By Stephen J. Ross
be 'valid exclusively by itself phrases, within the means nature itself is legitimate, within the method a landscape—not its picture—is aesthetically legitimate' (Clement Greenberg, 1939). Invisible Terrain reads Ashbery as a daring middleman among avant-garde anti-mimeticism and the lengthy western nature poetic culture. In
chronicling Ashbery's articulation of 'a thoroughly new type of realism' and his engagement with figures starting from Wordsworth to Warhol, the ebook provides a broader case research of nature's dramatic transformation right into a resolutely unnatural aesthetic source in 20th-century artwork and literature. the tale starts off within the overdue Forties with the summary Expressionist valorization of method, floor, and immediacy—summed up via Jackson Pollock's recognized quip, 'I am Nature'—that so
influenced the early big apple college poets. It ends with 'Breezeway,' a poem approximately typhoon Sandy. alongside the way in which, the undertaking files Ashbery's ideas for literalizing the 'stream of realization' metaphor, his negotiation of pastoral and politics through the Vietnam struggle, and his funding in 'bad' nature
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