Hyperscapes in the Poetry of Frank O’Hara
Difference, Homosexuality, Topography
Distributed for Liverpool University Press
256 pages
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6 x 9
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© 2000
Frank O’Hara’s poetry evokes a specific era and location: New York in the fifties and early sixties. This is a pre-computer age of typewritten manuscripts, small shops and lunch hours: it is also an age of gay repression, accelerating consumerism and race riots. Hazel Smith suggests that the location and dislocation of the cityscape creates "hyperscapes" in the poetry of Frank O’Hara. The hyperscape is a postmodern site characterized by difference, breaking down unified concepts of text, city, subject and art, and remolding them into new textual, subjective and political spaces. This book theorizes the process of disruption and re-figuration which constitutes the hyperscape, and celebrates its radicality.
Contents
Preface
Introduction
1. Resituating O'Hara
2. The Hyperscape and Hypergrace: The City and the Body
3. In Memory of Metaphor: Metonymic Webs and the Deconstruction of Genre
4. The Gay New Yorker: The Morphing Sexuality
5. The Poem as Talkscape: Conversation, Gossip, Performativity, Improvisation
6. Why I Am Not a Painter: Visual Art, Semiotic Exchange, Collaboration
Coda: Moving the Landscapes
Appendix: More Collaboration
Select Bibliography
Index
Introduction
1. Resituating O'Hara
2. The Hyperscape and Hypergrace: The City and the Body
3. In Memory of Metaphor: Metonymic Webs and the Deconstruction of Genre
4. The Gay New Yorker: The Morphing Sexuality
5. The Poem as Talkscape: Conversation, Gossip, Performativity, Improvisation
6. Why I Am Not a Painter: Visual Art, Semiotic Exchange, Collaboration
Coda: Moving the Landscapes
Appendix: More Collaboration
Select Bibliography
Index
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Literature and Literary Criticism: Poetry
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