{"id":92738,"date":"2015-12-09T16:35:12","date_gmt":"2015-12-09T21:35:12","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=92738"},"modified":"2015-12-09T16:49:31","modified_gmt":"2015-12-09T21:49:31","slug":"the-i-and-the-you","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/12\/09\/the-i-and-the-you\/","title":{"rendered":"The I<\/i> and the You<\/i>"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Last night, Pioneer Works<\/a>, an artists\u2019 space in Red Hook, Brooklyn, hosted a celebration of John Ashbery, who turned eighty-eight this year. The poets Geoffery G. O\u2019Brien, M\u00f3nica de la Torre, and John Yau read some of their work and their favorite poems by Ashbery. Before Ashbery came to the stage, Ben Lerner made the following remarks. \u2014D. P.\u00a0<\/em><\/p>\n

Good evening.<\/p>\n

Some of my favorite words written about John Ashbery were written by John Ashbery about Gertrude Stein. Reviewing Stanzas in Meditation<\/em>, in the July 1957 issue of Poetry<\/em>, he wrote<\/a>:\u00a0<\/p>\n

\n

Like people, Miss Stein\u2019s lines are comforting or annoying or brilliant or tedious. Like people, they sometimes make no sense and sometimes make perfect sense; or they stop short in the middle of a sentence and wander away, leaving us alone for awhile in the physical world, that collection of thoughts, flowers, weather, and proper names. And, just as with people, there is no real escape from them: one feels that if one were to close the book one would shortly re-encounter the Stanzas in life, under another guise.<\/p>\n<\/blockquote>\n

Or from a little later in the same review:<\/p>\n

\n

Stanzas in Meditation<\/em>\u00a0gives one the feeling of time passing, of things happening, of a \u201cplot,\u201d though it would be difficult to say precisely what is going on. Sometimes the story has the logic of a dream \u2026 while at other times it becomes startlingly clear for a moment, as though a change in the wind had suddenly enabled us to hear a conversation that was taking place some distance away \u2026<\/p>\n<\/blockquote>\n

Or finally:<\/p>\n

\n

It is usually not events which interest Miss Stein, rather it is their \u201cway of happening,\u201d and the story of\u00a0Stanzas in Meditation<\/em>\u00a0is a general, all-purpose model which each reader can adapt to fit his own set of particulars. The poem is a hymn to possibility; a celebration of the fact that the world exists, that things can happen.<\/p>\n<\/blockquote>\n

Try swapping out Stanzas in Meditation<\/em> for one of John\u2019s titles \u2026<\/p>\n

If there is a better account of what it\u2019s like to read Ashbery\u2019s poems, it\u2019s the poems themselves. \u201cThe best Ashbery poems,\u201d says the narrator of my first novel,<\/p>\n

\n

describe what it\u2019s like to read an Ashbery poem; his poems refer to how their reference evanesces. And when you read about your reading in the time of your reading, mediacy is experienced immediately. It is as though the actual Ashbery poem were concealed from you, written on the other side of a mirrored surface, and you saw only the reflection of your reading. But by reflecting your reading, Ashbery\u2019s poems allow you to attend to your attention, to experience your experience, thereby enabling a strange kind of presence. But it is a presence that keeps the virtual possibilities of poetry intact because the true poem remains beyond you, inscribed on the far side of the mirror. \u201cYou have it but you don\u2019t have it. \/ You miss it, it misses you. \/ You miss each other.\u201d<\/p>\n<\/blockquote>\n

John has many styles and modes, and even as we speak there are no doubt critics chopping the opera up into rose periods and blue. The most recent books\u2014Breezeway<\/a><\/em> appeared last summer\u2014contain poems that are at once intimate and foreign: reading these poems is like opening a time capsule when you\u2019ve forgotten the logic of inclusion but still feel the pull of attachments. I recognize that word or turn of phrase, I associate it with a feeling, I just can\u2019t remember exactly how it fit into my life. Or reading some of the recent poems is like eavesdropping on conversations in an alien world a lot like this one\u2014as if a change in an intergalactic wind enabled us to overhear the telenovelas and advertisements and small talk of a sister civilization from which ours was separated at birth. Michael Clune has noted how often the recent poems include \u201carchaic expressions of our own past\u201d or \u201cthe sayings of imaginary worlds\u201d\u2014clich\u00e9s from cultures we\u2019ve forgotten or never known. And yet we recognize them as clich\u00e9s, as made phrases. The effect is not to make the familiar strange, Clune says, but to make the strange familiar\u2014as if we can sense a universal grammar underpinning the kitsch of all possible worlds. (It brings us closer.)<\/p>\n

