My Silver Planet: A Secret History of Poetry and Kitsch

Index

abject, 39, 213, 222; kitsch and, 4, 21–22 Adams, Helen, 228 Addison, Joseph, 62–63, 74, 88–89, 136 Adorno, Theodor, 65, 166, 185–86; on kitsch, 1, 17, 69, 133, 247n52 advertising, language of, 31, 176, 185, 220, 235 aesthetic failure, 28, 210, 235, 241 aestheticism, 10, 11, 107, 210–11, 230; Pound and, 135, 138, 157 aesthetics, relational, 116, 205, 239; coterie as model of, 16, 203, 247n49 after-poets, 65, 186 Agamben, Giorgio, 217 Akenside, Mark, 101, 102 alienation, 217, 219, 241; kitsch and, 4, 121, 123, 247n52 Allan, David, 51 allegory, 16, 98, 214, 215; Benjamin conception of, 211–13; poetic kitsch and, 17, 32, 202 amateurism, 28, 189, 219 Anacreontiques, 45–46 anglophony, 8, 232, 237 Angry Penguins, 188, 204 animals, talking, 235 anthology, 53 anti-literary experiments, 82 antiquarianism, 42, 81, 86, 108, 120, 126, 127; and ballad revival, 9, 66, 97 antiquarians, female, 82, 91, 232–33, 238 anti-system, 42, 71, 122, 227, 228–29, 244n14; and system, 5, 40–41 apocalypse, kitsch of, 146–51, 212 apostrophe, 37, 100, 101, 103, 105 appropriation, 21, 35, 64, 195–96, 201; and collaboration, 188, 191, 192; as Dadaist technique, 194, 198, 211; New York school and, 199, 217 archaism, 35, 60–61, 148, 188, 234; ballads and, 8, 59, 60, 63, 72 argot plastique, 210, 215–17, 221, 240 Aristotle, 44; on poetic diction, 30, 36, 43, 101, 129 Armstrong, John: “Taste: An Epistle to a Young Critic,” 89–90 arresting poetry, 13, 15, 54, 58, 152, 215, 246n39 art: and commerce, 210–11; and discourse, 181; fine, 28, 66, 248n9; high, 28, 67, 183, 197; and kitsch, 3, 5, 8, 13, 40, 67, 69, 71, 242; and life, 7, 203, 206, 278n56; revolutionary , 185; synthetic, 3, 107; without qualities, 13. See also avant-garde; New Realism Ashbery, John, 170, 171, 202, 218, 239; catalog-poems by, 194–95, 200; and collaboration , 190–92, 195, 205; homosexuality of, 201, 202, 281n110; and Malanga, 174–75, 195; and poetic imposture, 187–88, 204; on poetry, 173–74, 182, 199; works: “Daffy Duck in Hollywood,” 193–94; “Europe,” 192–93, 196; “Into the Dusk-Charged Air,” 193; A Nest of Ninnies, 204; “The New Realism” (poem), 171, 176, 177; “The New Realists” (catalog essay), 176–77, 179–80; Rivers and Mountains, 192; “Some Suicides,” 177–78; Some Trees, 178; The Tennis Court Index 290 Index Ashbery, John (cont.) Oath, 171, 172–73, 174, 176, 192, 205; “To a Waterfowl,” 190–92, 196, 200; The Vermont Notebook, 194 audience, 12, 17, 203 aura, 217; Baudelaire on, 216, 240; Benjamin on, 32, 215 avant-garde, 174, 183–84, 186, 191, 202, 241; as art, 185; Bürger conception of, 7, 20, 211, 248n11; kitsch as antithesis to, 10, 40, 68, 150, 169, 170, 180, 181, 239; kitsch association with, 16, 20, 70, 150–51, 183, 186–87, 195–96, 272n25; poetry conception of, 11, 189 Avenarius, Richard, 160 bad taste, 29, 85; Baudelaire radicalization of, 192, 210, 235, 283n1; kitsch and, 46, 91, 191–92 Bajorek, Jennifer, 213 ballad revival, 66, 75, 86, 88, 117, 233, 236; antiquarianism and, 9, 66, 97; and imposture, 200, 232; and kitsch, 9, 65, 73, 81, 232; neoclassicism and, 60, 81; origins of, 62, 63, 81–82, 83; and popular culture, 64, 83 ballads, 67, 127, 219, 225, 229; anonymity of, 68–69, 74; appeal of, 62, 63, 126; archaic, 8, 13, 46, 59, 60, 63, 72, 75, 89, 226; and ballad scandals, 36, 64, 65, 82; border, 6, 81–82, 116; broadside, 62, 66–67, 68, 72, 74, 83, 84; commonplace in, 38, 72, 74; counterfeit, 59, 63, 116, 234; decadence of, 63, 72, 75; diction in, 38, 76, 228, 238; as distressed genre, 8, 29; and fairy way of writing, 89, 226; Friedman on, 62, 63, 64, 66, 67, 73, 74, 75, 77, 83, 256n1; Gothic, 13, 67, 98; Gray and, 59, 256n91; imitation, 62, 65, 66, 77, 80, 82, 84–85, 94, 116, 136, 233–34; and kitsch, 16, 74, 75, 134; as mass ornaments, 68–69, 73–74; and nursery rhymes, 85, 86; parlor, 67, 84, 90, 134; Percy and, 66, 123, 271n6; and poetry, 66, 67, 74, 83, 134; and popular culture, 64–65, 69, 72, 75, 83; refrains in, 77, 78–79, 238; Ritson on, 83, 126; and simplicity, 67, 84, 88–89, 93; traditional, 16, 41, 62–63, 66–71, 73–75, 79, 82, 88, 90, 93, 116; and vernacular , 75, 234 banality...