James Schuyler

This fully updated edition of James Schuyler’s letters to three dozen intimates, published on the 100th anniversary of the writer’s birth, offers unparalleled insights into the lives, friendships, and sensibilities that sprang from the influential New York School. James Schuyler’s effervescent takes on people, nature, art, writing, and love are on joyous display in his letters to John Ashbery, Ron Padgett, Barbara Guest, Alex Katz, Joe Brainard, Kenneth Koch, and many more. They paint an indelible picture of a charmingly self-deprecating gentleman with an expansive intellect and a deliciously wicked tongue. “Jimmy wrote letters for the most civilized of reasons,” a friend of his once said, “to inform and to entertain.” And that they do, in inimitable style. Peppering his aperçus with the occasional “tout de sweetie” and “pet noire,” the Pulitzer Prize-winning author of The Morning of the Poem holds forth on everything from Dante and Delacroix to travel and gardening to the delicate workings of his own poems and those of others. While his tone ranges from the lightly graceful to the racily profane, each letter is exquisitely tuned to its recipient. Schuyler’s voice changes over the years and through periods of elation and struggle, including stays with friends and in psychiatric wards. Reading these letters, one becomes intimately connected to the man and to his words, which have only grown more savory and valuable with time.

"[...]Olen jäässä tämän ikkunan ääressä /täällä läntisessä New Yorkissa, tutkiskellessani ja kadottaessaniSen mitä kuusta on jäljellä:/[...]"RUNON AAMU (The Morning of the Poem, 1980) on kunniakkaasti Pulitzer-palkittu yhdysvaltalaisen runon helmi. Se on täynnä kukkaloistoa ja arkipäivän karheutta, rakkautta ja himoa, historian syvyyttä ja älyn särmää, pysäyttämättömissä olevaa ajan ja ajatuksen juoksua. Mahtava käännös runsaine lukukokemusta rikastavine huomautuksineen ja taustoittavine jälkisanoineen tuo Schuylerin suomalaisen yleisön ulottuville täydessä poskettomuudessaan, hehkussaan ja askarruttavuudessaan.

Which opening does better in practice: the wild, unsound" and refuted" Latvian Gambit (1 e4 e5 2 Nf3 f5) or the solid Philidor Defence (1 e4 e5 2 Nf3 d6)? As James Schuyler points out, referring to the definitive Megabase, the Latvian Gambit scores higher. How can such a discredited opening (and the same story is repeated with other unsound" openings) do so well? The point is that playing like this throws the opponent off balance, makes them anxious and induces mistakes. Even the very best players recognize the value of discomforting the opponent. Historically, Emanuel Lasker was the master of this approach and his modern day equivalent is world champion Magnus Carlsen. Carlsen frequently employs offbeat openings and his opponents invariably fail to counter them correctly. This is the key theme of this book. Schuyler covers all phases of the game and discusses other vital subjects such as harassment, material imbalance, time management, surprise moves, unusual ideas, provocative play, manoeuvres and recovering from bad positions. *Includes methods to improve practical play*Develops a win-oriented attitude*Examines ways to induce mistakes

Welcome to the Dark Knight System, a weapon which can be used against virtually every opening White can play! In the Dark Knight System, Black begins with 1... Nc6 and adopts a dark-square strategy. The Dark Knight System is a potent mix of several other openings, blending portions of the King's Indian, Pirc, Scotch and Tango, but it contains many independent lines too. It forces White onto his own devices very early on in the game. When forced to improvise, even strong players are prone to playing weak moves or expending their time and energy in the opening. In this book, FIDE Master James Schuyler invites you to join him in a study of his favourite Black opening. Drawing on over 25 years' experience with 1... Nc6, he presents a repertoire for Black, studies the important tactical and strategic ideas, examines key issues such as move orders, and tells you everything you need to know about the Dark Knight System. *A repertoire for Black with 1... Nc6 *Covers 1 e4, 1 d4, 1 c4 and other moves *Packed with new ideas and critical analysis

