The note to the first poem is this:
Many people helped out with the geography of Lvov... the autobiographical note about Fredo...
(Aleksander Fredro (20 June 1793 – 15 July 1876) was a Polish poet, playwright and author active during Polish Romanticismin the period of partitions by neighboring empires. His works including plays written in the octosyllabic verse (Zemsta) and in prose (Damy i Huzary) as well as fables, belong to the canon of Polish literature. Fredro was harshly criticized by some of his contemporaries for light-hearted humor or even the alleged immorality (Seweryn Goszczyński, 1835) which led to years of his literary silence. Many of Fredro's dozens of plays were published and popularized only after his death. His best-known works have been translated into English, French, German, Russian, Czech, Romanian, Hungarian and Slovak.).
either a painting of a painting of a cathedral in Venice, where indeed, you will find giant marble snails on Santa Maria de la Salute...or perhaps the canvas is an awning of a café...
How do you understand "too much of Lvov... " repeated twice... and the poem entitled, "Why"--
the this ripe, round peach of Lvov-- indeed, I want to hurry there...
The Dickinson poem replete with em-dashes, exclamations, had a strange title-- It can't be "summer"-- what is reality here? And dying? twice white is mentioned... as opposed to "rouge"... and the yellow-green-brown olivine of Chrysolite as the sun sets... If she had called it,
"Meditations on Dying"... or "trickery of the seasons..." we would not have felt the cycle of seasons and a sense of a great round of life.
And what if Emily lived in 2017 -- imagine -- "Emoticons for Emily" for her to spice her text!
What might she do?
We particularly enjoyed the first Ashbery poem... "Instead of losing" -- what does he mean by "losing" -- and how delightful to wind up with "the whole embrace". Ashbery's comments About Understanding Poetry… "I don't quite understand about understanding poetry. I experience poems with pleasure: whether I understand them or not I'm not quite sure. I don't want to read something I already know or which is going to slide down easily: there has to be some crunch, a certain amount of resilience."
Certainly this applies to this poem... Wherever the "eponymous city limits" are located -- and eponymous wth whom? and how one "perforates them" -- this was a pleasurable use of language to paint a light-hearted mood, more than something to "understand"... Surreal, but wouldn't you like to sail "into an empty drawer"? A bit like Alice in Wonderland with St. Ursula thrown in... It helps visualize "bald arbiters" -- really, not to be confused with muskrats!
For "The new higher" we thought of him writing to his muse....
I put aside the there and now--
I far prefer to read Ashbery than Dickinson: -- we are invited to witness...
blacking out when time came in the window.
There was not much of it left.
I laughed and put my hands shyly
across your eyes. Can you see now?"
(Christopher Fry + the Lady's not for Burning) -- allow one to die... even if the muse says go away from the window...
Ashbery's pluck replies: "I am in love with your window I cannot undermine