Frank o hara the day lady died. The Day Lady Died by Frank O Hara 2022-12-12
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Frank O’Hara, Amiri Baraka: “The Day Lady Died”
Yet even when the poem has "stopped breathing," the details do not fit into a readily apparent design other than that of the speaker's lunchtime walk itself. Except for the cryptic title, a title whose significance would be noticed only by those familiar with Billie Holliday, there is no indication that the poem is an elegy until the closing stanza. That is why it is protopolitical; in other words, it is a response to politically induced oppression, but at the same time, it is a response that accepts its current inability to act in an explicit political manner to combat that oppression. This scene in the 5 Spot doesn't seem to properly belong in O'Hara's work, where it is employed nonetheless to invoke a spirit of authenticity. In O'Hara's poem there are aesthetic objects, such as books of poems, but they are clearly equated with Gautois cigarettes and the New York Post in the realm of mere commodities.
It was hard to see his beautiful blue eyes which receded a little into his head. The issue contained a powerfully enigmatic story by Boris Pasternak and an account by the French poet Henri Michaux of his experiences with mescaline, and it is more than likely that O'Hara picked up the "ugly" paperback the adjective is apt—the cover is a graphic designer's nightmare to read these two items rather than the voices of Ghana. Widening the scope of the poem beyond New York-as-text, these casually listed titles resonate as sexually transgressive and revolutionary counter-sites. For O'Hara's man of taste, everyday-life things matter, not because they are a way of advertising wealth or power, nor because everything matters equally, but because their value is linked to how people use them to make sense of their world. O'Hara's refusal to specify how a poem is significant or makes events significant transfers the act of attention to the reader.
What matron would give so much as a thought to the teller's name? And yet, this is a poem, recording one of his celebrated lunchtime walks, which and those who know and love O'Hara's "I do this, I do that" poems will surely agree , has radically transformed modern poetry's expectations of how it is licensed to represent everyday life. He goes to the bank where the barely familiar teller "Miss Stillwagon first name Linda I once heard " disproves his expectations by not looking up his "balance for once in her life. And more importantly, they were first of all personal values, which naturally but secondarily gave form to artistic values. The sharpness of the contrast between the vitality of the living man, attending to the errands and tasks of life, and the dead singer is like a last percussive note held in an expectant stillness. All principles for arraying emphasis and registering discriminations have been flattened. It is 12:20 in New York a Friday three days after Bastille day, yes it is 1959 and I go get a shoeshine because I will get off the 4:19 in Easthampton at 7:15 and then go straight to dinner and I don't know the people who will feed me I walk up the muggy street beginning to sun and have a hamburger and a malted and buy an ugly NEW WORLD WRITING to see what the poets in Ghana are doing these days I go on to the bank and Miss Stillwagon first name Linda I once heard doesn't even look up my balance for once in her life and in the GOLDEN GRIFFIN I get a little Verlaine for Patsy with drawings by Bonnard although I do think of Hesiod, trans. Everybody was crazy about her.
Critical Commentary on the Poem: ‘The Day Lady Died’ (Frank O’ Hara) Free Essay Example
From Charles Altieri Paul Carroll is the first critic I know to claim a really influential role for O'Hara in the poetry of the sixties. If we look at the details that make up the first twenty-five lines of the poem, we see that they are not, after all, as random as they appear to be. The tone of the poem marks its obvious distance from the voice of legitimate masculinity; O'Hara's is not the voice of the public sphere, where real decisions are made by real men and where real politics is supposed to take place. O'Hara's poetry rejects the big, global questions of politics and economics, even the big "artistic" questions of aesthetics. Value could be located in any and every object, and because everything mattered, nothing mattered very much more than anything else. But which would prove more crucial to the future gains of multiculturalism? The conjunctions become increasingly insistent eleven of the poem's nineteen and's occur in the last ten lines , and the pace slows down until finally the sequence of meaningless moments is replaced by the one moment of memory when Lady Day enchanted her audience by the power of her art. This response takes many covert forms and baroque systems of disclosure, not least in the heavily coded speech repertoires and intonations of gay vernacular, which the attentive reader can find everywhere in O'Hara's poetry.
Goldberg had brought a Thermos of martinis along, and the friends passed it around as Goldberg drove them to Briar Patch Road, where Patsy was waiting. Distance is reduced by the pulp press, which is dominated by the lower-middle class the New York Post, not the Times ; poetry, modernism, these international zones of experience have no special force here. The citation above will include either 2 or 3 dates. For no sooner does he leave the Golden Griffin than O'Hara returns to a New York scene that millions of people literally would recognize and presents us with a "typical" urban experience by having the newspaper headline, with its announcement of some tragic "event," serve as a sudden, crude displacement of our reverie. He served in the Navy and later studied at Harvard and the University of Michigan, then moved to New York.
