Frank O'Hara's poetry is intimately connected to New York City. Explores the role of the individual subject in the city and the mechanisms of the city itself; however, because he approaches the cityscape in an urban manner, many readers of Frank O'Hara see him as the joking patron of the New York art scene who occasionally put pen to paper. Take this review by Herbert Leibowitz as an example: A fascinating amalgam of admirer, connoisseur and propagandist, he was regarded by his friends, in an excess of enthusiasm, as the Apollinaire of his generation, an aesthetic courtier who had taste and cheek and prodigious energy. . . From the start O'Hara displays a precocious air of command and a disposable charm, as if born of the verbal manner. . . and indeed his world is full of events - parties, meditative acts, homosexual encounters, a painting or a film to comment on - which he supports with sophisticated naive wonder and generous emotion. [1]Leibowitz's observations are the occasion of the publication of The Collected Poems of Frank O'Hara and decorate the back cover of the paperback version. I find it a little strange that a publisher would reprint part of this particular review of O'Hara's poetry. Leibowitz essentially pans the book and dismisses O'Hara as a poet of lesser importance. He sees Frank O'Hara as "a sound of Pan on the city streets". This is a backhanded compliment at best, but it solidifies a connection between lyric poetry and the urban landscape. Consider that O'Hara is following in the footsteps of another lyric poet of the urban landscape, Charles Baudelaire. Baudelaire attempts to embrace modernity, as he sees it, and to write the poetry of the city and the crowd. Despite his intentions... half of the paper... r.[7] Neal Bowers. "The City's Edge: The Poetry of Frank O'Hara." Frank O'Hara: Being Loyal to a City, ed. Jim Elledge, University of Michigan Press, 1990 (321).[8] This section is very problematic. I don't want to make generalizations and reductive statements about Modernism. At the same time, I don't want to explore any one writer's work in too much detail. I will allude mainly to Eliot and Pound, for simplicity.[9] Frank O'Hara. “The day the lady died.” The Collected Poems of Frank O'Hara, ed. Donald Allen. University of California Press, 1995 (325). Cited below in parentheses by poem title and line number.[10] Kevin Stein. “Quite the Opposite: A Literary Basis for the Anti-Literary in Frank O'Hara's Luncheon Poems” Frank O'Hara: Being True to a City, ed. Jim Elledge. University of Michigan Press, 1990 (358).