To the Reader

James Merrill
James Merrill with Mask of Keats and Bust of Hermes. Courtesy Washington University in St. Louis Special Collections.
James Merrill posing with Keats's death mask and a bust of Hermes. James Merrill Papers, Julian Edison Department of Special Collections, Washington University Libraries.

Each day, hot off the press from Moon & Son,
“Knowing of your continued interest,”
Here’s a new book — well, actually the updated
Edition of their one all-time best-seller —
To find last night’s place in, and forge ahead.
If certain scenes and situations (“work,”
As the jacket has it, “of a blazingly
Original voice”) make you look up from your page
— But this is life, is truth, is me! — too many
Smack of self-plagiarism. Terror and tryst,
Vow and verbena, done before, to death,
In earlier chapters, under different names …
And what about those characters? No true
Creator would just let them fade from view
Or be snuffed out, like people. Yet is there room
(In the pinch of pages under your right thumb)
To bring them back so late into their own? —
Granted their own can tell itself from yours.
You’d like to think a structure will emerge,
If only a kind of Joycean squirrel run
Returning us all neatly to page 1,
But the inconsistencies of plot and style
Lead you to fear that, for this author, fiction
Aims at the cheap effect, “stranger than fiction,”
As people once thought life — no, truth, was. Strange …
Anyhow, your final thought tonight,
Before you kiss my picture and turn the light out,
Is of a more exemplary life begun
Tomorrow, truer, harder to get right.

James Merrill (1926–1995) was one of the foremost American poets of the later twentieth century. He published eleven volumes of poems, in addition to the trilogy, The Changing Light at Sandover. He also wrote plays, novels, and a memoir.
Originally published:
November 1, 1990




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