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|Born||1941 (age 75-76)
|Occupation||Poet, Teacher, Author|
|Known for||Books: "Second Sight", "Journey to the Lost City", "The End Out of the Past", "Corridor"|
|Awards||Fellowships from Yaddo,MacDowell, and the Massachusetts Endowment for the Arts. His poems have appeared in Best American Poetry five times. 1975-1976 Amy Lowell Poetry Travelling Scholarship|
Jonathan Aaron is an American poet.
He graduated from the University of Chicago and Yale University Ph.D. His work has been published in The Paris Review, Ploughshares, The New Yorker, The New York Review of Books, The London Review of books, The Boston Globe (as guest reviewer), and The Times Literary Supplement. Aaron was born and raised in Massachusetts. He currently lives in Cambridge, Massachusetts. Since 1988, Mr. Aaron has been an Associate Professor at Emerson College in the Department of Writing, Literature and Publishing. In Fall of 2007, Mr. Aaron was visiting poet-in-residence at Williams College.
His work has received many honors, including Fellowships from Yaddo, MacDowell, and the Massachusetts Endowment for the Arts. His poems have appeared in Best American Poetry five times. 1975-1976 Amy Lowell Poetry Travelling Scholarship
"The End of Out of the Past", pō’ĭ-trē "Acting Like a Tree". The New Yorker. December 15, 2008. "The Voice from Paxos". The New York Review of Books. August 16, 1990.
Journey to the Lost City. Ausable Press. 2006. ISBN 978-1-931337-30-4. Corridor. Wesleyan University Press. 1992. ISBN 978-0-8195-1203-1. Second sight: poems. Harper & Row. 1982. ISBN 978-0-06-014969-7.
Ann Kjellberg, ed. (2000). Collected poems in English / Joseph Brodsky. New York: Farrar, Straus and Giroux. ISBN 978-0-374-52838-6.
Harold Bloom, David Lehman, ed. (1998). "Dance Mania". The best of the best American poetry, 1988-1997. Simon and Schuster. ISBN 978-0-684-84779-5.
“Dreaming is after all a kind of thinking,” Jonathan Aaron writes in this new volume, his third in almost 25 years, and it’s hard to imagine a more succinct statement of his poetic method. Aaron has always used the peculiar instability of poems to his advantage: he builds tension from a poem’s ability to slip on no more than a phrase from the real to the symbolic, from the hypothetical to the unalterable.