Essential poems by the late New York poet.

Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry.

Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including The Day Lady Died, Ave Maria, and Poem [Lana Turner has collapsed!]. These are the compelling and formally inventive poems--casually composed, for example, in his office at The Museum of Modern Art, in the street at lunchtime or on the Staten Island Ferry en route to a poetry reading--that made O'Hara a dynamic leader of the New York School of poets.

O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age.--Dwight Garner, New York Times

As collections go, none brings . . . quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights.--Nicole Rudick, The Paris Review

What O'Hara is getting at is a sense of the evanescence, and the power, of great art, that inextricable contradiction -- that what makes it moving and transcendent is precisely our knowledge that it will pass away. This is the ethos at the center of Lunch Poems: not the informal or the conversational for their own sake but rather in the service of something more intentional, more connective, more engaged. --David L. Ulin, Los Angeles TImes

The collection broadcasts snark, exuberance, lonely earnestness, and minute-by-minute autobiography to a wide, vague audience--much like today's Twitter and Facebook feeds.--Micah Mattix, The Atlantic

Sweet poems, funny, exhilarating, spontaneous, subversive, poignant, and sometimes--often--more deeply, even darkly moving. But above all sweet. Probably a greater proportion of O'Hara's poems can be read for sheer pleasure than the poems of any other 20th-century writer. This slim volume is his liveliest, most distilled and delectable single collection. Quintessential O'Hara, and such a bargain!--Lloyd Schwartz, Grolier Poetry Book Shop

Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.

Collected poems from one of the Twentieth Century's most influential voices.

Frank O'Hara was one of the great poets of the twentieth century and, along with such widely acclaimed writers as Denise Levertov, Allen Ginsberg, Robert Creeley, and Gary Snyder, a crucial contributor to what Donald Allen termed the New American Poetry, which, by its vitality alone, became the dominant force in the American poetic tradition.

Frank O'Hara was born in Baltimore in 1926 and grew up in New England; from 1951 he lived and worked in New York, both for Art News and for the Museum of Modern Art, where he was an associate curator. O'Hara's untimely death in 1966 at the age of forty was, in the words of fellow poet John Ashbery, the biggest secret loss to American poetry since John Wheelwright was killed..

This collection is a reissue of a volume first published by Grove Press in 1957, and it demonstrates beautifully the flawless rhythm underlying O'Hara's conviction that to write poetry, indeed to live, you just go on your nerve.

Exquisite hardcover gift edition of the groundbreaking poetry collection by the leader of the New York School of poetry, Frank O'Hara. Published on the 50th anniversary of Lunch Poems.

Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry. Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including The Day Lady Died, Ave Maria, and Poem [Lana Turner has collapsed!]. These are the compelling and formally inventive poems--casually composed, for example, in his office at The Museum of Modern Art, in the street at lunchtime or on the Staten Island Ferry en route to a poetry reading--that made O'Hara a dynamic leader of the New York School of poets.

This new limited 50th anniversary edition contains a preface by John Ashbery and an editor's note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch.

I hope that everyone will delight in the new edition of Frank's LUNCH POEMS. The correspondence between Lawrence and Frank is great. Frank was just 33 when he wrote to Lawrence in 1959 and 38 when LUNCH POEMS was published! The fact that City Lights kept Frank's LUNCH POEMS in print all these years has been extraordinary, wonderful and a constant comfort. Hurray for independent publishers and independent bookstores. Many thanks always to Lawrence Ferlinghetti and everyone at City Lights. --Maureen O'Hara, sister of Frank O'Hara

O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age.--Dwight Garner, New York Times

As collections go, none brings . . . quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights.--Nicole Rudick, The Paris Review

What O'Hara is getting at is a sense of the evanescence, and the power, of great art, that inextricable contradiction -- that what makes it moving and transcendent is precisely our knowledge that it will pass away. This is the ethos at the center of Lunch Poems: not the informal or the conversational for their own sake but rather in the service of something more intentional, more connective, more engaged. --David L. Ulin, Los Angeles TImes

The collection broadcasts snark, exuberance, lonely earnestness, and minute-by-minute autobiography to a wide, vague audience--much like today's Twitter and Facebook feeds.--Micah Mattix, The Atlantic

The first new selection of O'Hara's work to come along in several decades. In this marvellous compilation (The New Yorker), editor Mark Ford reacquaints us with one of the most joyous and innovative poets of the postwar period.

