fuse public and private

Frank O’Hara’s great popularity surely has something to do with his ability to fuse public and private, to capture those moments of everyday life when we respond, overtly or just subliminally, to the “breaking news” of the day.

—Marjorie Perloff, on “Poem (Khrushchev is coming on the right day!),” The Difference is Spreading: Fifty Contemporary Poets on Fifty Poems (U. of Penn Press, 2022)

intimate and total

…in the best lyrics, that is: in the poems of love and deprivation and mourning—the art of communication seems on the one hand private or intimate; and on the other hand, total. It is private and intimate in the sense that Hardy seems to speak very clearly but only to himself, or only to a single reader, whereas most nineteenth-century poets speak as though to a large public, more or less authoritatively. This is obviously true of Wordsworth and Tennyson. Speaking as to a large public normally involves some falsification of tone, some shifting of the poetic persona. We have the sense with Hardy that the poetry has been little modified by the implicit existence of readers, or by the likelihood publication. Many of Hardy’s early poems went long unpublished; some were saved for the very last volumes in the 1920’s.

—Albert J. Guerard, “The Illusion of Simplicity,” Thomas Hardy (New Directions, 1964)