Further Reading
- Altieri, Charles. "John Ashbery and the Challenge of Postmodernism in the Visual Arts." Critical Inquiry XIV, No. 4 (Summer 1988): 805-30. (Contends that critics should view Ashbery as an innovative modern artist rather than as a poet working solely within literary tradition.)
- Applewhite, James. "Painting, Poetry, Abstraction and Ashbery." The Southern Review XXIV, No. 2 (Spring 1988): 272-90. (Places Ashbery's A Wave among the work of twentieth-century painters and poets.)
- Bloom, Harold, ed. Modern Critical Views: John Ashbery. New York: Chelsea House, 1985, 264 p. (Critical essays on Ashbery's work written by such critics as Bloom, Helen Vendler, Richard Howard, Douglas Crase, Charles Berger, and David Kalstone.)
- Bloom, Harold. "John Ashbery: The Chanty of the Hard Moments." Salmagundi, Nos. 22-23 (Spring-Summer 1973): 103-31. (Overviews Ashbery's work at mid-career.)
- Costello, Bonnie. "John Ashbery and the Idea of the Reader." Contemporary Literature XXIII, No. 4 (Fall 1982): 493-514. (Examines strategies for establishing meaningful communication between writer and reader in Ashbery's poetry.)
- Edelman, Lee. "The Pose of Imposture: Ashbery's 'Self-Portrait in a Convex Mirror.'" Twentieth Century Literature 32, No. 1 (Spring 1986): 95-114. (Discusses problematic aspects of self-reflexivity and representation in 'Self-Portrait in a Convex Mirror.')
- Fink, Thomas A. "The Comic Thrust of Ashbery's Poetry." Twentieth Century Literature 30, No. 1 (Spring 1984): 1-14. (Examines the function of humor in Ashbery's poetry, especially as evident in elements of hyperbole, absurdity, and linguistic playfulness.)
- Gregerson, Linda. "Among the Wordstruck." The New York Times Book Review (23 October 1994): 3. (A favorable review of And the Stars Were Shining.)
- Imbriglio, Catherine. "'Our Days Put on Such Reticence': The Rhetoric of the Closet in John Ashbery's Some Trees." Contemporary Literature XXXVI, No. 2 (Summer 1995): 249-88. (Explores the significance of repressed sexuality and homoeroticism in Some Trees*.)
- Keeling, John. "The Moment Unravels: Reading John Ashbery's 'Litany.'" Twentieth Century Literature XXXVIII, No. 2 (Summer 1992): 125-51. (Analyzes the role of recognition/misrecognition in Ashbery's poem.)
- Leckie, Ross. "Art, Mimesis, and John Ashbery's 'Self-Portrait in a Convex Mirror.'" Essays in Literature XIX, No. 1 (Spring 1992): 114-31. (Examines the use of mimesis in 'Self-Portrait,' comparing it to Wallace Stevens's 'An Ordinary Evening in New Haven.')
- Lehman, David, ed. Beyond Amazement: New Essays on John Ashbery. Ithaca, N.Y.: Cornell University Press, 1980, 294 p. (Contains selected essays that address common questions and misunderstandings regarding Ashbery's works.)
- Longenbach, James. "Ashbery and Individual Talent." American Literary History 9, No. 1 (Spring 1997): 103-27. (Offers analysis of Ashbery's critical views, poetic style, and assumptions about the relationship between poetry and political protest.)
- Lundquist, Sara L. "Légèreté et richesse: John Ashbery's English 'French Poems.'" Contemporary Literature XXXII, No. 3 (Fall 1991): 403-21. (Examines the significance of French literary influence and Ashbery's linguistic preoccupations in 'French Poems.')
- Mohanty, S. P. and Jonathan Monroe. "John Ashbery and the Articulation of the Social." Diacritics 17, No. 2 (Summer 1987): 37-63. (Examines the social voice in Ashbery's poetry through analysis of "A Wave" and John Ashbery, a volume of critical essays edited by Harold Bloom.)
- Monroe, Jonathan. "Idiom and Cliché in T. S. Eliot and John Ashbery." Contemporary Literature XXXI, No. 1 (Spring 1990): 17-36. (Links Eliot to Ashbery through the utilization of literary and popular culture into their verse.)
- Norton, Jody. "'Whispers Out of Time': The Syntax of Being in the Poetry of John Ashbery." Twentieth Century Literature 41, No. 3 (Fall 1995): 281-305. (Explores aspects of subjectivity and temporality in Ashbery's poetry in the context of philosophical writings by Martin Heidegger, Ludwig Wittgenstein, and Jacques Derrida.)
- Ross, Andrew. "The Alcatraz Effect: Belief and Postmodernity." Substance XIII, No. 1 (1984): 71-84. (Illustrates postmodern belief in art by explicating Ashbery's 'Self-Portrait in a Convex Mirror.')
- Schultz, Susan, ed. The Tribe of John: Ashbery and Contemporary Poetry. Tuscaloosa: University of Alabama Press, 1995, 280 p. (Comprehensive survey of critical reaction to Ashbery's verse.)
- Stamelman, Richard. "Critical Reflections: Poetry and Art Criticism in Ashbery's 'Self-Portrait in a Convex Mirror.'" New Literary History XV, No. 3 (Spring 1984): 607-30. (Interprets Ashbery's poem as a demystification of Parmigianino's painting of the same title as well as a commentary on art itself.)
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