A Wave [1] (Ashbery)

This is intended as the first in what I hope will be a series of posts on Ashbery’s long poem “A Wave” (from his collection of the same name). This is an experiment of sorts. I have read the poem in full in one sitting. This gave me a feel for the movement of the poem, and for some of its local delights, but most of the poem was lost. So now I’m undertaking a very different kind of reading, painstakingly moving through it, stanza by stanza, over a span of days (possibly weeks). I’ll write about it as I go, and see what I find. This post concerns the first three stanzas.

The very first line of the poem raises a problem of self-knowledge: “To pass through pain and not know it”. Ashbery immediately externalizes this pain as “A car door slamming in the night.” It’s something distant, something heard but (I suspect) not seen, identified but not known. I take the following lines from the second stanza to pick up on this issue of self-knowledge:

And our landscape came to be as it is today:
Partially out of focus, some of it too near, the middle distance
A haven of serenity and unreachable…

The landscape here encompasses both self and other. What is near (the self) is “partially out of focus”, difficult to know clearly. The middle distance (others) is seen more clearly, and is enticing, but is “unreachable”. Why? What constitutes the middle distance is relative to one’s own location. What is now the middle distance can be brought closer, but at the cost of moving out of focus.

Why do I read Ashbery’s term “landscape” in this interiorizing way? Ashbery in these stanzas (and throughout his work) blurs the line between reality and representation. In the third stanza, “wet streets / That seem so permanent” suddenly change and become “another idea, a new conception”. Exterior events and interior perceptions thereof are not clearly distinguished. We inhabit a material world, but we move through it by constructing representations, and we can never quite disentangle the two. Ashbery is a poet of this entanglement.

As a result, there is a double movement in these stanzas: first, of time through us and, second, of us through time. The first movement can be seen in these lines:

Yet each day of the week, once it had arrived, seemed the threshold
Of love and desperation again. At night it sang
In the black trees: My mindless, oh my mindless, oh.

It is the days that arrive, that come to us even as we are largely stationary. We need not do anything, make any exertion, for the next day to come. But this does not mean that we are totally passive, as these lines capture (“it” here is the “new conception” mentioned above):

The chroniqueurs who bad-mouthed it, the honest
Citizens whose going down into the day it was,
Are part of it, though none
Stand with you as you mope and thrash your way through time,
Imagining it as it is, a kind of tragic euphoria
In which your spirit is sprouted. And which is justified in you.

Our ideas, our conceptions, are the means by which we go “down into the day” that has arrived. Interestingly, the citizens who go down into the day through the idea are themselves part of it, such that is unclear whether we control our ideas or they control us. Also noteworthy in these rich lines is the isolation they present: “none / Stand (sic) with you”. Even as others enter our conceptions and interact with us materially, there is a gap: they exist only at the middle distance.

Those resplendent final lines of the stanza are Ashbery at his best, and speak for themselves. I only note that they raise a new issue, the problem of the justification of time (and life and existence more generally). Where that shall go in the remainder of the poem is for later posts to discuss.

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3 comments

Parry

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