Amid gloomy forecasts of the decline of the humanities and the death of poetry, Angus Fletcher, a wise and dedicated literary voice, sounds a note of powerful, tempered optimism. He lays out a fresh approach to American poetry at large, the first in several decades, expounding a defense of the art that will resonate well into the new century.

Breaking with the tired habit of treating American poets as the happy or rebellious children of European romanticism, Fletcher uncovers a distinct lineage for American poetry. His point of departure is the fascinating English writer, John Clare; he then centers on the radically American vision expressed by Emerson and Walt Whitman. With Whitman this book insists that "the whole theory and nature of poetry" needs inspiration from science if it is to achieve a truly democratic vista. Drawing variously on Complexity Theory and on fundamentals of art and grammar, Fletcher argues that our finest poetry is nature-based, environmentally shaped, and descriptive in aim, enabling poets like John Ashbery and other contemporaries to discover a mysterious pragmatism.

Intense, resonant, and deeply literary, this account of an American poetics shows how today's consumerist and conformist culture subverts the imagination of a free people. While centering on American vision, the argument extends our horizon, striking a blow against all economically sanctioned attacks upon the finer, stronger human capacities. Poetry, the author maintains, is central to any coherent vision of life.

One of America's most important poets, John Ashbery has dazzled readers with the elusive pleasures of his work for over four decades. John Shoptaw heightens those pleasures by discovering the inner and outer workings of this incomparable poet. In readings attuned to the textual, sexual, and historical specificities of Ashbery's poetic project, from Some Trees through the vast summation of Flow Chart, Shoptaw introduces readers to the poet's processes of production.

The first reader with full access to Ashbery's manuscripts and source materials, he is able to reveal the poet at work. He shows us, for instance, how Ashbery built “Europe” and “The Skaters” upon children's books picked up at a Paris quai and how he drew on his own unpublished lyrics for the long dialogue “Fantasia on The Nut-Brown Maid.” Shoptaw argues that Ashbery's poems are less self-referential or nonrepresentational than misrepresentative: fractious assemblies of odd details, cryptic substitutions, and artful and artless discourses. He traces Ashbery's misrepresentative poetics to diverse sources—Walt Whitman, Raymond Roussel, W. H. Auden, Gertrude Stein, Elizabeth Bishop, Jackson Pollock, and Elliott Carter, among others. Ashbery's poetry, as Shoptaw demonstrates, is inevitably “homotextual” while refraining from taking homosexuality as a topic.

Ashbery disorients his poems with unexpected silences, lapses or wrong turns in arguments, mock confessions, and sudden abstractions. As this book reveals, Ashbery's misrepresentations yield a richer and stranger representation of ordinary experience. Ashbery takes his paradoxical stand on the outside looking out of an American culture and history we recognize as our own.