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A Deleuzian Reading of John Ashbery

Just as Ashbery avoids any fixed idea, system, or tradition as the basis of his poetics, implying that his work exists independently of any fundamental or guiding principles, so Delueze argues for the immanence of life, rather than seeing himself as a subject in a transcendent world created by an interventionist God. From this perspective, Ashbery agrees with Deleuze that without divine or other sources for his texts, his poetry is not representational. Instead, his decentered and polyphonous idea of self as a constantly changing assemblage of forces is mirrored in his poetry, which gives the appearance of having been assembled in a random, inconsistent way, corresponding to Deleuze's view of a pluralistic world. Ashbery’s method of collage in his poetry may be compared to Deleuze's rhizomatics, which describes the random, proliferating and decentered connections of things. The poet creates similar differential meanings through ‘repetition’ in ‘the double sestina’ in Flow Chart, following Deleuze’s theoretical lead and subverting the traditional order of hierarchy and coded systems. Deleuze also suggests the concept of ‘intensity’ in a text, offering thereby a new practical method of analysis through analyzing how a character is formed of a collection of intensities such as styles, gestures, tastes and quirks. The analysis of intensities in ‘the double sestina' reveals an inconsistent, decentered, unintentional subject.