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katiezstorey93 · 6 years

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WACO Historical Society lecture

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The WACO Air Museum facility is expanding, as a result of a $1 million donation and additional fundraising to make a home of their very own for its WACO educational applications. Troy residents Pat and Thom Robinson this summertime contributed the $1 million to help the Aviation Learning Center have dedicated space in a more than 10,000-square-foot addition.

This was 10:35 on the morning of Dec. 17, 1903, when Orville Wright became the first person to pilot a controlled, powered flight. He along with his brother, Wilbur, accomplished more than flying. They worked as a staff as engineers, scientists, skilled craftsmen, inventors, pioneers and dreamers.

They funded their own study and used their skills as bike manufacturers to soar to new heights (really about six feet). This Dec. 18 (114 years and a day later that first flight), Robert Bateman, a pilot himself, will talk about the challenges and accomplishments of those brothers during the years leading up to the successful flight. This lecture will take place at 7 p.m. in the WACO Air Museum, 1865 S. County Road 25A at Troy, within the Aviation Lecture Series.

Bateman, a New Carlisle resident, is a retired lieutenant colonel of the U.S. Air Force along with a professor of aviation related courses. He has a broad background in the fields of aviation and education.

Following his graduation in 1957 from West Point, Bateman had a 20-year profession in the Air Force, with more than 4,500 hours from aircraft such as the F-100, F-4D along with F-111. As a flight instructor, he taught from the T-33, T-37 along with T-38. He’s flown 225 combat missions in the B-57 and continues to be awarded the Silver Star, DFC with four oak leaf clusters, Meritorious Service Medal and numerous Air Medals.

Bateman got a Master of Science degree in Aeronautical Engineering from the Air Force Institute of Technology, and after his retirement made a Master of Arts degree in Experimental Psychology from the University of Dayton. He also holds a doctorate in Industrial Engineering from Texas A&M University with a specialization in Human Factors Engineering.

Parking and admission are free and open to the public. Doors open at 6:30 pm together with the lecture beginning at 7 p.m.. The lecture is scheduled to last one hour with a time for queries to follow. It will be held in the Willis Wing of this WACO Air Museum. For queries, please telephone 937-335-9226 or see www.wacoairmuseum.org.

from network 8 http://www.nsorchidsociety.com/waco-historical-society-lecture/

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janetoconnerfl · 7 years

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John Ashbery, celebrated and challenging poet, dies at 90

NEW YORK — John Ashbery, an enigmatic genius of modern poetry whose energy, daring and boundless command of language raised American verse to brilliant and baffling heights, died early Sunday at age 90.

Bebeto Matthews, Associated Press file

In this Sept. 29, 2008, file photo, poet John Ashbery interviewed at his apartment in New York. Ashbery, widely regarded as one of the world’s greatest poets, died Sunday, Sept. 3, 2017, at home in Hudson, New York, of natural causes, according to husband, David Kermani. He was 90. (AP Photo/Bebeto Matthews, File)

Ashbery, winner of the Pulitzer Prize and often mentioned as a Nobel candidate, died at his home in Hudson, New York. His husband, David Kermani, said his death was from natural causes.

Few poets were so exalted in their lifetimes. Ashbery was the first living poet to have a volume published by the Library of America dedicated exclusively to his work. His 1975 collection, “Self-Portrait in a Convex Mirror,” was the rare winner of the book world’s unofficial triple crown: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. In 2011, he was given a National Humanities Medal and credited with changing “how we read poetry.”

Among a generation that included Richard Wilbur, W.S. Merwin and Adrienne Rich, Ashbery stood out for his audacity and for his wordplay, for his modernist shifts between high oratory and everyday chatter, for his humor and wisdom and dazzling runs of allusions and sense impressions.

“No figure looms so large in American poetry over the past 50 years as John Ashbery,” Langdon Hammer wrote in The New York Times in 2008. “Ashbery’s phrases always feel newly minted; his poems emphasize verbal surprise and delight, not the ways that linguistic patterns restrict us. ”

But to love Ashbery, it helped to make sense of Ashbery, or least get caught up enough in such refrains as “You are freed/including barrels/heads of the swan/forestry/the night and stars fork” not to worry about their meaning. Writing for Slate, the critic and poet Meghan O’Rourke advised readers “not to try to understand the poems but to try to take pleasure from their arrangement, the way you listen to music.” Writer Joan Didion once attended an Ashbery reading simply because she wanted to determine what the poet was writing about.

“I don’t find any direct statements in life,” Ashbery once explained to the Times in London. “My poetry imitates or reproduces the way knowledge or awareness comes to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation.”

Interviewed by The Associated Press in 2008, Ashbery joked that if he could turn his name into a verb, “to Ashbery,” it would mean “to confuse the hell out of people.”

Ashbery also was a highly regarded translator and critic. At various times, he was the art critic for The New York Herald-Tribune in Europe, New York magazine and Newsweek and the poetry critic for Partisan Review. He translated works by Arthur Rimbaud, Raymond Roussel and numerous other French writers. He was a teacher for many years, including at Brooklyn College, Harvard University and Bard College.

