Carcanet Press - As We Know

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'A Love Poem'

And they have to get it right. We just need
A little happiness, and when the clever things
Are taken up (O has the mouth shaped that letter?
What do we have bearing down on it?) as the last thin curve
("Positively the last," they say) before the dark:
(The sky is pure and faint, the pavement still wet) and

The dripping is in the walls, within sleep
Itself. I mean there is no escape
From me, from it. The night is itself sleep
And what goes on in it, the naming of the wind,
Our notes to each other, always repeated, always the same.

'As We Know'is John Ashbery's eighth major collection of poetry, his second from Carcanet ('Self Portrait in a Convex Mirror' was published in 1977). 'As We Know' includes forty-seven short lyrical pieces and the ambitious and rewarding long poem, 'Litany'.

'Litany'is in many ways Ashbery's most ambitious long poem, written in double columns as two independent but related monologues, meant to be seen or 'overheard' simultaneously. The attempt has been to write a polyphonic dialogue, and the effect is close to that of certain modern music, in which the instruments seem to converse and argue with one another - as in Charles Ives's Second String Quartet and much of the music of Elliott Carter.

In 'Litany', as in the shorter lyrics, Ashbery's verse continues to chart the progress of the self in search of an identity it finds reflected - sometimes in the cacophony of the modern urban world, sometimes in the solitude and silences of the spirit.

John Ashbery is the author of more than twenty books of poetry, most recently Quick Question (January 2013). He is the recipient of many honours, including the Pulitzer Prize, the National Book Award, and a MacArthur ‘genius’ award. Born in Rochester, New York, he was educated at Harvard and Columbia. In ... read more

Praise for John Ashbery 'Praised as a magical genius, cursed as an obscure joker, John Ashbery writes poetry like no one else.' The Independent 'Great poetry, as T.S. Eliot said, can communicate before it is understood: Ashbery communicates in a way that both pays homage to language and transcends it at the same time.' The Guardian 'John Ashbery's Collected Poems 1956-1987, edited by Mark Ford (Carcanet), was a book I found inexhaustible. Possibly the greatest living English-speaking poet and one of the most prolific, Ashbery takes language to its limits, so that words serve as pointers to shifting experiences that elude description. Containing his masterpiece 'Self-Portrait In A Convex Mirror', one of the most penetrating 20th-century meditations on what it means to be human, this collection succeeded in stirring my thoughts as well as delighting me.' John Gray The Guardian Books Of The Year 2010 'The language of [John Ashbery's] books is informed by his roving enthusiasms for particular composers. His tastes are both eclectic and out-of-the-way.'- Michael Glover, 'A blue rinse for the language,' The Independent, 13 November, 1999 'The careering, centrifugal side of Girls on the Run is one of its most effective tools in creating its special ainbience of good-humoured menace ... Ashbery has made the slush of signification, the realm where words slip, slide, perish and decay, uniquely his own.' - David Wheatley, Times Literary Supplement, 30 June, 2000 'In his seventies John Ashbery offers a sprightly and energetic alternative. Instead of being sluggish he demands that the self must be even more alert, more vigilant, more attentive to the world around it, not indifferent to and weary of it. Alert, vigilant, attentive ... Wakefulness, the brilliantly evocative title of Ashbery's collection.' - Stephen Matterson, 'The Capacious Art of Poetry,' Poetry Ireland Review 62, 114 'Harold Bloom regards [John Ashbery] as something akin to a genius...' - Michael Glover, 'The poet as frustrated composer,' Book and Poetry Review section, The Independent, 14 August, 1998 '...Ashbery is still exuberantly dedicated to the truthful rendering of experience as a flow of sensations that defy interpretation. Consciousness is not so much a stream as a series of jump-cuts from one haunting or zany impression to the next. His best poems have a weirdly, intriguingly satisfying quality.' - Alan Brownjohn, 'Creating a sensation,' Book and Poetry Review section, The Sunday Times, 10 January, 1999

