Frank O’Hara and the Poetics of Saying “I” (Rowman and Littlfield and Fairleigh Dickinson University Press, 2011).
While most works of criticism on Frank O’Hara focus on his indebtedness to American Abstract Expressionism or his supposed proto-Derridean view of language, I argue that his work his best understood as a response to European modernism. Unlike Mallarmé or Breton, who hoped that poetry and art might reveal some primordial “supreme language,” O’Hara views poetry as a means of exploring finite experience and, in the process, of creating an artifact that both muddies and clarifies the present.
“Walker Percy’s Alternative to Scientism in The Thanatos Syndrome.” Perspective in Political Science 40.3 (2011): 147-152. To be reprinted in Political Companion To Walker Percy. Eds. Peter Lawler and Brian A. Smith. Louisville: University of Kentucky Press, forthcoming June 2013. Print.
“Portrait of the Artist as a Caveman.” Rev. of Why Lyrics Last: Evolution, Cognition and Shakespeare’s Sonnets, by Brian Boyd; On the Origin of Stories, by Brian Boyd; The Art Instinct, by Denis Dutton. The New Atlantis 38 (Winter-Spring 2013): 128-139. Print.
“Frank O’Hara and ‘Why I Am Not a Painter’.” Notes on Contemporary Literature 40.2 (March 2010): 10-12. Print.
“Naming Things: Frank O’Hara and ‘The Day Lady Died’.” Swiss Papers in English Language and Literature (SPELL) 18: American Poetry from Whitman to the Present. Eds. Robert Rehder and Patrick Vincent. Tübingen: Gunter Narr Verlag, 2006. 139-50. Print.
“Periodization and Difference.” New Literary History 35.4 (2004): 685-697. Print.
“Frank O’Hara’s Lute against the Self.” Applied Semiotics 11-12(2002): 123-132. Print.