The name "Stillwagon," moreover, with its oxymoronic conjunction of whiskey still and being on the wagon, anticipates the crisis of Billie Holiday's last days. As the detractors of "Lycidas" were wrong, so the critics of "The Day Lady Died " misjudged the poet's conversational ease and seemingly self-centered stance. As a map of literary allusion, the poem is eclectic and heterodox: Brendan Behan and Jean Genet are given equal billing with Hesiod and Paul Verlaine. It is in this context, perhaps, that the "surface things" in O'Hara's poetry show their unhidden depths. One Monday Kenneth Koch came and read from the Manhattan telephone directory while Rivers played saxophone. And so begins a chain of mundane everyday activities performed by the journeying poet as the reader follows him under the midday sun of New York City.
The Day Lady Died by Frank O'Hara • Read A Little Poetry
It is 12:20 in New York a Friday three days after Bastille day, yes it is 1959 and I go get a shoeshine because I will get off the 4:19 in Easthampton at 7:15 and then go straight to dinner and I don't know the people who will feed me I walk up the muggy street beginning to sun and have a hamburger and a malted and buy an ugly NEW WORLD WRITING to see what the poets in Ghana are doing these days I go on to the bank and Miss Stillwagon first name Linda I once heard doesn't even look up my balance for once in her life and in the GOLDEN GRIFFIN I get a little Verlaine for Patsy with drawings by Bonnard although I do think of Hesiod, trans. Consequently there are no canonical or privileged subjects for poetry: "Anything, literally, can exist in a poem; and anything can exist in whatever way the poet chooses. The relation to women is even trickier. He goes on, though, to offer two insights that help explain how the artist's apparently free creative selection of details really creates a single complex lyric emotion: I wonder how touching that beautiful final memory. She sang in a husky whisper. But the fact that Waldron is one of the players should provoke further scrutiny. Milton's "Lycidas," the greatest elegy in the language, suffered a similar fate: There were readers—the great Samuel Johnson among them—who felt that the poem's pastoral conventions were artificial, that the poem therefore lacked sincerity, and that it was moreover unseemly of Milton to acknowledge, as he does, that one of his motives in writing this elegy for a drowned classmate was the hope that he, in turn, would be similarly memorialized.
A similar disconnection characterizes the network of proper names and place references in the poem. The poem exemplifies how postmodern literature can thrive, though oppressed on the one side by philosophical nihilism and on the other by the oppressive burden of literary history always reminding poets of how little room there seems to be for meaningful originality. Poetry from New York or Ghana, Verlaine, Hesiod, Brendan Behan, or Genet lines 14-18 : the time, the place trains named after "points in time," as they say , even the language matters little. Even while it accepts a stereotype of gay masculinity, itself based upon a sexist stereotype of female character traits and mannerisms, O'Hara's poem begins to imagine a different relation to everyday life for men in general. The poem's breathless ending virtually enacts the death of the "first lady of the blues" as the New York Post put it whose nickname, "Lady Day," is inverted in the poem's title, a gesture as witty as it is poignant. This process of simultaneous composition is less stream-of-consciousness than consciousness-of-stream, the stream of urban streets reported in rapid succession. O'Hara's audience apparently narrows to practically the same people we described as the audience of Bishop's "Cirque D'Hiver.
Ross's suggestion that we need only substitute "hairdresser" for "shoeshine" for the day to reveal itself as a "lady's day," curiously misses O'Hara's nuance. Such tension makes readers simultaneously attentive to significance in the seemingly insignificant and wary about attributing significance at all, as closer examination of several representative "I do this I do that poems" will show. So too, in looking at texts that occur "elsewhere," whether in time or place, we ought to be encouraged to look for the protopolitical in those things that can be said, rather than in what cannot be said--what is suppressed, in short, by the work of ideology. We could strain to read some allegorical significance into it Linda Stillwagon—like the stillness of death? His is certainly not a heroic poetics of self-reliance or self-making in the transcendent, Emersonian tradition, nor does it make a pragmatic religion out of individualism, in the American grain. This is a man on a shopping trip, and the dizzy combination of quandariness, fastidiousness, vagrant attention, distaste for ugly items, and the general air of practiced nonchalance that he displays in the process of making his various purchases--all of this mirrors or mimics the way in which a woman of means with a busy social schedule might have conducted herself as the fifties were drawing to a close.
How does the poet accomplish this? Like the San Remo a few years earlier, the Cedar had been picked up by the media and was now overcrowded with tourists on the lookout for Pollock-like painters, and young guys cruising for loose "art girls. It's a very effective poem, written by a well-known poet - both of his time and of ours. I could feel the awe of that moment transposed with the realization that she was gone and he'd never be able to go and hear her sing ever again, that deep sorrow. Perhaps Yusef Komunyakaa is right, and the professed interest in "what the poets in Ghana are doing these days" is a prime example of O'Hara's "exoticism" of blacks. On the other hand, "going to sleep" also suggests an erotic of "quandariness," as this weariness is belied by the inventiveness of such a line as "going to sleep with quandariness. For most of her career, her audiences were small and sometimes difficult of access. Ms fullest exposure to her had been two years earlier at Loew's Sheridan on Seventh Avenue and Twelfth Street in the summer Of 1957 when she had appeared a few hours late for her midnight show.
