I thought I didn't have that much to say about Frank O'Hara and Lorca, but now my O'Hara chapter has split off from my Koch chapter: at 50 pages it was becoming unwieldy to consider both of them together.
Writing a lot of prose, I am very aware of mannerisms that creep in.
in fact, of course, it is clear, obviously, it could be argued, ostensibly
All that metadiscursive argumentation! It is clear that I want to present certain ideas as clear, obvious, and factual, but that language must be calibrated later on, of course.
I'm also falling victim to some confirmatory bias. In my defense I'll say that I didn't quite realize how much Koch loved Lorca, so when I find increasing evidence of this, the more I research the question, I'm letting my guard down. His son-in-law has translated Poet in New York so I'm looking forward to reading that.
Anyone know anything about the composer Peter Hartman? He set an O'Hara poem to music but information about him is scarce.
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You may have already seen this, but I found the following via Google:
http://64.233.167.104/search?q=cache:LAPBFGgTObYJ:www.lib.unc.edu/mss/inv/htm/20042.html+%22Peter+Hartman%22&hl=en&ct=clnk&cd=3&gl=us
Not sure if it's the Peter Hartman you're looking for, though.
http://64.233.167.104/search?q=cache:L7FW1kqCeOUJ:www.artistswithaids.org/artforms/music/catalogue/hartmanp.html+%22Peter+Hartman%22&hl=en&ct=clnk&cd=7&gl=us
As you said a few months ago about a talk you were preparing, taking out all that stuff makes writing more economical, too!
Or should I say: "In fact, it is clear that it could ostensibly be argued that taking all that stuff, of course, makes writing obviously more economical." :-)
Thanks, Rocco. That's the page that comes up with google. I was wondering whether anybody knew anything beyond that.
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