'Stemming in part from Mallarme and in part from Whitman, Ashbery's work creates a tension in which the fine networks of linguistic reverie are balanced by the strong sense of American tradition.'- Peter Ackroyd, 'Books of the Year,' The Times Literary Supplement, 4 December, 1992 '...an Ashbery [poem] does not stand on its own but floats off into the reader's limitless consciousness like a balloon. Balloons can be very beautiful, inspire longing and also make you smile.'- Grey Gowrie, 'Where the commonplace is wonderful,' Book and Poetry Review section, The Daily Telegraph, 5 October, 1996 'John Ashbery's distinctiveness as a poet paradoxically resides in his ability to evade all single identities; like Whitman, he feels most fully himself when he contains multitudes ... [Ashbery] deploys a staggering variety of dictions, ranging from fragments of novelettish narratives to lyrical dream-visions, from the cliché of public speech to scraps of surrealist collage...'- Mark Ford, 'Free-wheeling towards the abyss,' Times Literary Supplement, 27 December, 1991 'Notoriously hard to characterise, Ashbery's poetry has been likened to many things - a spiritual experience or an animated cartoon ... No poet's lines are more accommodating to other voices and idioms ... Like restless guests, his subjects arrive and mingle, don unlikely disguises and abruptly announce they are "off on some expedition"...Such poise lends authority to his "positive melancholy," makes even his excesses ... masterly, and ensures that The Ashbery remains the destination of choice, the place "where everything gets unravelled just right."'- Julian Loose, Book and Poetry Review section, The Guardian, 3 November, 1992 'The Mooring of Starting Out is filled with illustrations glimpsed through luminous, funny, formidably intelligent and often heartbreaking poems.'- Andrew Zawacki, 'A wave of music,' Times Literary Supplement, 12 June, 1998 'John Ashbery is probably the most highly regarded living poet in America ... The "story" element in Ashbery comes over in fragmented and non-consequential ways, but the fragments have a strong power of visual evocation, and a startling precision of outline ... His focus is on a bravura artifice, a depersonalised surface crackling with "possibility," a brilliant randomness in which analogy with Action Painting asserts itself with special force...'- Claude Rawson, 'A poet in the postmodern playground,' Times Literary Supplement, 4 July, 1986

"As We Know, John Ashbery's eighth collection, proves the poet to be as fertile and fresh as ever...He read more