Among the many marvels of John Ashbery\u2019s poetry as a whole is the way that his pronouns, particularly the I<\/em> and the you<\/em>, fill and empty and fill again as you read\u2014like some sea creature or the chambers of the human heart. Sometimes you<\/em> means all of you here tonight and sometimes just you, alone with your thoughts. I first caught a glimpse of myself dissolving into the second person of a John Ashbery poem in a Barnes and Noble in Topeka, Kansas, in 1994, and there is no aesthetic experience more responsible for my becoming a writer. I can\u2019t remember the particular mirrored surface I encountered but I remember it was in the volume entitled A Wave<\/a><\/em>. Let\u2019s pretend it was the following poem, called \u201cIntroduction,\u201d which I\u2019ll read now by way of one.<\/p>\n

\n

INTRODUCTION<\/p>\n

To be a writer and write things\u00a0
You must have experiences you can write about.\u00a0
Just living won\u2019t do. I have a theory\u00a0
About masterpieces, how to make them\u00a0
At very little expense, and they\u2019re every\u00a0
Bit as good as the others. You can\u00a0
Use the same materials of the dream, at last.\u00a0<\/p>\n

It\u2019s a kind of game with no losers and only one\u00a0
Winner\u2014you. First, pain gets\u00a0
Flashed back through the story and the story\u00a0
Comes out backwards and woof-side up. This is\u00a0
No one\u2019s story! At least they think that\u00a0
For a time and the story is architecture\u00a0
Now, and then history of a diversified kind.\u00a0
A vacant episode during which the bricks got\u00a0
Repointed and browner. And it ends up\u00a0
Nobody\u2019s, there is nothing for any of us\u00a0
Except that fretful vacillating around the central\u00a0
Question that brings us closer,\u00a0
For better and worse, for all this time.<\/p>\n<\/blockquote>\n

Please join me in welcoming John Ashbery.<\/p>\n

\"\"<\/a>

Ashbery read at Pioneer Works last night. Photo: Pioneer Works<\/p><\/div>\n

Ben Lerner\u2019s most recent book is\u00a0<\/em>10:04.\u00a0He received the 2014 Terry Southern Prize for Humor and is a 2015 MacArthur Fellow.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Last night, Pioneer Works, an artists\u2019 space in Red Hook, Brooklyn, hosted a celebration of John Ashbery, who turned eighty-eight this year. The poets Geoffery G. O\u2019Brien, M\u00f3nica de la Torre, and John Yau read some of their work and their favorite poems by Ashbery. Before Ashbery came to the stage, Ben Lerner made the […]<\/p>\n","protected":false},"author":911,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2157],"tags":[20493,3263,20494,958,3292,20492,18948,5234,18823,20491,7221,165,7279],"class_list":["post-92738","post","type-post","status-publish","format-standard","hentry","category-on-poetry","tag-a-wave","tag-ben-lerner","tag-breezeway","tag-brooklyn","tag-gertrude-stein","tag-introduction","tag-introductions","tag-john-ashbery","tag-michael-clune","tag-pioneer-works","tag-poems","tag-poetry","tag-talks"],"acf":[],"yoast_head":"\nBen Lerner on John Ashbery<\/title>\n<meta name=\"description\" content=\"\u201cReading some of the recent poems is like eavesdropping on conversations in an alien world a lot like this one.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/12\/09\/the-i-and-the-you\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The I and the You by Ben Lerner\" \/>\n<meta property=\"og:description\" content=\"December 9, 2015 \u2013 Last night, Pioneer Works, an artists\u2019 space in Red Hook, Brooklyn, hosted a celebration of John Ashbery, who turned eighty-eight this year. 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