By Hazel Smith
Frank O’Hara’s poetry conjures up a selected period and placement: manhattan within the fifties and early sixties. it is a pre-computer age of typewritten manuscripts, small outlets and lunch hours: it's also an age of homosexual repression, accelerating consumerism and race riots. Hazel Smith means that the positioning and dislocation of the cityscape creates "hyperscapes" within the poetry of Frank O’Hara. The hyperscape is a postmodern web site characterised via distinction, breaking down unified techniques of textual content, urban, topic and artwork, and remolding them into new textual, subjective and political areas. This booklet theorizes the method of disruption and re-figuration which constitutes the hyperscape, and celebrates its radicality.
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Additional info for Hyperscapes in the Poetry of Frank O'Hara: Difference, Homosexuality, Topography
Example text
Plath 1981, p. 223) 26 Hyperscapes in the Poetry of Frank O’Hara In contrast, the political is not subordinated to the personal in O’Hara’s poetry in this way. Characterising O’Hara as ‘a man of taste’, the very characteristic which trivialised him in the eyes of former critics, Andrew Ross draws attention to the way everyday choices in O’Hara’s work shape social attitudes. 4 4. Ross says: ‘O’Hara’s poetry rejects the big, global questions of politics and economics, even the big “artistic” questions of aesthetics.
188–95). Resituating O’Hara 43 with cultural innovation. In other words, formal innovation has not ceased to exist and postmodernism is not inhospitable to it. An important point which arises out of Zurbrugg’s analysis is that new technical means of making artworks are always appearing, and this is more true in the contemporary technological era than ever before. This means that formal innovation is still possible. Such innovation has never been absolute in any era because there are always precedents for any new-seeming development: for instance, the concrete poetry of the 1950s and 1960s has precursors in medieval pattern poems.
40 Hyperscapes in the Poetry of Frank O’Hara In O’Hara’s poetry, inversion sometimes arises in the form of a specious argument supporting an act which society sees as immoral. But (as in Wilde’s case) the poet speaks from the position of an insider who seems to be at ease in that society. In ‘Ave Maria’ (O’Hara 1979, pp. 371–72), he chooses a highly controversial topic, paedophilia, which would have been even more taboo in the 1950s than it is now. This poem suggests that the movies are good for children and that they may even benefit from being picked up in the cinema.
