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And the Stars Were Shining, by John Ashbery
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This 16th collection by the author contains 59 comic and lyrical poems, including the 13-part title-poem. John Ashbery was awarded the Pulitzer Prize, the National Book Critics Circle Award and the National Book Award for Self-Portrait in a Convex Mirror.
- Sales Rank: #3107849 in Books
- Published on: 1994-02
- Original language: English
- Number of items: 1
- Dimensions: .64" h x 6.32" w x 9.56" l,
- Binding: Hardcover
- 99 pages
From Publishers Weekly
Readers have at times confused Ashbery's ( Flow Chart ) interest in examining the appearances of things with a lack of poetic depth. The reasons? Perhaps that Ashbery is typically intrigued by surfaces because his main theme is the perception of reality; and, being of a more lyrical than critical inclination, he pursues philosophical investigation in, by and through poetry, so that his poems tend to embody the idea that is their subject. In his 16th collection, Ashbery once again addresses his chosen theme--and others--through many tightly bound short poems and a longer piece in 13 parts, the title poem. And while his main concern is the work of the imagination, he begins to sound a more narrative voice, while never allowing the poems to develop into true extended narratives. The poet is less reticent (though still far from explicit) in committing himself to the ideas sown in his work. Also, he takes up an unaccustomed subject: the discerning of a poem after the poet's passing, implying his own death. Characteristically, it is in his longer poems that Ashbery holds a situation up to the light and approaches it most variously and richly. Though readers may not grasp or even catch sight of every angle, they will be gripped.
Copyright 1994 Reed Business Information, Inc.
From Booklist
Ashbery is as waggish and surprising as ever here, in his sixteenth collection. He is blessed with an irrepressible {‚}elan, dealing surrealistic images like a magician snapping cards one moment, then, in another, slipping into teasing colloquialisms to amuse and divert us just long enough for him to drive home some unexpected truth. Most of the 58 poems assembled here are brief and fleet as Ashbery toys with the mind's overlays of memories, moods, observations, and the "dewy mess of a dream." Out of the fizz of his landscapes and cryptic anecdotes emerge curious declarations about how to live lightly but feel deeply, how to laugh at the craziness and treasure glimpses of beauty and bursts of humor. Ashbery is animated and agile, devilish and debonair, bright and cunning. In the title poem, the book's longest, he writes: "We sure live in a bizarre and furious/ galaxy." Indeed, and Ashbery often has it by its tail. Donna Seaman
Review
About To Move
And The Stars Were Shining: 1
The Archipelago
Assertiveness Training
Bromeliads
Commercial Break
Coventry
The Decline Of The West
The Desperate Hours
Dinosaur Country
Falls To The Floor, Comes To The Door
The Favor Of A Reply
Footfalls
Free Nail Polish
The Friendly City
Ghost Riders Of The Moon
Gummed Reinforcements
A Held Thing
A Hundred Albums
Ice Cream In America
The Improvement
In The Meantime, Darling
Just For Starters
Just What's There
Leeward
Like A Sentence
Local Time
The Lounge
The Love Scenes
Man In Lurex
The Mandrill On The Turnpike
Mutt And Jeff
My Gold Chain
Myrtle
Not Planning A Trip Back
Paraph
Pathless Wanderings
Pleasure Boats
Pretty Questions
The Ridiculous Translator's Hopes
Sicilian Bird
Spotlight On America
Spring Cries
The Story Of Next Week
Strange Things Happen At Night
Till The Bus Starts
Title Search
Token Resistance
Two Pieces
A Waltz Dream
Weather And Turtles
Well, Yes, Actually
What Do You Call It When
William Byrd
Works On Paper 1
World's End
-- Table of Poems from Poem Finder®
Most helpful customer reviews
8 of 8 people found the following review helpful.
Chasing Meaning Out Of Assumed Appearances
By JEREMY REED c/o eaw@centrenet.co.uk
And The Stars Were Shining By John Ashbery
John Ashbery's penchant for the long, discursively philosophic poem has sometimes served to distract critical attention from his mastery of intensely conceived short lyrics.
We all have a favourite Ashbery flavour, and mine is the gin-fizz dynamic at work in the relative brevity displayed by the best of the shorter poems gathered in this collection. In fact, I would argue that you would have to go back to Houseboat Days (1977), to find a comparable success in terms of Ashbery's ability to compress poetic experience into an accommodatingly resonant tension-field. With Ashbery's method there is always the danger that expansiveness contributes to fluctuating air-pockets in the poem's flight-path, and the reader's encounter with inconsistently sustained epics like Flow Chart is one of locating pivotal wobble in the stratosphere of Ashbery's poetics.
Ashbery's lyric concerns are invariably with retrieving the moment from unrecorded notice. It's the transient nature of experience underscored by a deep sense of loss which fires Ashbery into attempting to arrest whatever proves meaningful to his impulsive plot. As he writes in 'The Improvement':
"We never live long enough in our lives/ to know what today is like./ Shards, smiling beaches,/ abandon us somehow even as we converse with them./ And the leopard is transparent, like iced tea."
Ashbery's acute sense of being disinherited from the world of things, and the poem is an attempt to establish discourse with this aesthetic, has him incessantly preoccupied with chasing meaning out of assumed appearances. His way is to puzzle worry into potential existential crisis:
"Nothing seems strong enough for/ this life to manage, that sees beyond/ into particles forming some kind of entity -/ So we get dressed kindly, crazy at the moment./ A life of afterwords begins."
('The Improvement')
Ashbery's disorientated, upended approach to his subject matter imparts the feel of innovative modernism to his work. And while his poetry is personal by way of its predominantly quiet disclosures: 'I never get hangovers until late afternoon/ and then it's like a souvenir, an arrangement,' he is never confessional in the manner of Robert Lowell or Sylvia Plath. Ashbery's quiet presence permeates, but never crowds his lyrics. Some of the finest poems to be found in this collection, 'Works On Paper I,' 'Ghost Riders Of The Moon,' 'Free Nail Polish,' 'Local Time,' 'My Gold Chain' succeed by playing enigmatic narrative against specific visual imagery. In the best of Ashbery the abstract and the concrete unite to impart allusive mystery to the poem. The ending of 'Works On Paper I' perfectly demonstrates what Ashbery does best.
"Those who wish to remain naked are coaxed out of laughter/ with tea and nobody's nose is to the grindstone/ anymore, I bet, and you can figure out these shivering trees./ But the owner of the bookstore know that the flea was blown/ out of all proportion,/ with September steps to go down in passing/ before the tremendous dogs are unleased."
Here the juxtaposition of the disarmingly casual and the lyrically authoritative combine to create Ashbery's inimitable tang of urbane poetry, a genre he orchestrates with consummate ease throughout this sparkling collection. If by comparison the long title poem suffers from a characteristic lack of focus, then the poem's obliqueness and obscurity are counterpointed by Ashbery's inexhaustibly pitched poetic eloquence.
JEREMY REED
1 of 6 people found the following review helpful.
One of the most personal poetry voices keeps showing charm.
By fruela_el_autor@bigfoot.com
And the stars were shining seems to be a minor Ashberry's work, but don't be confused...a great poet is always great. This book is especially delightful. Ashberry plays with the dazed reader making a strange and confusing mixture of images and sounds (something like watching "Lost Highway", by David Lynch), painting everything with his particular sense of humour and his vision of life. A bit flamboyant, but completely great. To miss it is a crime, as every vulgarity.
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