Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "It Is at Times" presents a fragmented meditation on memory, language, and the elusive nature of experience. Creeley, known for his minimalist style and focus on the subtleties of human emotion and perception, crafts a poem that explores the tension between what is remembered and what is lost. The poem’s blend of English with the introductory German phrase suggests a layered reflection on cultural and personal identity.

The poem begins with the German phrase "als kleine begrüßung auf unserem alten kontinent," which translates to "as a small greeting on our old continent." This line hints at a sense of history and continuity, evoking the idea of Europe as an "old continent" with its deep cultural and historical roots. The use of German adds a sense of distance and foreignness, perhaps indicating an attempt to bridge cultural divides or acknowledge a shared heritage. By referring to the poem as a "small greeting," Creeley seems to offer it as an intimate gesture, a brief acknowledgment of connection or recognition.

Immediately following this greeting, the speaker shifts to English, writing, "Of them, undefined repetitions, the inactual / Lost, or spared / by the inaccurate, there miscounted." These lines are intentionally ambiguous, playing with the notions of repetition and inaccuracy. The phrase "undefined repetitions" suggests a lack of clarity or specificity, as if the things being repeated have lost their original meaning or significance. This sense of ambiguity is further reinforced by the use of "inactual," a word that evokes a lack of reality or concreteness. The speaker seems to be grappling with the ephemeral nature of experience, where events or memories become blurred and indistinct over time.

The words "Lost, or spared / by the inaccurate" introduce a tension between loss and preservation. To be "lost" implies a complete absence or erasure, while to be "spared" suggests survival or endurance. However, the qualifier "by the inaccurate" complicates this binary, indicating that what is preserved or lost may not be entirely reliable or true. The poem hints at the idea that inaccuracies in memory or perception can both save and distort our understanding of the past. This theme of uncertainty is central to Creeley’s exploration of memory and identity, reflecting his broader interest in how language shapes and limits our understanding of reality.

The next line, "As of those lists / (the names) / repeated, the names lost," continues the theme of repetition and loss. Lists of names imply an attempt to organize or categorize, perhaps to remember or honor those who have been forgotten. The repetition of names serves as a reminder of the fragility of memory and the inevitability of loss. The speaker’s use of parentheses around "the names" emphasizes the separateness or containment of these names, as if they exist in their own isolated space. The repetition of "the names lost" reinforces the idea of erasure or disappearance, suggesting that even those who are named and recorded can eventually fade from memory.

The poem’s final lines, "As of an evening, talking lost in reflections, the golden bowl," evoke a scene of introspective conversation and contemplation. The phrase "lost in reflections" suggests a state of being absorbed in thought or memory, as if the speaker is caught between the present moment and the echoes of the past. The image of "the golden bowl" is particularly resonant, evoking connotations of fragility, beauty, and completeness. This image may be an allusion to Henry James’s novel "The Golden Bowl", which explores themes of deception, betrayal, and the complexity of human relationships. By invoking this symbol, Creeley hints at the precariousness of human connection and the difficulty of reconciling conflicting truths or experiences.

Structurally, "It Is at Times" embodies Creeley’s characteristic use of fragmentation and open-endedness. The poem’s lack of a clear narrative or logical progression forces the reader to engage with each line as a separate unit, piecing together meaning from the gaps and spaces between words. This fragmented form mirrors the themes of disintegration and uncertainty, reflecting the speaker’s attempt to make sense of an ambiguous and shifting reality.

The poem’s free verse structure, with its irregular line breaks and enjambment, creates a sense of fluidity and motion. This lack of a fixed form reinforces the idea of instability and impermanence, echoing the speaker’s reflections on memory and loss. The absence of punctuation adds to this sense of fluidity, allowing the lines to flow into one another without clear boundaries or divisions.

In terms of language, Creeley’s use of abstract and suggestive words like "inactual," "miscounted," and "reflections" invites multiple interpretations. The repetition of words and phrases throughout the poem emphasizes the theme of circularity and recurrence, as if the speaker is caught in a loop of thought or memory. This repetition also creates a musical quality, with echoes and variations that resonate with the reader long after the poem has ended.

Overall, "It Is at Times" is a meditation on the limits of memory and language, exploring how the past is both preserved and distorted through repetition and inaccuracy. Creeley’s use of fragmented form and ambiguous language reflects the complexity of human experience, capturing the tension between what is remembered and what is lost. The poem’s juxtaposition of English and German, as well as its allusions to cultural and literary history, adds an additional layer of complexity, suggesting that identity and memory are shaped by both personal and collective histories.

By leaving key elements of the poem open to interpretation, Creeley invites the reader to engage actively with the text, filling in the gaps with their own experiences and associations. In doing so, "It Is at Times" becomes a reflection not only on the speaker’s sense of loss and uncertainty but also on the reader’s own attempts to make meaning out of the shifting, elusive nature of experience.

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