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Invisible Listeners: Lyric Intimacy in Herbert, Whitman, and Ashbery, by Helen Vendler
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When a poet addresses a living person--whether friend or enemy, lover or sister--we recognize the expression of intimacy. But what impels poets to leap across time and space to speak to invisible listeners, seeking an ideal intimacy--George Herbert with God, Walt Whitman with a reader in the future, John Ashbery with the Renaissance painter Francesco Parmigianino? In Invisible Listeners, Helen Vendler argues that such poets must invent the language that will enact, on the page, an intimacy they lack in life.
Through brilliantly insightful and gracefully written readings of these three great poets over three different centuries, Vendler maps out their relationships with their chosen listeners. For his part, Herbert revises the usual "vertical" address to God in favor of a "horizontal" one-addressing God as a friend. Whitman hovers in a sometimes erotic, sometimes quasi-religious language in conceiving the democratic camerado, who will, following Whitman's example, find his true self. And yet the camerado will be replaced, in Whitman's verse, by the ultimate invisible listener, Death. Ashbery, seeking a fellow artist who believes that art always distorts what it represents, finds he must travel to the remote past. In tones both tender and skeptical he addresses Parmigianino, whose extraordinary self-portrait in a convex mirror furnishes the poet with both a theory and a precedent for his own inventions.
By creating the forms and speech of ideal intimacy, these poets set forth the possibility of a more complete and satisfactory human interchange--an ethics of relation that is uncoerced, understanding, and free.
- Sales Rank: #2414430 in Books
- Brand: Brand: Princeton University Press
- Published on: 2005-09-11
- Original language: English
- Number of items: 1
- Dimensions: .56" h x 5.82" w x 8.64" l, .58 pounds
- Binding: Hardcover
- 112 pages
- Used Book in Good Condition
Review
"Helen Vendler['s] . . . Invisible Listeners, a compact study of "lyric intimacy" in three poets, demonstrates, if you have forgotten, some of the best reasons to read literary criticism."--Langdon Hammer, The New York Times Book Review
"[A] compact and lively little book. . . . Vendler's brisk and light touch, her ability to pick at a line for every bit of meaning, makes this an enjoyable and moving book."--Angela Leighton, Times Literary Supplement
"As poetry is not read but re-read, so Vendler's handsome analysis should be, the art of engaged reading."--Leeta Taylor, Foreword Magazine
From the Back Cover
"A new book by Helen Vendler is always cause for excitement, especially to readers of poetry. Invisible Listeners goes to the heart of our experience of lyric. It reinforces one of Vendler's central beliefs: that lyric is not just a decorative art, but an art crucial to our social and ethical lives."--Bonnie Costello, Boston University, author of Shifting Ground: Reinventing Landscape in Modern American Poetry
"Helen Vendler has written an exemplary book of critical reading, an expert commentary whose quietly assumed learning is a model of critical modesty and strength. She has always been able to convey the subtle effects of poetic art, and here, once again, her luminous interpretations catch fire in a voicing of great lyric verse."--Angus Fletcher, City University of New York, author of A New Theory for American Poetry
"With her hallmark expertise, Helen Vendler analyzes various strategies observable in each poet at issue and (as usual) shows herself to be absolutely at home in admiring the procedures of very different poets. This is a highly professional exercise, dedicated--as Vendler is always dedicated--to enhancing the aesthetic rewards of engaged reading."--William H. Pritchard, Amherst College, author of Shelf Life: Literary Essays and Reviews
About the Author
Helen Vendler is A. Kingsley Porter University Professor of English at Harvard University. Her most recent books include "Poets Thinking: Pope, Whitman, Dickinson, Yeats; Coming of Age As a Poet: Milton, Keats, Eliot, Plath"; and "Seamus Heaney". Her reviews of contemporary poetry and criticism have appeared in the "New York Review of Books", the "New Yorker", the "New Republic", and other publications.
Most helpful customer reviews
13 of 15 people found the following review helpful.
What the Poets May be Seeking
By Grady Harp
I happened across this engrossing book by the Harvard professor, contemporary poetry critic Helen Hennessy Vendler, while researching the works of Walt Whitman, thinking t use it only as a revered reference, but then getting caught up in the writer's theses. This informative book it based on lectures delivered at Princeton and addressed the poets George Herbert, a 17th century poet of Godliness, the 19th century outspoken humanist Walt Whitman, and the contemporary esthete John Ashbery. Three quite different voices but each of whom Vendler sees as having a common thread: the need to find a profoundly personal intimacy with an invisible and 'imaginary' audience.
Herbert's poetry, she contends, is directed towards conversations with God, postulating verbal encounters between God and rebellious souls, and all the while yearning for his own ability to communicate with his fellowman on as intimate a level. And where Herbert was God-directed in his quest for intimacy, Whitman was man-directed, in the homoerotic sense, seeking intimacy in his poems about soldiers, patients of the Civil War hospitals, or the handsome vagabonds he encounters in his 'Song of Myself'. She compares Herbert's religious concerns with Whitman's democratic obsessions while showing with each the desperate need to communicate with that 'invisible audience'.
Vendler's thoughts on the poet John Ashbery are not as well gelled, and distance from his work in time may be the reason. Ashbery is indeed obtuse at times and it takes multiple readings to come to his level of thought. But in including Ashbery with Whitman and Herbert, Vendler acts as a champion for the degree of communication Ashbery establishes with his own invisible audience - the minds of the past - and narrow though that may be, it is a platform for placing ethics on the lyrical table.
It helps to have familiarity with the works of the discussed poets to fully appreciate Vendler's scholarship. An easy read this is not, but a worthy thesis is assuredly is. Grady Harp, November 05
6 of 10 people found the following review helpful.
The 'ideal and invisible' listener-revealed
By Shalom Freedman
I read the first chapter of this work in which Vendler outlines its main idea. She is writing about three poets, Herbert, Whitman and Ashberry each of whom has an ideal invisible listener. For Herbert it is the vertical listener 'God',for Whitman the ideal friend and companion of the future, for Ashberry the ideal listener of the past the Italian painter Parmagiano whose distorted view of reality suits Ashberry's own aesthetic.
The element of addressing 'another' of turning ('apo- strophe') to another is for Vendler an essential element of the lyric.
In this work she aims to show how the addressing is shaped by the language and style of the work to create for the poet their own method of dialogue- discourse. She speaks of how another lonely God and friend- seeker Hopkins does this , and in a sense converts the poem itself into 'listener' and ' other.
Vendler has an enormous reputation-as the Dean of contemporary critics of poetry, in great part through her readings of the work of Wallace Stevens. I must admit to not always following her complex wanderings. But often as in her elaboration of the major theme of this work, I find her writing instructive, and inspiring.
Lovers of poetry , and its explication will delight in this short work.
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