Rivers and Mountains
Poems
John Ashbery
Contents
Publisher’s Note
These Lacustrine Cities
Rivers and Mountains,
Last Month
Civilization and Its Discontents
If the Birds Knew
Into the Dusk-Charged Air
The Ecclesiast
The Recent Past
The Thousand Islands
A Blessing in Disguise
Clepsydra
The Skaters
About the Author
Publisher’s Note
Long before they were ever written down, poems were organized in lines. Since the invention of the printing press, readers have become increasingly conscious of looking at poems, rather than hearing them, but the function of the poetic line remains primarily sonic. Whether a poem is written in meter or in free verse, the lines introduce some kind of pattern into the ongoing syntax of the poem’s sentences; the lines make us experience those sentences differently. Reading a prose poem, we feel the strategic absence of line.
But precisely because we’ve become so used to looking at poems, the function of line can be hard to describe. As James Longenbach writes in The Art of the Poetic Line, “Line has no identity except in relation to other elements in the poem, especially the syntax of the poem’s sentences. It is not an abstract concept, and its qualities cannot be described generally or schematically. It cannot be associated reliably with the way we speak or breathe. Nor can its function be understood merely from its visual appearance on the page.” Printed books altered our relationship to poetry by allowing us to see the lines more readily. What new challenges do electronic reading devices pose?
In a printed book, the width of the page and the size of the type are fixed. Usually, because the page is wide enough and the type small enough, a line of poetry fits comfortably on the page: What you see is what you’re supposed to hear as a unit of sound. Sometimes, however, a long line may exceed the width of the page; the line continues, indented just below the beginning of the line. Readers of printed books have become accustomed to this convention, even if it may on some occasions seem ambiguous—particularly when some of the lines of a poem are already indented from the left-hand margin of the page.
But unlike a printed book, which is stable, an ebook is a shape-shifter. Electronic type may be reflowed across a galaxy of applications and interfaces, across a variety of screens, from phone to tablet to computer. And because the reader of an ebook is empowered to change the size of the type, a poem’s original lineation may seem to be altered in many different ways. As the size of the type increases, the likelihood of any given line running over increases.
Our typesetting standard for poetry is designed to register that when a line of poetry exceeds the width of the screen, the resulting run-over line should be indented, as it might be in a printed book. Take a look at John Ashbery’s “Disclaimer” as it appears in two different type sizes.
Each of these versions of the poem has the same number of lines: the number that Ashbery intended. But if you look at the second, third, and fifth lines of the second stanza in the right-hand version of “Disclaimer,” you’ll see the automatic indent; in the fifth line, for instance, the word ahead drops down and is indented. The automatic indent not only makes poems easier to read electronically; it also helps to retain the rhythmic shape of the line—the unit of sound—as the poet intended it. And to preserve the integrity of the line, words are never broken or hyphenated when the line must run over. Reading “Disclaimer” on the screen, you can be sure that the phrase “you pause before the little bridge, sigh, and turn ahead” is a complete line, while the phrase “you pause before the little bridge, sigh, and turn” is not.
Open Road has adopted an electronic typesetting standard for poetry that ensures the clearest possible marking of both line breaks and stanza breaks, while at the same time handling the built-in function for resizing and reflowing text that all ereading devices possess. The first step is the appropriate semantic markup of the text, in which the formal elements distinguishing a poem, including lines, stanzas, and degrees of indentation, are tagged. Next, a style sheet that reads these tags must be designed, so that the formal elements of the poems are always displayed consistently. For instance, the style sheet reads the tags marking lines that the author himself has indented; should that indented line exceed the character capacity of a screen, the run-over part of the line will be indented further, and all such runovers will look the same. This combination of appropriate coding choices and style sheets makes it easy to display poems with complex indentations, no matter if the lines are metered or free, end-stopped or enjambed.
Ultimately, there may be no way to account for every single variation in the way in which the lines of a poem are disposed visually on an electronic reading device, just as rare variations may challenge the conventions of the printed page, but with rigorous quality assessment and scrupulous proofreading, nearly every poem can be set electronically in accordance with its author’s intention. And in some regards, electronic typesetting increases our capacity to transcribe a poem accurately: In a printed book, there may be no way to distinguish a stanza break from a page break, but with an ereader, one has only to resize the text in question to discover if a break at the bottom of a page is intentional or accidental.
