Invisible Terrain: John Ashbery and the Aesthetics of Nature (Oxford English Monographs)

In his debut collection, __Some Trees__ (1956), the American poet John Ashbery poses a question that resonates across his oeuvre and much of modern art: 'How could he explain to them his prayer / that nature, not art, might usurp the canvas?' When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists--from the Dadaists to the 1960s neo-avant-gardists and beyond--who have dreamed of turning art into nature, of creating art that would be 'valid solely on its own terms, in the way nature itself is valid, in the way a landscape--not its picture--is aesthetically valid' (Clement Greenberg, 1939). __Invisible Terrain__ reads Ashbery as a bold intermediary between avant-garde anti-mimeticism and the long western nature poetic tradition. In chronicling Ashbery's articulation of 'a completely new kind of realism' and his engagement with figures ranging from Wordsworth to Warhol, the book presents a broader case study of nature's dramatic transformation into a resolutely __unnatural__ aesthetic resource in 20th-century art and literature. The story begins in the late 1940s with the Abstract Expressionist valorization of process, surface, and immediacy--summed up by Jackson Pollock's famous quip, 'I am Nature'--that so influenced the early New York School poets. It ends with 'Breezeway,' a poem about Hurricane Sandy. Along the way, the project documents Ashbery's strategies for literalizing the 'stream of consciousness' metaphor, his negotiation of pastoral and politics during the Vietnam War, and his investment in 'bad' nature poetry. In His Debut Collection, Some Trees (1956), The American Poet John Ashbery Poses A Question That Resonates Across His Oeuvre And Much Of Modern Art: How Could He Explain To Them His Prayer / That Nature, Not Art, Might Usurp The Canvas? When Ashbery Asks This Strange Question, He Joins A Host Of Transatlantic Avant-gardists-from The Dadaists To The 1960s Neo-avant-gardists And Beyond-who Have Dreamed Of Turning Art Into Nature, Of Creating Art That Would Be Valid Solely On Its Own Terms, In The Way Nature Itself Is Valid, In The Way A Landscape-not Its Picture-is Aesthetically Valid (clement Greenberg, 1939). 'invisible Terrain' Reads Ashbery As A Bold Intermediary Between Avant-garde Anti-mimeticism And The Long Western Nature Poetic Tradition. In Chronicling Ashbery's Articulation Of A Completely New Kind Of Realism And His Engagement With Figures Ranging From Wordsworth To Warhol, The Book Presents A Broader Case Study Of Nature's Dramatic Transformation Into A Resolutely Unnatural Aesthetic Resource In 20th-century Art And Literature.0the Story Begins In The Late 1940s With The Abstract Expressionist Valorization Of Process, Surface, And Immediacy-summed Up By Jackson Pollock's Famous Quip, I Am Nature - That So Influenced The Early New York School Poets. It Ends With 'breezeway,' A Poem About Hurricane Sandy. Along The Way, The Project Documents Ashbery's Strategies For Literalizing The 'stream Of Consciousness' Metaphor, His Negotiation Of Pastoral And Politics During The Vietnam War, And His Investment In 'bad' Nature Poetry. Stephen J. Ross. Includes Bibliographical References (pages 187-199) And Index. Cover 1 Invisible Terrain: John Ashbery and the Aesthetics of Nature 4 Copyright 5 Dedication 6 Acknowledgments 8 Contents 12 Introduction 16 NATURE, NOT ITS SUBSTITUTE 18 A COMPLETELY NEW KIND OF REALISM 34 PARADOXES AND OXYMORONS: A NOTEON METHODOLOGY 47 1: The Invisible Avant-Garde: Nature, New Realism, and Ashbery’s France 52 REAL LANDSCAPES NOT PAINTED ONES 55 A NEW SENSE OF NATURE 59 A TORN PAGE WITH A PASSIONATE OASIS 68 A POEM IN THE FORM OF FALLING SNOW 71 2: The Delta of Living into Everything: Ashbery’s Riverine Poetics 82 ALL OF A PIECE LIKE A STREAM 87 DISSOLVED, PUT IN SOLUTION 95 VAGUE SENSE 103 “THE CHATTER NEVER SUBSIDES” 107 3: A Language that is Ever Green: Ashbery’s Pastoral 116 APING NATURALNESS 119 THIS FEELING OF EXALTATION 125 I AM STILL COMPLETELY HAPPY 131 I AMTO BE IN THE DUMP 140 4: Out of the Endless Bathos: Ashbery’s “Bad” Nature Poetry 146 A MARVEL OF POETRY AND IRONY 150 A FINE AND TOUCHING MOMENT 155 A HOLE OF TRUTH IN THE GREEN EARTH’S RUG 160 A SOFTLY SWAYING SILVER DUNCE 169 5: The Season is Stalled: Ashbery’s Changing Climate 174 DIAMOND RUBBLE, ALL GALLED GLITTER 182 EVERYTHING IS MODULAR NOW, EVEN THE TREES 189 “ANOTHER BIG ONE IS ON THE WAY!” 194 BATMAN CAME OUT AND CLUBBED ME 198 Bibliography 202 Index 216