Classic and Contemporary Poetry: Explained

Robert Creeley's "The Menu" appears to be a brief and enigmatic commentary on taste, both in terms of personal preferences and broader philosophical truths. The poem moves fluidly between a casual, almost conversational tone and deeper reflections on desire, truth, and judgment. Through its fragmented structure, the poem explores the relationship between the mundane and the profound, suggesting that even in the seemingly trivial moments of everyday life—like deciding on food or commenting on someone’s character—larger truths are at play.

The poem opens with a casual declaration: "John and I have decided we do not like Al Haig ..." This line introduces the theme of judgment and preference. The speaker and John have made a decision, seemingly a trivial one, about their dislike for Al Haig, who was a prominent American political and military figure. This statement sets a conversational, almost gossipy tone, as if the reader has been invited into a casual conversation. The use of "we" suggests a shared, collective judgment, emphasizing how personal opinions often form in social contexts, influenced by the company we keep.

The parenthetical, "(Julia Wasp) with applesauce and pork," abruptly shifts the focus from the political figure to a more domestic, perhaps even culinary, scene. The juxtaposition of a political opinion with the imagery of food is jarring, but it creates a subtle link between consumption—both literal (applesauce and pork) and figurative (the consumption of opinions and judgments). The name "Julia Wasp" could be interpreted as a metaphorical or playful character, possibly a person or symbol associated with a certain class or style, as "Wasp" could hint at "WASP," an acronym often referring to White Anglo-Saxon Protestants. The pairing of "Julia Wasp" with "applesauce and pork" suggests a traditional, perhaps stereotypical, meal, adding a layer of commentary on taste, class, and cultural identity. The combination of applesauce and pork is a classic one, further reinforcing the idea of conventional, established preferences.

The next lines, "where there is smoke / there is desire where what is true / is always true," introduce a philosophical dimension to the poem. The phrase "where there is smoke / there is desire" plays on the well-known saying "where there is smoke, there is fire," but replaces "fire" with "desire." This shift in focus from fire to desire suggests that beneath the surface of any situation, there is an undercurrent of want, longing, or motivation driving actions. Smoke becomes a metaphor for the visible signs of deeper, unseen forces, much like how judgments and preferences (such as liking or disliking someone) are often rooted in underlying desires or biases.

The line "where what is true / is always true" reinforces the idea of an unchanging, universal truth, contrasting with the earlier, subjective statement about not liking Al Haig. While personal preferences can shift or be influenced by context, the speaker seems to acknowledge that some things—truth, perhaps morality—are constant. This line adds a layer of irony to the earlier declarations, subtly questioning whether personal judgments are as important or enduring as the deeper truths that govern the world.

The final line, "I wouldn't like him either," brings the poem full circle, returning to the conversational tone with which it began. This statement feels like an echo of the initial declaration about disliking Al Haig, but it also suggests that the speaker has formed their own opinion, independently of John. The casual, almost offhanded nature of this remark underscores the ease with which people form judgments, while the repetition of the sentiment hints at the way opinions often reinforce each other in social contexts.

Structurally, the poem reflects Creeley's signature use of short, fragmented lines and enjambment, creating a sense of fluidity and movement between thoughts. The shifts in tone—from conversational to philosophical to ironic—mirror the complexity of human thought, where trivial decisions often intersect with deeper reflections on truth and desire. The lack of punctuation further reinforces this fluidity, allowing the ideas to flow seamlessly into one another, much like a stream of consciousness.

Thematically, "The Menu" explores the relationship between personal taste, desire, and universal truth. The poem suggests that while individuals may make judgments based on personal preferences, these are often influenced by underlying desires or biases, which can be as fleeting or subjective as the food one chooses to eat. At the same time, the poem hints at the existence of deeper, more enduring truths that remain constant, regardless of personal opinion. The interplay between the mundane (food, social opinions) and the profound (desire, truth) invites the reader to reflect on how easily we slip between the two in our daily lives.

In conclusion, Robert Creeley's "The Menu" is a layered and enigmatic poem that blends casual conversation with deeper philosophical musings. Through its fragmented structure and shifting tones, the poem explores the nature of judgment, desire, and truth, suggesting that even the smallest decisions and preferences are shaped by larger, unseen forces. The poem invites readers to consider the complexity of their own judgments and the extent to which they are influenced by desire, while also acknowledging the presence of enduring truths that remain constant, despite the ever-changing nature of personal taste.

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