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As We Know John Ashbery RRP: GBP£ 6.95 Discount: 10% You Save: GBP£ 0.70 Price: GBP£ 6.25 Out of Print Hardback ISBN: 978 0 856353 57 4 Categories: American Imprint: Carcanet Poetry Published: January 1991 216 x 135 mm Publisher: Carcanet Press Description Excerpt Author Reviews 'A Love Poem' And they have to get it right. We just need A little happiness, and when the clever things Are taken up (O has the mouth shaped that letter? What do we have bearing down on it?) as the last thin curve ("Positively the last," they say) before the dark: (The sky is pure and faint, the pavement still wet) and The dripping is in the walls, within sleep Itself. I mean there is no escape From me, from it. The night is itself sleep And what goes on in it, the naming of the wind, Our notes to each other, always repeated, always the same. 'As We Know'is John Ashbery's eighth major collection of poetry, his second from Carcanet ('Self Portrait in a Convex Mirror' was published in 1977). 'As We Know' includes forty-seven short lyrical pieces and the ambitious and rewarding long poem, 'Litany'. 'Litany'is in many ways Ashbery's most ambitious long poem, written in double columns as two independent but related monologues, meant to be seen or 'overheard' simultaneously. The attempt has been to write a polyphonic dialogue, and the effect is close to that of certain modern music, in which the instruments seem to converse and argue with one another - as in Charles Ives's Second String Quartet and much of the music of Elliott Carter. In 'Litany', as in the shorter lyrics, Ashbery's verse continues to chart the progress of the self in search of an identity it finds reflected - sometimes in the cacophony of the modern urban world, sometimes in the solitude and silences of the spirit. John Ashbery is the author of more than twenty books of poetry, most recently Quick Question (January 2013). He is the recipient of many honours, including the Pulitzer Prize, the National Book Award, and a MacArthur ‘genius’ award. Born in Rochester, New York, he was educated at Harvard and Columbia. In ... read more Praise for John Ashbery 'Praised as a magical genius, cursed as an obscure joker, John Ashbery writes poetry like no one else.' The Independent 'Great poetry, as T.S. Eliot said, can communicate before it is understood: Ashbery communicates in a way that both pays homage to language and transcends it at the same time.' The Guardian 'John Ashbery's Collected Poems 1956-1987, edited by Mark Ford (Carcanet), was a book I found inexhaustible. Possibly the greatest living English-speaking poet and one of the most prolific, Ashbery takes language to its limits, so that words serve as pointers to shifting experiences that elude description. Containing his masterpiece 'Self-Portrait In A Convex Mirror', one of the most penetrating 20th-century meditations on what it means to be human, this collection succeeded in stirring my thoughts as well as delighting me.' John Gray The Guardian Books Of The Year 2010 'The language of [John Ashbery's] books is informed by his roving enthusiasms for particular composers. His tastes are both eclectic and out-of-the-way.'- *Michael Glover, 'A blue rinse for the language,' The Independent, 13 November, 1999* 'The careering, centrifugal side of Girls on the Run is one of its most effective tools in creating its special ainbience of good-humoured menace ... Ashbery has made the slush of signification, the realm where words slip, slide, perish and decay, uniquely his own.' - *David Wheatley, Times Literary Supplement, 30 June, 2000* 'In his seventies John Ashbery offers a sprightly and energetic alternative. Instead of being sluggish he demands that the self must be even more alert, more vigilant, more attentive to the world around it, not indifferent to and weary of it. Alert, vigilant, attentive ... Wakefulness, the brilliantly evocative title of Ashbery's collection.' - *Stephen Matterson, 'The Capacious Art of Poetry,' Poetry Ireland Review* 62, 114** 'Harold Bloom regards [John Ashbery] as something akin to a genius...' - *Michael Glover, 'The poet as frustrated composer,' Book and Poetry Review section, The Independent, 14 August, 1998* '...Ashbery is still exuberantly dedicated to the truthful rendering of experience as a flow of sensations that defy interpretation. Consciousness is not so much a stream as a series of jump-cuts from one haunting or zany impression to the next. His best poems have a weirdly, intriguingly satisfying quality.' - *Alan Brownjohn, 'Creating a sensation,' Book and Poetry Review section, The Sunday Times, 10 January, 1999* 'Stemming in part from Mallarme and in part from Whitman, Ashbery's work creates a tension in which the fine networks of linguistic reverie are balanced by the strong sense of American tradition.'- *Peter Ackroyd, 'Books of the Year,' The Times Literary Supplement, 4 December, 1992* '...an Ashbery [poem] does not stand on its own but floats off into the reader's limitless consciousness like a balloon. Balloons can be very beautiful, inspire longing and also make you smile.'*- Grey Gowrie, 'Where the commonplace is wonderful,' Book and Poetry Review section, The Daily Telegraph, 5 October, 1996* 'John Ashbery's distinctiveness as a poet paradoxically resides in his ability to evade all single identities; like Whitman, he feels most fully himself when he contains multitudes ... [Ashbery] deploys a staggering variety of dictions, ranging from fragments of novelettish narratives to lyrical dream-visions, from the cliché of public speech to scraps of surrealist collage...'*- Mark Ford, 'Free-wheeling towards the abyss,' Times Literary Supplement, 27 December, 1991* 'Notoriously hard to characterise, Ashbery's poetry has been likened to many things - a spiritual experience or an animated cartoon ... No poet's lines are more accommodating to other voices and idioms ... Like restless guests, his subjects arrive and mingle, don unlikely disguises and abruptly announce they are "off on some expedition"...Such poise lends authority to his "positive melancholy," makes even his excesses ... masterly, and ensures that The Ashbery remains the destination of choice, the place "where everything gets unravelled just right."'*- Julian Loose, Book and Poetry Review section, The Guardian, 3 November, 1992* 'The Mooring of Starting Out is filled with illustrations glimpsed through luminous, funny, formidably intelligent and often heartbreaking poems.'*- Andrew Zawacki, 'A wave of music,' Times Literary Supplement, 12 June, 1998* 'John Ashbery is probably the most highly regarded living poet in America ... The "story" element in Ashbery comes over in fragmented and non-consequential ways, but the fragments have a strong power of visual evocation, and a startling precision of outline ... His focus is on a bravura artifice, a depersonalised surface crackling with "possibility," a brilliant randomness in which analogy with Action Painting asserts itself with special force...'*- Claude Rawson, 'A poet in the postmodern playground,' Times Literary Supplement, 4 July, 1986* "As We Know, John Ashbery's eighth collection, proves the poet to be as fertile and fresh as ever...He read more	Share this... Quick Links Aspects of Portugal Audio Books Carcanet Fiction Carcanet Film Carcanet Poetry Comma Press FyfieldBooks Lintott Press Lives and Letters OxfordPoets PN Review Sheep Meadow Press The Carcanet Blog Let's Gimbal! read more Carcanet New Poetry Showcase: The Audience Writes Back read more John Gallas: A Little Andaluciad read more Carcanet Poetry Showcase: 30th April read more The Manchester Writing Competition 2013 read more Six Sixty-Six: Infinity by Gabriel Josipovici read more
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