TEMPORARY ASSUMPTION OF CRITICAL STANDING
John Ashbery's poetry self-disarticulates like a teenage lobster into cutting. I've always thus assumed that his true talents lay in the visual arts. Thanks to The Paris Review for the disabuse.
The poetry at least contains an occasional grig-like phrase, with sufficient energy to sproing to freedom in one's polypropylene frisee. The collages, however, redefine "inert." More coherent work issued from my childhood CCD classes, despite the multiple hindrances of safety scissors, censorious lay-teachers and source images from Good Housekeeping and Ladies' Home Journal.
Ashbery is a serial offender, and this latest act can but be construed as a plea for help. Stop him stop him before he publishes again.
For collage as an art form, see the Scissor Dances of Dr. Omed. Liquified then centrifuged brainstem, chilled and served in martini glass with tiny live crayfish as silt-dweller garni: yum.
6.13.2009
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There's something about the academic machinery at present that makes Ashberrys inevitable, I think. It's the mysterious inexorable pressure of self-consciousness continually narrowing its own horizon until there's nothing but a black hole, sentient but incapable of light. God protect us all.
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