A COLLECTION OF UNPUBLISHED POEMS FROM ONE OF THE MOST DISTINCTIVE POETIC VOICES OF THE TWENTIETH CENTURY of an evening real as paint on canvas. The kind that makes me ache to have the gift for dusting off clich s: not, make it new, but, see it, hear it, freshly. The context (good morrow, haven't we met in this context before?) in which, squelch, a brush lifted a load of pigment from the thick glass palette, and, concentrated, as though he saw neither the work in hand nor the subject, the painter began. --from "A Blue Shadow Painting" Other Flowers brings together 165 unseen poems from James Schuyler, one of the twentieth century's most acclaimed writers. This carefully arranged edition presents a broad range of Schuyler's work, spanning from the early 1950s until his death in 1991. These poems exhibit Schuyler's virtuosity in drawing from real life, interpersonal history, nature, and pop culture to create reverberant portraits of the everyday. To read these poems is to rediscover the fresh clarity and grandeur of even the smallest things. Other Flowers confirms Schuyler's status as one of the most important figures in contemporary poetics.

In "Selected Poems," we experience the full range of James Schuyler's achievement, confirming that he was among the late twentieth century's truly vital and distinctive poetic voices. One of the most significant writers of the New York School which unofficially included John Ashbery, Frank O'Hara, and Kenneth Koch, among others Schuyler was strongly influenced by both art and music in his work, often incorporating rapid shifts in sound, shape, and color within his poems that almost gave his work the effect of a collage and engendered comparisons with Whitman and Rimbaud."

Poet Mark Ford has described the letters of James Schuyler as witty, graceful, sophisticated and gossipy.' Particularly poignant and delightful are these newly released Schuyler letters to fellow poet Frank O'Hara. They are entertaining, offhanded, intimate and transcendently poetic.'

James Schuyler's utterly original What's for Dinner? features a cast of characters who appear to have escaped from a Norman Rockwell painting to run amok. In tones that are variously droll, deadpan, and lyrical, Schuyler tells a story that revolves around three small-town American households. The Delehanteys are an old-fashioned Catholic family whose twin teenage boys are getting completely out of hand, no matter that their father is hardly one to spare the rod. Childless Norris and Lottie Taylor have been happily married for years, even as Lottie has been slowly drinking herself to death. Mag, a recent widow, is on the prowl for love. Retreating to an institution to dry out, Lottie finds herself caught up in a curious comedy of group therapy manners. At the same time, however, she begins an ascent from the depths of despair-illuminated with the odd grace and humor that readers of Schuyler's masterful poetry know so well-to a new understanding, that will turn her into an improbable redeemer within an unlikely world. What's for Dinner? is among the most delightful and unusual works of American literature. Charming and dark, off-kilter but pedestrian, mercurial yet matter-of-fact, Schuyler's novel is an alluring invention that captures both the fragility and the tenacity of ordinary life.

One of the finest American poets of the second half of the twentieth century, James Schuyler was at the same time a remarkable novelist. Alfred and Guinevere are two children who have been sent by their parents to spend the summer at their grandmother's house in the country. There they puzzle over their parents' absence and their relatives' habits, play games and pranks, make friends and fall out with them, spat and make up. Schuyler has a pitch-perfect ear for the children's voices, and the story, told entirely through snatches of dialogue and passages from Guinevere's diary, is a tour de force of comic and poetic invention. The reader discovers that beneath the book's apparently guileless surface lies a very sophisticated awareness of the complicated ways in which words work to define the often perilous boundaries between fantasy and reality, innocence and knowledge.

This collection of poetry showcases the unique talent of James Schuyler and highlights the writing that won him a Pulitzer Prize.

"The flowers, trees, birds, clouds, and effects of light that Schuyler describes with such lan, even if only glimpsed from the window of his apartment, could easily be transposed to the poetry written in Japan or Persia many centuries ago. Even more, his culture and learning, worn so lightly as almost to pass unnoticed, link his verse to other and larger traditions, as in this reflection on Baudelaire - clearly intended as an artistic credo of sorts ..." - Open Letters Monthly