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Francis Russell "Frank" O'Hara (March 27, 1926 – July 25, 1966) was an American writer, poet, and art critic. A curator at the Museum of Modern Art, O'Hara became prominent in New York City's art world. O'Hara is regarded as a leading figure in the New York School, an informal group of artists, writers, and musicians who drew inspiration from jazz, surrealism, abstract expressionism, action painting, and contemporary avant-garde art movements. O'Hara's poetry is personal in tone and content, and has been described as sounding "like entries in a diary". Poet and critic Mark Doty has said O'Hara's poetry is "urbane, ironic, sometimes genuinely celebratory and often wildly funny" containing "material and associations alien to academic verse" such as "the camp icons of movie stars of the twenties and thirties, the daily landscape of social activity in Manhattan, jazz music, telephone calls from friends". O'Hara's writing sought to capture in his poetry the immediacy of life, feeling that poetry should be "between two persons instead of two pages." The Collected Poems of Frank O'Hara edited by Donald Allen (Knopf, 1971), the first of several posthumous collections, shared the 1972 National Book Award for Poetry. Brad Gooch's City Poet is the first substantial biography on O'Hara. Early life and education Frank O'Hara, the son of Russell Joseph O'Hara and Katherine (née Broderick), was born on March 27, 1926, at Maryland General Hospital, Baltimore and grew up in Grafton, Massachusetts. He attended St. John's High School. He grew up believing his birthday was in June, when, in fact, he had been born in March—as his parents disguised his true date of birth because he had been conceived out of wedlock. He studied piano at the New England Conservatory in Boston from 1941 to 1944 and served in the U.S. Navy in the South Pacific and Japan as a sonarman on the destroyer USS Nicholas during World War II. With the funding made available to veterans he attended Harvard University, where artist and writer Edward Gorey was his roommate. O'Hara was heavily influenced by visual art and by contemporary music, which was his first love (he remained a fine piano player all his life and would shock new partners by suddenly playing music by Sergei Rachmaninoff when visiting them). His favorite poets were Pierre Reverdy, Arthur Rimbaud, Stéphane Mallarmé, Boris Pasternak, and Vladimir Mayakovsky. While at Harvard, O'Hara met John Ashbery and began publishing poems in the Harvard Advocate. Despite his love of music, O'Hara changed his major and graduated from Harvard in 1950 with a degree in English. He then attended the University of Michigan in Ann Arbor, where he won a Hopwood Award and, in 1951, received a master's degree in English. Early career In the autumn of 1951, O'Hara moved into an apartment in New York City with Joe LeSueur, who was his roommate and sometime lover for the next 11 years. It was during this time that he began teaching at The New School. O'Hara was active in the art world, working as a reviewer for ARTnews, and in 1960 was assistant curator of painting and sculpture exhibitions for the Museum of Modern Art. He was a friend of the artists Norman Bluhm, Mike Goldberg, Grace Hartigan, Alex Katz, Willem de Kooning, Joan Mitchell, and Larry Rivers. Poetry While O'Hara's poetry is generally autobiographical, it tends to make observations about his life in New York, rather than exploring his past. In his introduction to The Collected Poems of Frank O'Hara, Donald Allen says, "that Frank O'Hara tended to think of his poems as a record of his life is apparent in much of his work." O'Hara discussed this aspect of his poetry in a statement for Donald Allen's The New American Poetry: What is happening to me, allowing for lies and exaggerations which I try to avoid, goes into my poems. I don't think my experiences are clarified or made beautiful for myself or anyone else, they are just there in whatever form I can find them. . .My formal "stance" is found at the crossroads where what I know and can't get meets what is left of that I know and can bear without hatred. . .It may be that poetry makes life's nebulous events tangible to me and restores their detail; or conversely that poetry brings forth the intangible quality of incidents which are all too concrete and circumstantial. Or each on specific occasions, or both all the time. His initial time in the Navy, during his basic training at Sampson Naval Training Center, in upstate New York, along with earlier years at St. John's High School, began to shape a distinguished style of solitary observation that would later inform his poems. Immersion in regimented daily routine, first at Catholic school, then in the Navy, enabled him to separate himself from situations and make witty, often singularly perceptive commentary. Sometimes he cataloged it for use in later writing, or, perhaps more often, put it into letters. This skill at scrutinizing and recording amid the bustle and churn of daily life would later be one of the important aspects that shaped O'Hara as an urban poet, writing off the cuff. Among his friends, O'Hara was known to treat poetry dismissively, as something to be done only in the moment. John Ashbery says he witnessed O'Hara "Dashing poems off at odd moments—in his office at the Museum of Modern Art, in the street at lunchtime, or even in a room full of people—he would then put them away in drawers and cartons and half forget them." In the summer of 1951, O'Hara read a manifesto in The Kenyon Review written by the poet, novelist and anarchistic social critic Paul Goodman. In the essay, Goodman argues that the postwar American "advanced guard" writers must articulate the deep-seated, personal disquiet felt across the culture but left unvoiced. The essay encouraged O'Hara to write poetry that was embarrassing in its directness, and even seen as hostile to literary standards then in place. O'Hara's poetry began to erase poetry's cautious border between what is public and what is private. In 1959, he wrote a mock manifesto (originally published in the magazine Yūgen in 1961) called Personism: A Manifesto, in which he explains his position on formal structure: "I don't ... like rhythm, assonance, all that stuff. You just go on your nerve. If someone's chasing you down the street with a knife you just run, you don't turn around and shout, 'Give it up! I was a track star for Mineola Prep.'" He says, in response to academic overemphasis on form, "As for measure and other technical apparatus, that's just common sense: if you're going to buy a pair of pants you want them to be tight enough so everyone will want to go to bed with you. There's nothing metaphysical about it." He claims that on August 27, 1959, while talking to LeRoi Jones, he founded a movement called Personism which may be "the death of literature as we know it." He says, It does not have to do with personality or intimacy, far from it! But to give you.... Discover the Mo O Hara popular books. 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