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from April Galleons (1987) | |
Vetiver | p. 3 |
Riddle Me | p. 5 |
A Mood of Quiet Beauty | p. 7 |
Finnish Rhapsody | p. 8 |
Alone in the Lumber Business | p. 11 |
Vaucanson | p. 13 |
Someone You Have Seen Before | p. 15 |
Ostensibly | p. 17 |
Becalmed on Strange Waters | p. 19 |
The Big Cloud | p. 20 |
Some Money | p. 22 |
Wet Are the Boards | p. 23 |
Offshore Breeze | p. 25 |
The Ice Storm | p. 26 |
April Galleons | p. 30 |
from Flow Chart (1991) | |
Section V | p. 35 |
from Hotel Lautreamont (1992) | |
Light Turnouts | p. 65 |
Autumn Telegram | p. 66 |
Notes from the Air | p. 67 |
Still Life with Stranger | p. 69 |
Hotel Lautreamont | p. 70 |
On the Empress's Mind | p. 73 |
The Phantom Agents | p. 74 |
From Estuaries, from Casinos | p. 75 |
Autumn on the Thruway | p. 78 |
The Little Black Dress | p. 84 |
Avant de quitter ces lieux | p. 85 |
In Another Time | p. 87 |
Le mensonge de Nina Petrovna | p. 88 |
Korean Soap Opera | p. 90 |
A Driftwood Altar | p. 93 |
The Youth's Magic Horn | p. 96 |
Seasonal | p. 98 |
Kamarinskaya | p. 99 |
Elephant Visitors | p. 101 |
Retablo | p. 102 |
Quartet | p. 104 |
[untitled] | p. 107 |
Just Wednesday | p. 108 |
In My Way / On My Way | p. 110 |
No Good at Names | p. 113 |
In Vain, Therefore | p. 115 |
A Hole in Your Sock | p. 116 |
How to Continue | p. 117 |
from And the Stars Were Shining (1994) | |
Token Resistance | p. 121 |
The Mandrill on the Turnpike | p. 122 |
About to Move | p. 123 |
Ghost Riders of the Moon | p. 125 |
The Love Scenes | p. 126 |
Well, Yes, Actually | p. 127 |
Myrtle | p. 129 |
Mutt and Jeff | p. 130 |
Coventry | p. 132 |
And the Stars Were Shining | p. 134 |
from Can You Hear, Bird (1995) | |
A Poem of Unrest | p. 157 |
A Waking Dream | p. 158 |
At First I Thought I Wouldn't Say Anything About It | p. 159 |
... by an Earthquake | p. 160 |
By Guess and by Gosh | p. 164 |
Can You Hear, Bird | p. 165 |
Cantilever | p. 166 |
Chapter II, Book 35 | p. 167 |
Dangerous Moonlight | p. 169 |
Debit Night | p. 171 |
Dull Mauve | p. 173 |
My Philosophy of Life | p. 174 |
No Longer Very Clear | p. 176 |
Operators Are Standing By | p. 177 |
Plain as Day | p. 178 |
Sleepers Awake | p. 180 |
The Faint of Heart | p. 181 |
The Green Mummies | p. 183 |
The Military Base | p. 184 |
The Problem of Anxiety | p. 185 |
Today's Academicians | p. 186 |
from Tuesday Evening | p. 187 |
Yes, Dr. Grenzmer. How May I Be of Assistance to You? What! You Say the Patient Has Escaped? | p. 195 |
You Would Have Thought | p. 198 |
from Wakefulness (1998) | |
Wakefulness | p. 201 |
Baltimore | p. 203 |
Cousin Sarah's Knitting | p. 204 |
Last Night I Dreamed I Was in Bucharest | p. 206 |
Added Poignancy | p. 207 |
Laughing Gravy | p. 209 |
From Such Commotion | p. 210 |
Alive at Every Passage | p. 212 |
The Burden of the Park | p. 213 |
Dear Sir or Madam | p. 216 |
Discordant Data | p. 217 |
Outside My Window the Japanese ... | p. 219 |
Probably Based on a Dream | p. 221 |
Proximity | p. 222 |
Like America | p. 223 |
Snow | p. 224 |
The Dong with the Luminous Nose | p. 226 |