Our goal in bringing out poetry in fully reflowable digital editions is to honor the sanctity of line and stanza as meticulously as possible—to allow readers to feel assured that the way the lines appear on the screen is an accurate embodiment of the way the author wants the lines to sound. Ever since poems began to be written down, the manner in which they ought to be written down has seemed equivocal; ambiguities have always resulted. By taking advantage of the technologies available in our time, our goal is to deliver the most satisfying reading experience possible.
These Lacustrine Cities
These lacustrine cities grew out of loathing
Into something forgetful, although angry with history.
They are the product of an idea: that man is horrible, for instance,
Though this is only one example.
They emerged until a tower
Controlled the sky, and with artifice dipped back
Into the past for swans and tapering branches,
Burning, until all that hate was transformed into useless love.
Then you are left with an idea of yourself
And the feeling of ascending emptiness of the afternoon
Which must be charged to the embarrassment of others
Who fly by you like beacons.
The night is a sentinel.
Much of your time has been occupied by creative games
Until now, but we have all-inclusive plans for you.
We had thought, for instance, of sending you to the middle of the desert,
To a violent sea, or of having the closeness of the others be air
To you, pressing you back into a startled dream
As sea-breezes greet a child’s face.
But the past is already here, and you are nursing some private project.
The worst is not over, yet I know
You will be happy here. Because of the logic
Of your situation, which is something no climate can outsmart.
Tender and insouciant by turns, you see
You have built a mountain of something,
Thoughtfully pouring all your energy into this single monument,
Whose wind is desire starching a petal,
Whose disappointment broke into a rainbow of tears.
Rivers and Mountains
On the secret map the assassins
Cloistered, the Moon River was marked
Near the eighteen peaks and the city
Of humiliation and defeat—wan ending
Of the trail among dry, papery leaves,
Gray-brown quills like thoughts
In the melodious but vast mass of today’s
Writing through fields and swamps
Marked, on the map, with little bunches of weeds.
Certainly squirrels lived in the woods
But devastation and dull sleep still
Hung over the land, quelled
The rioters turned out of sleep in the peace of prisons
Singing on marble factory walls
Deaf consolation of minor tunes that pack
The air with heavy invisible rods
Pent in some sand valley from
Which only quiet walking ever instructs.
The bird flew over and
Sat—there was nothing else to do.
Do not mistake its silence for pride or strength
Or the waterfall for a harbor
Full of light boats that is there
Performing for thousands of people
In clothes some with places to go
Or games. Sometimes over the pillar
Of square stones its impact
Makes a light print.
So going around cities
To get to other places you found
It all on paper but the land
Was made of paper processed
To look like ferns, mud or other
Whose sea unrolled its magic
Distances and then rolled them up
Its secret was only a pocket
After all but some corners are darker
Than these moonless nights spent as on a raft
In the seclusion of a melody heard
As though through trees
And you can never ignite their touch
Long but there were homes
Flung far out near the asperities
Of a sharp, rocky pinnacle
And other collective places
Shadows of vineyards whose wine
Tasted of the forest floor
Fisheries and oyster beds
Tides under the pole
Seminaries of instruction, public
Places for electric light
And the major tax assessment area
Wrinkled on the plan
Of election to public office
Sixty-two years old bath and breakfast
The formal traffic, shadows
To make it not worth joining
After the ox had pulled away the cart.
Your plan was to separate the enemy into two groups
With the razor-edged mountains between.
It worked well on paper
But their camp had grown
To be the mountains and the map
Carefully peeled away and not torn
Was the light, a tender but tough bark
On everything. Fortunately the war was solved
In another way by isolating the two sections
Of the enemy’s navy so that the mainland
Warded away the big floating ships.
Light bounced off the ends
Of the small gray waves to tell
Them in the observatory
About the great drama that was being won
To turn off the machinery
And quietly move among the rustic landscape
Scooping snow off the mountains rinsing
The coarser ones that love had
Slowly risen in the night to overflow
Determined to place the letter
On the unassassinated president’s desk
So that a stamp could reproduce all this
In detail, down to the last autumn leaf
And the affliction of June ride
Slowly out into the sun-blackened landscape.
Last Month
No changes of support—only
Patches of gray, here where sunlight fell.
The house seems heavier
Now that they have gone away.
