Written in a style often described as verbal expressionism, “Self-Portrait in a Convex Mirror” is the title poem in the collection for which John Ashbery won a. Self-Portrait in a Convex Mirror: Poems (Penguin Poets) [John Ashbery] on *FREE* shipping on qualifying offers. John Ashbery’s most renowned. John Ashberry won the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award for Self-Portrait in a Convex Mirror. Ashberry.

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Paintings by Parmigianino paintings 16th-century portraits Portraits of men Self-portraits Portraits by Italian artists Paintings of the Kunsthistorisches Museum s in Italy. Byrne brings to life an poftrait family farm gone fallow, a visit to an inn where the speaker spent his honeymoon, and Lester Young playing tenor sax.

The purpose of verbal expressionism is the conveying of emotional truth, rather than the statement, in linear, traditional ways, of logical arguments or ideas. In representing himself, Parmigianino has had to exclude much about his life and world that must have defined him as a person. Delivering Poems Around The World.

But so too does the artwork derived from the mind of the poet, whose eventual creation comes as a pleasant revelation, something one could not consciously cause, but one invents when allowing thought association and wordplay during the composition process.

More than most poets, you’ve written long poems periodically.

The winner of many prizes and awards, both nationally and internationally, he has received two Guggenheim Fellowships and was a MacArthur Fellow from to Parmigianino’s isolation inspires Ashbery’s attempt to connect himself to todayto his life in New York, which he describes.

In this portrajt, it’s the discomfort of being labeled and the sense that labels cannot describe the internal changes of a person.


While Parmigianino’s sixteenth-century Self-Portrait in a Convex Mirror presents an image of artistic unity that expresses faith in the representability of world and self through art, Ashbery’s critical re-vision of the painting reveals what is a stilled and detemporalized scene of reflection. It seems to have fooled a lot of people. But it is life englobed. These observations yield quickly to a meditation on the nature of our perspective of reality: The sample One sees is not to be taken as Merely that, but as everything as it May be imagined outside time–not as a gesture But as all, in the refined, assimilable state.

In reference I have to admit, I have a hard time with Ashberry. Perhaps his best, and his most accessible. To be serious only about sex Is perhaps one way, but the sands are hissing As they approach the beginning of the big slide Into what happened. The appreciation of syntax–here is a poet finding the poetry of the American idiom, as Willi Perhaps his best, and his most accessible.

It is the immobility of the Parmigianino painting, its changeless and unmoving reality, that Ashbery questions. I don’t know if I’ll finish it or not. InAshbery was awarded a Fulbright scholarship to study in France; he became an art critic and correspondent in Paris. Art captures life, but what is the nature of that life it captures, how much of his life can the artist give to his art and still remain alive? Notions about what constitutes art in the twenty-first century continue to shift.

Just a moment while we sign you in to your Goodreads account. My favorite poem in this book so far is “Lithuanian Dance Band,” possibly because the voice in it reminds me of the voice of Ashbery’s poet-friend Frank O’Hara, whom I love; however, there are many more echoes of T. You can’t live there. The title poem makes me want to weep, it’s so fucking beautiful, so indelible. A perverse light whose Imperative of subtlety dooms in advance its Conceit to light up: To Ashbery the painting’s fullness is fundamentally empty: I’ve never read Ashbery before and it’s a shame it took until his passing for me to pick up one of this books, but here we are.


Listening to him read, though, allows everything to settle around a single source, the voice, which – I think – may in fact be the “one solid the spaces lean on” in Plath’s phrase in his poetry.

Self-Portrait In A Convex Mirror Poem by John Ashbery – Poem Hunter

Often the focus of such studies is on the way Ashbery discusses both the limitations and possibilities of artistic representation of any kind. It arrived in Prague inand later it become part of the Pirtrait imperial collections in Viennaalthough attributed to Correggio. River It thinks itself too good for These generalizations and is Moved on by them.

Jun 15, James rated it it was amazing.

Self-Portrait in a Convex Mirror

It’s not a poem that I particularly like—it seems too serious. Coming back to his own perspective, Ashbery not only comments on his own response to Parmigianino’s painting, but discusses his creation of a poem about it.

Jun 05, Ben rated it it was ok Shelves: The objects of this intent in the poem include the soul, dreams, ideal forms, truth—all elements that by their very nature resist quantification, codification, or other methods of ordering; in this, resistance may be described as chaotic.