Starting at boarding school, when a classmate submitted his work (without his knowledge) to Poetry magazine, Ashbery enjoyed a long and productive career, so fully accumulating words in his mind that he once told the AP that he rarely revised a poem once he wrote it down. More than 30 Ashbery books were published after the 1950s, including poetry, essays, translations and a novel, “A Nest of Ninnies,” co-written with poet James Schuyler.

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His masterpiece was likely the title poem of “Self-Portrait in a Convex Mirror,” a densely written epic about art, time and consciousness that was inspired by a 16th century Italian painting of the same name. In 400-plus lines, Ashbery shifted from a critique of Parmigianino’s painting to a meditation on the besieged 20th century mind.

____

I feel the carousel starting slowly

And going faster and faster: desk, papers, books,

Photographs of friends, the window and the trees

Merging in one neutral band that surrounds

Me on all sides, everywhere I look.

And I cannot explain the action of leveling,

Why it should all boil down to one

Uniform substance, a magma of interiors.

____

Ashbery was born in Rochester, New York, in 1927 and remembered himself as a lonely and bookish child, haunted by the early death of his younger brother, Richard, and conflicted by his attraction to other boys. Ashbery grew up on an apple farm in the nearby village of Sodus, where it snowed often enough to help inspire his first poem, “The Battle,” written at age 8 and a fantasy about a fight between bunnies and snowflakes. He would claim to be so satisfied with the poem and so intimidated by the praise of loved ones that he didn’t write another until boarding school, the Deerfield Academy, when his work was published in the school paper.

Meanwhile, he took painting lessons and found new meaning in Life, the magazine. An article about a surrealist exhibit at the Museum of Modern Art so impressed him that he kept rereading it for years. At Harvard University, he read W.H. Auden and Marianne Moore and met fellow poet and longtime comrade, Kenneth Koch, along with Wilbur, Donald Hall, Robert Bly, Frank O’Hara and Robert Creeley. He would be grouped with O’Hara and Koch as part of the avant-garde “New York Poets” movement, although Ashbery believed what they really had in common was living in New York.

His first book, “Some Trees,” was a relatively conventional collection that came out in 1956, with a preface from Auden and the praise of O’Hara, who likened Ashbery to Wallace Stevens. But in 1962, he unleashed “The Tennis Court Oath,” poems so abstract that critic John Simon accused him of crafting verse without “sensibility, sensuality or sentences.” Ashbery later told the AP that parts of the book “were written in a period of almost desperation” and because he was living in France at the time, he had fallen “out of touch with American speech, which is really the kind of fountainhead of my poetry.”

“I actually went through a period after ‘The Tennis Court Oath’ wondering whether I was really going to go on writing poetry, since nobody seemed interested in it,” he said. “And then I must have said to myself, ‘Well, this is what I enjoy. I might as well go on doing it, since I’m not going to get the same pleasure anywhere else.'”

His 1966 collection, “Rivers and Mountains,” was a National Book Award finalist that helped restore his standing and “Self-Portrait in a Convex Mirror” raised him to the pantheon. In 2011, he was given an honorary National Book Award for lifetime achievement and declared he was “quite pleased” with his “status in the world of writers.”

His style ranged from rhyming couplets to haiku to blank verse, and his interests were as vast as his gifts for expressing them. He wrote of love, music, movies, the seasons, the city and the country, and was surely the greatest poet ever to compose a hymn to President Warren Harding. As he aged, he became ever more sensitive to mortality and reputation. “How to Continue” was an elegy for the sexual revolution among gays in the 1960s and ’70s, a party turned tragic by the deadly arrival of AIDS, “a gale (that) came and said/it is time to take all of you away.”

Reflecting on his work, Ashbery boasted about “strutted opinion doomed to wilt in oblivion,” but acknowledged that “I grew/To feel I was beyond criticism, until I flew/Those few paces from the best.” In the poem “In a Wonderful Place,” published in the 2009 collection “Planisphere,” he offered a brief, bittersweet look back.

____

I spent years exhausting my good works

on the public, all for seconds

Time to shut down colored alphabets

flutter in the fresh breeze of autumn. It

draws like a rout. Or a treat.

____

from Latest Information http://www.denverpost.com/2017/09/03/john-ashbery-dies-at-90/

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jimblanceusa · 7 years

Text

John Ashbery, celebrated and challenging poet, dies at 90

Bebeto Matthews, Associated Press file

Ashbery, winner of the Pulitzer Prize and often mentioned as a Nobel candidate, died at his home in Hudson, New York. His husband, David Kermani, said his death was from natural causes.

Interviewed by The Associated Press in 2008, Ashbery joked that if he could turn his name into a verb, “to Ashbery,” it would mean “to confuse the hell out of people.”

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____

I feel the carousel starting slowly

And going faster and faster: desk, papers, books,

Photographs of friends, the window and the trees

Merging in one neutral band that surrounds

Me on all sides, everywhere I look.

And I cannot explain the action of leveling,

Why it should all boil down to one

Uniform substance, a magma of interiors.

____

I spent years exhausting my good works

on the public, all for seconds

Time to shut down colored alphabets

flutter in the fresh breeze of autumn. It

draws like a rout. Or a treat.

____

from Latest Information http://www.denverpost.com/2017/09/03/john-ashbery-dies-at-90/

0 notes