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John Ashbery

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What's new

The timely highlight of Gil Rose’s latest BMOP (Boston Modern Orchestra Project) concert, “Strings Attached,” was a new/old piece (2004, revised 2009) for two string orchestras by Scott Wheeler now called Crazy Weather — the new title taken from a John
BMOP, and the Christian Wolff festival
By LLOYD SCHWARTZ  |  March 26, 2010
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Makes sense to him

So understood is John Ashbery's post at the top of the contemporary American poetry heap (a distinction these days with the cultural heft of a Scrabble championship) that the question of just how to read him seems doomed to languish beside the point. De
John Ashbery's Planisphere
By MICHAEL BRODEUR  |  January 15, 2010
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Tall tales

This fall brings fiction and poetry lovers new treats from old friends.
Novelists and poets set fancies flying
By BARBARA HOFFERT  |  September 18, 2009
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Giving good gimmick

To sustain a literary magazine over decades it pays to have a gimmick.
Granta at 30
By WILLIAM CORBETT  |  June 12, 2009
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Year in Classical: Celebrate!

In Handel's Hercules, the demented Dejanira's loss is still so painful, I was afraid to listen; now I don't want to hear anything else.
Comings and goings
By LLOYD SCHWARTZ  |  December 22, 2008
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Phenomenal!

Living for a century is still a milestone; for a great and still-productive artist to do so is virtually unheard of.
Elliott Carter turns 100
By LLOYD SCHWARTZ  |  December 10, 2008


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Against interpretation

To file Hallelujah the Hills under “literary rock” would be, according to frontman Ryan Walsh, an insult to literature and an insult to rock. Hallelujah the Hills, "Wave Backwards to Massachusetts" (mp3)
Hallelujah the Hills get litr’y with it
By NINA MACLAUGHLIN  |  June 12, 2007
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Not TV

Big names, new names, and a handful of poets provide worthwhile reading this winter to distract you from the Sopranos reruns on A&E.
Mailer, Lethem, Amis, Ashbery deliver good reads
By JOHN FREEMAN  |  December 28, 2006
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The needle and the damage done

Katherine Porter is known primarily as an abstract painter. But she's always made her work distinctly her own, imbuing it with symbolism and a visionary consciousness
Katherine Porter’s ‘Embroideries,’ film night at MIT, and the New Media Wall at Tufts  
By RANDI HOPKINS  |  March 22, 2006