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e, both look forward to a time when their contemporary expressions will share a presence with their audience so completely that the poets’ speech will become the audience’s internal monologue. Merleau-Ponty, whom Schwartz had met brie? , o? rs a strikingly similar account of the way that the right word gives the body “a maximal grip” on its present. 9 Merleau-Ponty o? rs the example of someone walking into a dimly lit room, touching an unknown object, and, upon speaking its name (“a comb”), becoming instantly able to make much-increased sense of his or her surroundings. Second-generation Jewish readers especially heard “a voice that seemed our own, though it had never really existed until Schwartz invented it” (Howe, ix). Schwartz’s second wife, Elizabeth Pollet, on the other hand, comments that she was struck, in the journal entries that she collected for her Portrait of Delmore, “with what is not present” to the act of remembrance. She tries to share her intuition of the Delmore Schwartz that she knew, situated in a past somewhere yet further beyond what he wrote, and can only draw from this feeling of incompleteness a sense of “the impossibilities, ? ally, of language to render life. 42 These two antithetical notions of time, “shattered” and “accretive,” combine to in? ct the history of Schwartz’s reception. As testimony to the strange times (and time frames) that Schwartz embodied, he is read as both a poet who gave voice to his generation and as an excessively ambitious poet, trying to force together a series of disconnected cultural and personal memories. What led him to construct this kind of place for himself was his own structurally parallel experience of time. Toward documenting multiple pasts and unveiling a new epic sensibility, Schwartz was guided by two impulses, as we shall now see: the split consciousness of time that was embedded in the history suggested by his own name, and his experience of life in the contemporary metropolis.

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