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1a. ANSWER

Here is the poem the way Frank O’Hara laid it out.  


I LOVE the way he keeps you guessing all the way down the poem.  At first setting up a ‘mode’ whereby you are made to expect complete phrases per line, with the line-break taking place of punctuation in most cases…


“partly because of my love for you, partly because of your love for yoghurt

partly because of the fluorescent orange tulips around the birches”


And then he slowly starts to take this certainty away, “definitive as statuary / when right”, in preparation for one of the most striking abstracted images in the poem.


“we are drifting back and forth between each other

like a tree breathing through its spectacles”



It is almost as if the way the phrases and images are leaking over the line endings is representative of the sharing of feelings and experience when ‘having a coke’.


Have a look through and see what other moments O’Hara prepares you for and suprises you with in his poem… 

(Then find more by him, here… http://www.poetryfoundation.org/archive/poet.html?id=5092)

 

 

Having a Coke with You

BY FRANK O’HARA

is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne

or being sick to my stomach on the Travesera de Gracia in Barcelona

partly because in your orange shirt you look like a better happier St. Sebastian

partly because of my love for you, partly because of your love for yoghurt

partly because of the fluorescent orange tulips around the birches

partly because of the secrecy our smiles take on before people and statuary

it is hard to believe when I’m with you that there can be anything as still

as solemn as unpleasantly definitive as statuary

when right in front of it in the warm New York 4 o’clock light

we are drifting back and forth between each other

like a tree breathing through its spectacles

 

and the portrait show seems to have no faces in it at all, just paint

you suddenly wonder why in the world anyone ever did them

                                                                                                                  I look

at you and I would rather look at you than all the portraits in the world

except possibly for the Polish Rider occasionally and anyway it’s in the Frick

which thank heavens you haven’t gone to yet so we can go together the first time

and the fact that you move so beautifully more or less takes care of Futurism

just as at home I never think of the Nude Descending a Staircase or

at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me

and what good does all the research of the Impressionists do them

when they never got the right person to stand near the tree when the sun sank

or for that matter Marino Marini when he didn’t pick the rider as carefully

as the horse

                      it seems they were all cheated of some marvellous experience

which is not going to go wasted on me which is why I’m telling you about it

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