k.a. interchangeable. Many of which fly under the radar all the way into office, “we never did hear much from him.” (Ashbery 69). Of course, this could all be incredibly off, but the matter is highly subjective.It wouldn’t be fair to critique this book and not give it proper merit, for it was a decent read. John is 88 years old and that closeness he feels to death and the way he views the world sometimes permeate the page. You can tell it’s a recurring theme among many of the works in this book; life, finality, regret, acceptance – it’s all there. The poem “Be Careful What You Wish For” has all of these themes embedded in a couple of lines:They don’t say please in heaven. All business is carried outin the pre-noon hours, leaving time for naps and reflection.This is the kind of life I was supposed to lead. What happened?you ask. Cutie pie went bye bye. (Ashbery 103)This piece isn’t talking about a literal heaven; in fact, I believe it might allude to a retirement home. Brochures and family members commonly market these places as tiny slices of “heaven” to their elderly relatives. In many of them, they aren’t much for manners politeness, foregoing formalities such as “please” and thank you. Retirement homes, villages, elderly social clubs, or whatever you want to call them, have their residents rise early hence, “All business is carried out in the pre-noon hours”. This leaves pretty much the rest of your day to spend calmly among yourselves, or with other patrons. John seems to choose the solitary path of “naps and reflection.” When he mentions, “This is the kind of life I was supposed to lead. What happened? you ask. Cutie pie went bye bye.” (Ashbery 103) you get a sense that he has been avoiding this life of complacency for some time. He knew he belonged, but you can tell by his question, “What happened?” it’s not something he wanted or even planned for. Then we get our response as to why he’s stuck there: “Cutie pie went bye bye.” (Ashbery 103). That line is devastating! This symbolizes his daughter abandoning John at the village. We get the impression that his daughter, “Cutie pie”, possibly preoccupied with her own life could no longer take care of John and saw he wasn’t fit enough to take care of himself. Her departure from her caretaker role and, granting his age, caused him to become a tenant in “heaven”. When you’re reading some parts of his poems, just the way he talks about the people and settings sound as if they’re from a different time – a happier time in John’s life. However, as you progress through the book, the time period seems to become more recent and in some sense… darker. This transitional timeline doesn’t happen in any one poem in particular, it’s all in the order and wording of the works and how they evolve as a whole. You see, when I first started reading “Breezeway”, I was looking at it all wrong. I took it as a combination of multiple poems, but to really peer into the soul of this small arrangement of pages, you must read them time and time again from start to finish to really pick up on the theme of finality. The book is littered with intimate memories of John’s friends and life experiences, his views on love, life, and politics, as well as his concession to the idea of death. “Breezeway” has - in the end - proved to be as charming as it is confusing. Looking back at “Breezeway”, this book of poetry has an unconventional approach at literature with some subtle strengths and glaring weaknesses. Honestly, the only real downside to this writing style is that you cannot expect to sit down and devour more than a couple of poems at a time. Not without completely missing a lick of what you just read anyway. John e stop-and-go reading that hurts the book in the delivery of its message. In one of Breezeway’s final poems, “Cheap Legs”, John writes, “To be comfortable in his facial hair / is as much and as little of a man / as one can ask.” (Ashbery 102). I find that line to be quite true for John, he Ashbery does a phenomenal job of making you work hard to understand his train of thought and, he’s very unapologetic about it. Yet, it’s this samis comfortable in what he writes and that’s probably why it works. Heck, there are even moments where you can gaily glide from one stanza to the next before unavoidably tripping over the bipolarity of his sentences. The book is like a badly oiled train wreck that somehow – just barely - makes it to its destination.
0 of 0 people found the following review helpful. Entering into his oblique conversations is as much fun as always By Amazon Customer Ashbery hasn't lost his edge. Entering into his oblique conversations is as much fun as always. the inventive wordplay and imagery astonish me, and the unfolding of these poems into intricate moments of relative clarity constitutes an intellectual and emotional adventure unlike anything else in contemporary poetry.
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