Classic and Contemporary Poetry: Explained

Robert Creeley's poem "The Wind" contemplates the fluid nature of selfhood, relationships, and the roles of women in the speaker’s life, weaving themes of dependency, love, and reverence into a reflective meditation. Through personal anecdotes and larger philosophical reflections, Creeley captures a sense of vulnerability, humility, and admiration for the presence of women—whether as mothers, partners, or symbols of stability in an otherwise uncertain world. The poem’s title, "The Wind," suggests a force that is ever-moving and intangible, much like the speaker’s fluctuating thoughts and emotions as he tries to grasp the essence of his connections to others.

The poem opens with an acknowledgment of the speaker’s sense of becoming: "Whatever is to become of me / becomes daily as the acquaintance / with facts is made less the point." This line reflects an ongoing process of self-discovery, where rigid "facts" lose their importance, and the journey becomes one of experiencing and feeling rather than knowing. The speaker seems to suggest that as he moves through life, he becomes less concerned with objective truths and more attuned to subjective, emotional realities—"firm feelings are reencountered." These "firm feelings" imply a grounding force, a rediscovery of values and sentiments that guide him, perhaps pointing to the relationships and connections that shape his identity.

The line "This morning I drank coffee and orange juice, / waiting for the biscuits which never came" introduces a personal anecdote that is both mundane and poignant. The image of waiting for biscuits that never arrive suggests a longing or expectation that remains unfulfilled, capturing a quiet disappointment. The speaker’s reflection, "It is my own failing / because I cannot make them," reveals a sense of inadequacy or helplessness. This could be interpreted as a metaphor for dependency, particularly on the roles traditionally assigned to women, or perhaps as a subtle acknowledgment of the speaker’s limitations in fulfilling his own needs or desires. This small moment of domestic routine becomes a symbol of dependence and the speaker’s awareness of his own limitations.

"Praise god in women. / Give thanks to love in homes. / Without them all men / would starve to the bone" shifts the poem’s tone to one of reverence and gratitude. Here, Creeley openly celebrates the presence of women, framing them as essential to life and sustenance. The imperative "Praise god in women" elevates their role to something sacred, as if women embody a divine presence in the world. The line suggests that love, as embodied in "homes" and relationships, is fundamental to human survival—not just physically, but emotionally and spiritually. The statement that "all men / would starve to the bone" without women highlights the speaker’s view of women as nurturing, life-sustaining forces, emphasizing their critical role in both domestic and emotional realms.

"Mother was helpful but essentially mistaken. / It is the second half of the 20th century. / I screamed that endlessly, / hearing it back distorted" introduces a complex reflection on generational differences and the speaker’s relationship with his mother. The phrase "Mother was helpful but essentially mistaken" implies both appreciation and critique, suggesting that while the speaker’s mother was supportive, her worldview may have been shaped by values or expectations that the speaker rejects. By stating "It is the second half of the 20th century," the speaker emphasizes the changes in social and cultural norms, perhaps implying a sense of rebellion or independence from traditional views. The act of screaming this "endlessly" and hearing it "back distorted" suggests a frustration with communication or a struggle to assert one’s own identity within the framework of inherited beliefs.

The question "Who comes? / The light footsteps / down the hall / betoken" introduces a sense of anticipation, as if someone significant is approaching. The footsteps evoke a quiet yet impactful presence, a figure who embodies strength and grace. This person is described "in all her loveliness, / in all her grimness," suggesting a complexity and depth that includes both beauty and resilience. The phrase "in all her asking and staying silent" further underscores this duality, capturing the tension between expression and restraint that defines many relationships. The description "all mothers or potentials thereof" broadens the focus from a single individual to a collective ideal of womanhood, encompassing both actual mothers and those who carry the potential to nurture and support.

"There is no hymn yet written / that could / provoke beyond the laughter I feel / an occasion for this song" expresses the speaker’s admiration and gratitude in a way that transcends conventional forms of praise. By stating that no hymn could fully capture his feelings, the speaker implies that his gratitude and reverence for women—particularly mothers or maternal figures—are beyond words, requiring a more personal, emotional expression. The mention of "laughter" suggests a joy that is both profound and uncontainable, as if the speaker’s appreciation for these figures is a source of lightness and release.

The final lines return to the poem’s title and introduce an image of motion and freedom: "But as love is long-winded, / the moving wind / describes its moving colors / of sound and flight." Here, love is likened to "the moving wind," an invisible yet powerful force that flows and changes, much like the speaker’s own reflections. The phrase "long-winded" suggests that love is enduring, expansive, and at times overwhelming. The wind’s "moving colors / of sound and flight" evoke a sense of vibrancy and dynamism, as if love and appreciation are ever-shifting, manifesting in different forms and hues. This metaphor captures the essence of the poem’s message—that love, like the wind, is a force that cannot be easily contained or defined but is always present, shaping and moving the world around it.

Through "The Wind," Creeley explores themes of identity, dependency, reverence, and the complexities of love and relationships. The poem is both personal and universal, reflecting on the roles women play in the speaker’s life while also celebrating a broader, collective femininity. The speaker’s expressions of inadequacy and gratitude highlight the interconnectedness of human relationships, where love and support are necessary for survival and growth. In the end, "The Wind" is a tribute to the enduring and transformative power of love, embodied in the presence of women, mothers, and nurturers, who move through life like the wind—silent, strong, and essential.

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