Frank O’Hara’s poetry defies the traditional confines of poetic expression, embracing instead a vivacious, unrestricted approach that stands in stark contrast to the dominant poetic norms of his time. His rejection of the complex modernism championed by T. S. Eliot, and his unique style known as “Personism,” emphasizes the immediacy and presence of the individual voice. O’Hara’s work is characterized by a conversational tone that captures the spontaneity of everyday interactions, eschewing grand symbolic or mythical depth in favor of the wit and intensity found in the ordinary.

O’Hara’s Poetic Influences and Style

O’Hara’s poetic influences are wide-ranging, yet distinct from the mainstream. He admired the simplicity of William Carlos Williams’ diction and was inspired by the surreal imagery of French Symbolists, particularly Arthur Rimbaud. Additionally, the work of Russian Formalist Vladimir Mayakovsky, who focused on revealing literary devices, was significant in shaping O’Hara’s style. His poetry does not seek to obscure its artistic nature, instead openly celebrating its constructed form. With a Whitman-like openness, O’Hara’s poems often feature exuberant lists of friends and places, though his world remains urban-centric, largely confined to New York City and the Hamptons.

Imagery and Language

O’Hara frequently blends the surreal with the real, a style John Ashbery describes as “home-grown surrealism.” This technique is exemplified in “Je Voudrais Voir,” where the juxtaposition of nudes, roses, and camel corps creates a strikingly surreal effect. He indulges in exotic and whimsical word choices without attempting to impute symbolic meaning, valuing the auditory pleasure and strangeness of the language. While meter and rhyme are sparingly used, they serve primarily to enhance the comic rather than add formality to the work.

O’Hara’s Approach to Art

In poems like "Why I Am Not a Painter," O’Hara parallels the creative processes of painting and poetry. Both art forms are depicted as being driven more by spontaneous inspiration than logical structure, with initial impulses potentially only lingering in the work’s title. His poetry is as unpredictable and dynamic as the action painting movement he admired, emphasizing movement and fluidity over static imagery.

The Role of Pop Culture in O’Hara’s Work

O’Hara’s love for the cinema is humorously captured in “To the Film Industry in Crisis.” The poem celebrates Hollywood’s mythic and accessible nature, contrasting it with more elitist art forms. Through exuberant lists of technical innovations and actors, O’Hara highlights the magical allure of motion pictures, positioning cinema as a cultural pillar that provides the myths by which people live.

Intimacy and Personal Moments

In “The Day Lady Died,” O’Hara transforms the ordinary into poignant reflection through the news of Billie Holiday’s death. The poem captures a mundane day’s activities, only to culminate in a breathless moment of personal significance, illustrating how art can shift public moments into intimate experiences. The poem captures the essence of O’Hara’s style: turning the trivial into the transcendent.

Exploration of Self

“In Memory of My Feelings” delves into the multiplicity of selves within the poet, ultimately seeking the authentic self: the artist. The poem navigates through various personas, unified by the symbol of the serpent, representing the artist’s identity. O’Hara uses surreal imagery to explore these inner selves, culminating in a realization of the essential role of the artist-self over others.

Navigating O’Hara’s World

O’Hara’s poetry invites readers into a world without clear maps or signs, where the journey is as important as the destination. This world, akin to Lewis Carroll’s imaginative realms, is marked by sudden twists and unexpected endings, reflecting the bustling and unpredictable nature of New York City life. O’Hara’s work captures the essence of action in its many forms—sexual, mental,...