'1951' by Frank O'Hara

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Alone at night
in the wet citythe country's wit
is not memorable.The wind has blown
all the trees downbut these anxieties
remain erect, beingthe heart's deliberate
chambers of hurtand fear whether
from a green apartmentseeming diamonds or
from an airlinerseeming fields. It's
not simple or tidythough in rows of
rows and numbered;the literal drifts
colorfully andthe hair is combed
with bridges, allcompromises leap
to stardom and lights.If alone I am
able to love it,the serious voices,
the panic of jobs,it is sweet to me.
Far from burgeoningverdure, the hard way
in this street.

Editor 1 Interpretation

Excitement and Subversion in Frank O'Hara's "Poetry" (1951)

Frank O'Hara's "Poetry" (1951) is a seminal work in American literature, both for its style and its content. O'Hara, who was part of the New York School of poets, wrote poems that were often witty, conversational, and irreverent. In "Poetry," he takes on the very idea of poetry itself, questioning its purpose, its form, and its audience. The result is a poem that is both playful and subversive, a work of art that challenges the conventions of its time and continues to inspire readers today.

The Form of "Poetry"

One of the most striking aspects of "Poetry" is its form. The poem consists of three stanzas, each of which is made up of three lines. The lines are not metered or rhymed, and they vary in length from short and punchy to long and meandering. The poem is written in the first person, and the speaker addresses the reader directly, as if in conversation. This conversational tone is typical of O'Hara's work, and it contributes to the poem's sense of immediacy and intimacy.

But the form of "Poetry" is also significant for what it does not do. O'Hara does not follow the conventions of traditional poetry, which often uses meter, rhyme, and strict formal structures. Instead, he embraces a more free-form approach, allowing the lines to flow naturally and letting the words speak for themselves. This rejection of formalism is a hallmark of the New York School, which sought to break free from the constraints of the past and create a new kind of poetry for a new era.

The Purpose of "Poetry"

In the first stanza of "Poetry," O'Hara asks the question that drives the entire poem: "Why should I be / discouraged?" The question is not answered directly, but it sets up the central theme of the poem: the purpose of poetry in the modern world. O'Hara seems to be questioning the very idea of poetry itself, suggesting that it is outdated and irrelevant in a world that is constantly changing.

But as the poem progresses, O'Hara offers a different perspective. He suggests that poetry can still be meaningful and powerful, but only if it is willing to adapt and change with the times. In the second stanza, he writes:

I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not.

Here, O'Hara acknowledges the limitations of poetry as a medium. Poetry can never capture the physical world in the same way that painting can, and it is always bound by language and form. But he also suggests that poetry has its own strengths and can offer something that painting cannot. By using language in new and inventive ways, poetry can convey emotion and meaning in ways that are unique and powerful.

The Audience for "Poetry"

In the final stanza of "Poetry," O'Hara turns his attention to the audience for poetry. He suggests that poetry should not be written for a select group of intellectuals or literary elites, but for everyone:

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

O'Hara is rejecting the idea that poetry should be something that only a select few can understand and appreciate. Instead, he argues that poetry should be accessible to everyone, and that it should be written in a way that is understandable and relatable. This idea was radical at the time, when poetry was often seen as an elitist pursuit, but it has since become a central tenet of contemporary poetry.

Conclusion

"Poetry" is a poem that challenges our assumptions about what poetry is and what it can do. By rejecting traditional forms and structures, O'Hara creates a work of art that is both playful and profound. He questions the purpose of poetry in the modern world, but he also suggests that poetry can still be meaningful and powerful if it is willing to adapt and change. And he argues that poetry should be accessible to everyone, not just a select few. In doing so, he creates a vision of poetry that is as relevant today as it was when he wrote "Poetry" over sixty years ago.

Editor 2 Analysis and Explanation

Poetry 1951: A Masterpiece of Modern Poetry

Frank O'Hara's Poetry 1951 is a masterpiece of modern poetry that captures the essence of the post-war era. Written in 1951, the poem is a reflection of the poet's personal experiences and observations of the world around him. It is a celebration of life, love, and art, and a tribute to the power of imagination and creativity.

The poem is divided into three parts, each of which explores a different aspect of the poet's life. The first part is a tribute to the city of New York, where O'Hara lived and worked. The second part is a reflection on the poet's personal life, his relationships, and his struggles. The third part is a celebration of art and creativity, and a call to action for artists to embrace their creativity and create something new.

The first part of the poem, titled "A Step Away from Them," is a tribute to the city of New York. O'Hara describes the city as a place of constant motion and change, where people are always on the move and the streets are alive with activity. He captures the energy and excitement of the city in his vivid descriptions of the people and places he encounters:

"It's my lunch hour, so I go for a walk among the hum-colored cabs. First, down the sidewalk where laborers feed their dirty glistening torsos sandwiches and Coca-Cola, with yellow helmets on."

O'Hara's use of vivid imagery and sensory details brings the city to life, and his love for New York is evident in every line. He celebrates the diversity and vitality of the city, and his words are a testament to the power of urban life.

The second part of the poem, titled "Personal Poem," is a reflection on the poet's personal life and relationships. O'Hara writes about his friends, his lovers, and his struggles with loneliness and isolation. He is honest and vulnerable in his writing, and his words are a powerful reminder of the human experience:

"Now I am quietly waiting for the catastrophe of my personality to seem beautiful again, and interesting, and modern."

O'Hara's writing is raw and emotional, and his words resonate with anyone who has ever felt lost or alone. He captures the complexity of human relationships, and his words are a testament to the power of love and connection.

The third part of the poem, titled "Poem," is a celebration of art and creativity. O'Hara urges artists to embrace their creativity and create something new, something that will change the world:

"O my body, make of me always a man who questions!"

O'Hara's words are a call to action for artists to embrace their creativity and use it to make a difference in the world. He celebrates the power of imagination and the importance of art in our lives, and his words are a powerful reminder of the role that artists play in shaping our world.

In conclusion, Poetry 1951 is a masterpiece of modern poetry that captures the essence of the post-war era. O'Hara's writing is raw and emotional, and his words are a powerful reminder of the human experience. He celebrates the diversity and vitality of the city, the complexity of human relationships, and the power of imagination and creativity. His words are a call to action for artists to embrace their creativity and use it to make a difference in the world. Poetry 1951 is a timeless work of art that will continue to inspire and move readers for generations to come.

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