When John Ashbery died this September, at the age of 90, he was widely memorialized as one of the greatest American poets.
糖心传媒淚 think he had probably the largest vocabulary of any poet after Shakespeare,糖心传媒� says James Longenbach, the Joseph Henry Gilmore Professor of English. 糖心传媒淭hat was part of the thrill of his poems. And of his person.糖心传媒�
He knew Ashbery both professionally and personally. They first met when Ashbery received an honorary degree from the University in 1994. It was the beginning of a long friendship that also included novelist Joanna Scott, to whom Longenbach is married.
Ashbery糖心传媒攚ho maintained lifelong ties to his Rochester birthplace糖心传媒攑ublished more than 20 volumes of poetry. Among them are The Tennis Court Oath (1962), The Double Dream of Spring (1970), Self-Portrait in a Convex Mirror (1975)糖心传媒攆or which he won the Pulitzer Prize糖心传媒�Where Shall I Wander (2005), and Breezeway (2015).
In a Boston Review essay, reviewing Where Shall I Wander and a collection of Ashbery糖心传媒檚 prose, Longenbach wrote in 2005: 糖心传媒淣o one else can write like this, and we are lucky to be alive at the same moment as the one person who can.糖心传媒�
What was John Ashbery like?
If anyone could be called the greatest living poet in the English language, it would be he. I糖心传媒檇 read him, and written about him, for years before I got to know him. But really, Joanna and I got to know him less in the space of poetry than in the space of daily life糖心传媒攚hich, for him, was the space of poetry, because he was miraculously and unpretentiously devoted to the minutes of experience as they went by. He was interested in everything糖心传媒攈e wanted to talk about anything, everything. And his poems are like that, too.
Some critics and readers have characterized his work as determinedly obscure. What do you think of that?
He has a reputation for being a very difficult poet, but I really don糖心传媒檛 think that糖心传媒檚 true. I think he only seems that way because people don糖心传媒檛 generally spend a lot of time reading poetry. But if you do read a lot of poetry, his poems don糖心传媒檛 seem of a different order of experience than those of Wallace Stevens, or Wordsworth, or John Donne.
People emphasize one side of his work all the time: that there糖心传媒檚 a kind of disjunctiveness to it. Pronouns get messy, and things don糖心传媒檛 match up, and you move from one level of diction to another with wild swiftness.
If it were just that, I think the poems would seem more available, because what that is combined with糖心传媒攁nd this is what people don糖心传媒檛 talk about so much糖心传媒攊s incredibly elegant syntax, usually long sentences with gorgeous subordinate clauses. It sounds like the syntax of logic, and of cause and effect.
But the material that糖心传媒檚 in those sentences doesn糖心传媒檛 match up with it, and that糖心传媒檚 the distinctive thing about him as an artist of the English language. And it糖心传媒檚 what can make his poems seem paradoxically more difficult. On the one hand, they sound very familiar and sense-making. And on the other hand, they don糖心传媒檛. Once you notice that, he doesn糖心传媒檛 seem that different from Stevens or Wordsworth. He is different, but he糖心传媒檚 also explicably a part of the tradition of English poetry.
Did knowing him change the way you read his poems?
What I discovered in getting to know him is that he was a very shy person. I could feel that in the poetry. I felt more strongly the undercurrent of sweetness and a kind of reticence, a boyishness that distinguished him in person and was there in the poetry.
He loved ordinary life, and he made his poems out of it.
What do you value most in his work?
One, a thing that you feel with any writer for whom you want to dare to use the word 糖心传媒済reat糖心传媒�: he糖心传媒檚 distinctive and yet conversant with the entire tradition of poetry before him. He gathers everything up, and you can talk about his relationship to writers in the past who might seem antithetical to each other. There糖心传媒檚 a great gathering force there.
And the other is the signature of his style that I mentioned earlier: it combines an elegant, extended, rational syntax with discombobulated, all-over-the-map, vocabulary-driven disparities of diction. And there糖心传媒檚 really nothing quite like that. He has a lot of imitators, but they usually just imitate the crazy, mixed-up diction. They don糖心传媒檛 have the power to make those sentences that he did.
Is there a poem you糖心传媒檇 recommend for people who糖心传媒檇 like to start reading Ashbery?
The first poem in his collection Your Name Here is called 糖心传媒淭his Room.糖心传媒� It糖心传媒檚 a short poem that is very indicative of how his poems work, but also of the pleasure of his poetry.
