The Spring 2009 issue of The Paris Review includes a series of collages by famed poet John Ashbery. Evidently, he became fascinated by the collage concept during his years as a student at Harvard in the 1940s, and returned to the form in 2008. The magazine prints a dozen recent examples of these, 11 inside, and one on the issue’s cover.

Dan Chiasson, who wrote a brief introductory blurb to explain what we’re about to see, delves into the symbolism of these collages. He says:

“The background elements often depict possible pasts: people on go-carts, a scene in Rotterdam of men in bowlers, and the teetering, top-heavy trucks of the twenties. The foreground elements seem to express elation or relief at having escaped those pasts to make the art he has made and keeps making.”

Symbolism is all well and good, but if you look at the color component of the collage above, you’ll note that Ashbery didn’t just use any foreground element. That man with his hands over his ears was taken from one of the most famous pieces of comic-book art ever published.

Do you recognize him? I may be the only regular reader of The Paris Review who could identify him immediately, but I’m sure that in this venue, I’m not the only one.

You’d think the source would be worth mentioning in any interpretation of the meaning of this collage. I chalk this up to another case of those concerned with supposed “high culture” failing to be aware of supposed “low culture.” Because the origin of that image matters, whether or not The Paris Review or Ashbery scholars acknowledge it.

I could say more about why that particular man is so important, but I don’t want to spoil it for those of you for whom that image doesn’t cause an immediate “I know that face!”

So—a show of hands please. Who out there can recognize that famous face? Many of you, I hope, or else I’ll be severely disappointed.

A simple yes or no will do to start, so you don’t spoil it too quickly for the puzzled.