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By Root 357 0

in one of the only people I described as a “major poet” without irony, John Ashbery. I fished his Selected Poems from my bag, careful not to disturb Isabel, and opened it at random and read a little. Here also one could experience the texture of time as it passed, a shadow train, life’s white machine. Ashbery’s flowing sentences always felt as if they were making sense, but when you looked up from the page, it was impossible to say what sense had been made; while they used the language of logical connection—“but,” “therefore,” “so”—and the language that implied narrative development—“then,” “next,” “later”—such terms were merely propulsive; there was no actual organizing logic or progression. Reading an Ashbery sentence, an elaborate sentence stretched over many lines, one felt the arc and feel of thinking in the absence of thoughts. His pronouns—“it,” “you,” “we,” “I”—created a sense of intimacy, as though you were being addressed or doing the addressing or were familiar with the context the poem assumed, but you could never be sure of their antecedents, person or thing. The “it” in an Ashbery poem seemed ultimately to refer to the mysteries of the poem itself; in the absence of any stable external referent, the poem’s procedures invested its pronouns, and the “you” devolved upon the reader. I read:

As long as it is there

You will desire it as its tag of wall sinks

Deeper as though hollowed by sunlight that

Just fits over it; it is both mirage and the little

That was present, the miserable totality

Mustered at any given moment, like your eyes

And all they speak of, such as your hands, in lost

Accents beyond any dream of ever wanting them again.

To have this to be constantly coming back from—

Nothing more, really, than surprise at your absence

And preparing to continue the dialogue into

Those mysterious and near regions that are

Precisely the time of its being furthered.

The best Ashbery poems, I thought, although not in these words, describe what it’s 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’s 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: “You have it but you don’t have it. / You miss it, it misses you. / You miss each other.”

Isabel shifted and I put the book away and leaned my head against the mass of her hair and fell asleep. We were both awakened when the train stopped, still a few hours from Granada. We stepped off the train and smoked in the dark, although you could smoke on the train; the night air was cool, laced with jasmine, if they have that in Spain. Isabel described a dream I couldn’t understand. The train made a noise that indicated it was preparing to leave and we went back to our seats, fell asleep again, then were both gently roused by a conductor, who said we were approaching Granada, last stop. It was a slightly lighter dark now that dawn was an hour away and when the train pulled into the station and eventually halted we disembarked and wandered out of the station in a state of not unpleasant fatigue.

We found a cab and drove to a hotel Isabel knew in the Albaicín, a neighborhood of impossibly narrow, winding streets on a hill facing the Alhambra. The hotel was surprisingly nice given the rates; Moorish medieval architecture, intricate woodwork, and a courtyard with a green mosaic. We were led to a simple room with exposed beams, a room for that reason reminiscent of my apartment, and we slept through the morning. When I woke I was for a moment unsure of my surroundings, then remembered the spontaneous trip,