In “The Lights,” the writer flickers between prose and verse, life and fiction, and the earthly and the alien, hoping to bring each closer to the other.
The trick feels borrowed from autofiction, the genre in which Lerner’s novels are often categorized: “The Lights” thematizes its own making, generates itself by describing the thing it will have become. “Do you remember me / from the world?” the poem goes on to ask, before concluding:so that distance could enter the voiceIntimacy, in this view, requires not only some initial state of contact but also a subsequent separation.
His answers can be uncannily beautiful. In a prose poem called “The Rose,” he runs into a former student who tells him, “All I remember from your course . . . is that the rose is obsolete.” She is quoting another modern poet, William Carlos Williams, for whom, a century ago, the conventional emblem of love poetry had itself become a diminished thing, an image in need of renewal.
Rose’s initial complaint—that her paintings were, over time, being changed—was of course wrong in its attribution but at some level right. Everything is getting older, changing. But by acceding to the frame of her belief the poet’s father makes it into a true story about the care she’s receiving: “Rose thought for a moment. You’re right, she said, they are doing an excellent job. And she never complained about the staff again.
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