A reissue of this classic, essential companion to Frank O'Hara's Collected Poems, with a new introduction by Bill Berkson.

Companion to an earlier volume, Early Writings (1977), and the original Collected Poems (1971), this is a portion of an anticipated complete collected poems of O'Hara. American poet Bill Berkson's introduction comments on O'Hara's self-described act of writing as 'at once as mysterious and practical as there has ever been of the relation of poetry to experience.' VERDICT: Add to the aforementioned companion volumes to create a loose Collected, or let stand as is. Either way retrieve an O'Hara collection-he's essential.--Annalisa Pesek, Library Journal

Jackson Pollock is a book written by Frank O'Hara, which provides an in-depth exploration of the life and work of the famous American artist, Jackson Pollock. The book covers Pollock's upbringing in Wyoming, his education in New York City, and his eventual rise to fame as a leading figure in the abstract expressionist movement. O'Hara provides detailed analysis of Pollock's most famous works, including his drip paintings, and examines the artistic and cultural context in which they were created. The book also delves into Pollock's personal life, including his troubled relationships with his family and his struggles with alcoholism. Through extensive research and interviews with those who knew Pollock, O'Hara paints a vivid portrait of this iconic artist and his lasting impact on the art world.Part Of The Great American Artists Series Of Books.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Part Of The Great American Artists Series Of Books.

Second Avenue is a novel by Frank O'Hara that follows the lives of a group of young artists and writers living in New York City in the 1950s. The story centers around a young man named Kenneth Koch, who is struggling to find his place in the world and make a name for himself as a poet. Along the way, he falls in love with a beautiful dancer named Jane and becomes friends with a group of eccentric characters, including a painter, a musician, and a playwright. As they navigate the ups and downs of life in the city, they must confront their own insecurities, desires, and fears. With its vivid descriptions of New York's bohemian scene and its exploration of the creative process, Second Avenue is a compelling and insightful portrait of a generation of artists trying to find their way in the world.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This work proposes the model of translation for the incarnation. According to this model, in Jesus Christ the eternal Word of God was translated into human flesh and form. Thus in Jesus Christ the invisible became visible, the inaudible became audible, the intangible became tangible, and the impalpable became palpable (cf. I John 1:1-4). This translation is brought about inasmuch as the heart of Jesus is the heart of the Word-made-flesh because it is the heart-of-the-Word made flesh. All the sentiments of the Word towards his Father, towards the Holy Spirit, and towards the whole of creation find expression in the human heart of Jesus Christ. The very being of the Word is thus expressed for us in the humanity of Jesus. That humanity is taken up into and hypostatically united to the Word of God through the medium of Word-consciousness, namely the consciousness in the human mind of Jesus of being the Word expressed in human form.

This work proposes the model of translation for the incarnation. According to this model, in Jesus Christ the eternal Word of God was translated into human flesh and form. Thus in Jesus Christ the invisible became visible, the inaudible became audible, the intangible became tangible, and the impalpable became palpable (cf. I John 1:1-4). This translation is brought about inasmuch as the heart of Jesus is the heart of the Word-made-flesh because it is the heart-of-the-Word made flesh. All the sentiments of the Word towards his Father, towards the Holy Spirit, and towards the whole of creation find expression in the human heart of Jesus Christ. The very being of the Word is thus expressed for us in the humanity of Jesus. That humanity is taken up into and hypostatically united to the Word of God through the medium of Word-consciousness, namely the consciousness in the human mind of Jesus of being the Word expressed in human form.