Come On, Dear | p. 228 |
Homecoming | p. 230 |
from Girls on the Run (1999) | |
Sections I, II, III, VIII, IX, XXI | p. 233 |
from Your Name Here (2000) | |
This Room | p. 249 |
If You Said You Would Come with Me | p. 250 |
A Linnet | p. 251 |
The Bobinski Brothers | p. 252 |
Merrily We Live | p. 253 |
Caravaggio and His Followers | p. 255 |
Industrial Collage | p. 257 |
The History of My Life | p. 259 |
Memories of Imperialism | p. 260 |
Heartache | p. 262 |
Redeemed Area | p. 264 |
They Don't Just Go Away, Either | p. 266 |
Sonatine Melancolique | p. 268 |
Stanzas before Time | p. 270 |
A Suit | p. 271 |
Crossroads in the Past | p. 272 |
How Dangerous | p. 273 |
Lemurs and Pharisees | p. 274 |
The Underwriters | p. 276 |
Vendanges | p. 278 |
Has to Be Somewhere | p. 280 |
Strange Cinema | p. 282 |
Fade In | p. 283 |
Pastilles for the Voyage | p. 284 |
Your Name Here | p. 285 |
from Chinese Whispers (2002) | |
A Nice Presentation | p. 289 |
Disagreeable Glimpses | p. 290 |
Theme Park Days | p. 292 |
From the Diary of a Mole | p. 293 |
Mordred | p. 294 |
The Lightning Conductor | p. 296 |
I Asked Mr. Dithers Whether It Was Time Yet He Said No to Wait | p. 298 |
Chinese Whispers | p. 299 |
In the Time of Pussy Willows | p. 302 |
Little Sick Poem | p. 304 |
Local Legend | p. 305 |
Portrait with a Goat | p. 306 |
As Umbrellas Follow Rain | p. 307 |
Oh Evenings | p. 313 |
Runway | p. 314 |
Her Cardboard Lover | p. 315 |
The Haves | p. 316 |
Like Air, Almost | p. 319 |
The Blessed Way Out | p. 321 |
The Business of Falling Asleep (2) | p. 322 |
Sir Gammer Vans | p. 324 |
from Where Shall I Wander (2005) | |
Ignorance of the Law Is No Excuse | p. 329 |
Day's of Reckoning | p. 330 |
Coma Berenices | p. 332 |
The New Higher | p. 336 |
Interesting People of Newfoundland | p. 337 |
Retro | p. 339 |
Annuals and Perennials | p. 341 |
Heavy Home | p. 342 |
The Template | p. 343 |
The Snow-Stained Petals Aren't Pretty Any More | p. 344 |
Sonnet: More of Same | p. 345 |
The Love Interest | p. 346 |
Composition | p. 347 |
Where Shall I Wander | p. 348 |
Index of Titles and First Lines | p. 353 |
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Vetiver
Ages passed slowly, like a load of hay,
As the flowers recited their lines
And pike stirred at the bottom of the pond.
The pen was cool to the touch.
The staircase swept upward
Through fragmented garlands, keeping the melancholy
Already distilled in letters of the alphabet.
It would be time for winter now, its spun-sugar
Palaces and also lines of care
At the mouth, pink smudges on the forehead and cheeks,
The color once known as ashes of roses.
How many snakes and lizards shed their skins
For time to be passing on like this,
Sinking deeper in the sand as it wound toward
The conclusion. It had all been working so well and now,
Well, it just kind of came apart in the hand
As a change is voiced, sharp
As a fishhook in the throat, and decorative tears flowed
Past us into a basin called infinity.
[. . .]
Excerpted from Notes from the Air by John Ashbery
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.