In fact it emptied in record time.
When the flat table used to result
A match recedes, slowly, into the night.
The academy of the future is
Opening its doors and willing
The fruitless sunlight streams into domes,
The chairs piled high with books and papers.
The sedate one is this month’s skittish one
Confirming the property that,
A timeless value, has changed hands.
And you could have a new automobile
Ping pong set and garage, but the thief
Stole everything like a miracle.
In his book there was a picture of treason only
And in the garden, cries and colors.
Civilization and Its Discontents
A people chained to aurora
I alone disarming you
Millions of facts of distributed light
Helping myself with some big boxes
Up the steps, then turning to no neighborhood;
The child’s psalm, slightly sung
In the hall rushing into the small room.
Such fire! leading away from destruction.
Somewhere in outer ether I glimpsed you
Coming at me, the solo barrier did it this time,
Guessing us staying, true to be at the blue mark
Of the threshold. Tired of planning it again and again,
The cool boy distant, and the soaked-up
Afterthought, like so much rain, or roof.
The miracle took you in beside him.
Leaves rushed the window, there was clear water and the sound of a lock.
Now I never see you much any more.
The summers are much colder than they used to be
In that other time, when you and I were young.
I miss the human truth of your smile,
The halfhearted gaze of your palms,
And all things together, but there is no comic reign
Only the facts you put to me. You must not, then,
Be very surprised if I am alone: it is all for you,
The night, and the stars, and the way we used to be.
There is no longer any use in harping on
The incredible principle of daylong silence, the dark sunlight
As only the grass is beginning to know it,
The wreath of the north pole,
Festoons for the late return, the shy pensioners
Agasp on the lamplit air. What is agreeable
Is to hold your hand. The gravel
Underfoot. The time is for coming close. Useless
Verbs shooting the other words far away.
I had already swallowed the poison
And could only gaze into the distance at my life
Like a saint’s with each day distinct.
No heaviness in the upland pastures. Nothing
In the forest. Only life under the huge trees
Like a coat that has grown too big, moving far away,
Cutting swamps for men like lapdogs, holding its own,
Performing once again, for you and for me.
If the Birds Knew
It is better this year.
And the clothes they wear
In the gray unweeded sky of our earth
There is no possibility of change
Because all of the true fragments are here.
So I was glad of the fog’s
Taking me to you
Undetermined summer thing eaten
Of grief and passage—where you stay.
The wheel is ready to turn again.
When you have gone it will light up,
The shadow of the spokes to drown
Your departure where the summer knells
Speak to grown dawn.
&
nbsp; There is after all a kind of promise
To the affair of the waiting weather.
We have learned not to be tired
Among the lanterns of this year of sleep
But someone pays—no transparency
Has ever hardened us before
To long piers of silence, and hedges
Of understanding, difficult passing
From one lesson to the next and the coldness
Of the consistency of our lives’
Devotion to immaculate danger.
A leaf would have settled the disturbance
Of the atmosphere, but at that high
Valley’s point disbanded
Clouds that rocks smote newly
The person or persons involved
Parading slowly through the sunlit fields
Not only as though the danger did not exist
But as though the birds were in on the secret.
Into the Dusk-Charged Air
Far from the Rappahannock, the silent
Danube moves along toward the sea.
The brown and green Nile rolls slowly
Like the Niagara’s welling descent.
Tractors stood on the green banks of the Loire
Near where it joined the Cher.
The St. Lawrence prods among black stones
And mud. But the Arno is all stones.
Wind ruffles the Hudson’s
Surface. The Irawaddy is overflowing.
But the yellowish, gray Tiber
Is contained within steep banks. The Isar
Flows too fast to swim in, the Jordan’s water
Courses over the flat land. The Allegheny and its boats
Were dark blue. The Moskowa is
Gray boats. The Amstel flows slowly.
Leaves fall into the Connecticut as it passes
Underneath. The Liffey is full of sewage,
Like the Seine, but unlike
The brownish-yellow Dordogne.
Mountains hem in the Colorado
And the Oder is very deep, almost
As deep as the Congo is wide.
The plain banks of the Neva are
Gray. The dark Saône flows silently.
And the Volga is long and wide
As it flows across the brownish land. The Ebro
Is blue, and slow. The Shannon flows
Swiftly between its banks. The Mississippi