Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Desultory Days" presents a vivid and fragmented meditation on the human condition, the passage of time, and the inherent contradictions within society and the self. The poem oscillates between casual observations and profound reflections, juxtaposing mundane everyday moments with existential musings. Creeley’s approach is both critical and introspective, highlighting the dissonance between individual desires, societal constructs, and the often overwhelming inevitability of mortality.

The title, "Desultory Days," immediately sets the tone for the poem, suggesting a lack of direction or purpose—days that are disjointed and characterized by wandering thoughts. This idea of wandering is reflected throughout the poem, as the speaker shifts abruptly from one idea to the next, creating a sense of both restlessness and introspection. The poem captures moments of reflection on the ordinary, such as eating lunch, alongside broader considerations about society, death, and identity.

The opening line, "Desultory days, time’s wandering impermanences— / like, what’s for lunch, Mabel?" introduces the idea of life';s transient nature. "Time’s wandering impermanences" evokes the impermanent and unpredictable flow of time, and the question "what’s for lunch, Mabel?" provides a humorous contrast to this weighty observation. The mundane question grounds the poem in the everyday, emphasizing how even amidst profound considerations, life is still punctuated by simple, ordinary concerns.

The following lines—"Hunks of unwilling meat / got chopped from recalcitrant beasts?"—add a darkly humorous and almost grotesque image to the poem. The "unwilling meat" and "recalcitrant beasts" suggest a kind of reluctant sacrifice, evoking the brutal realities of consumption and survival. This imagery emphasizes the detachment people often feel from the sources of their sustenance, pointing to a disconnect between the comforts of modern life and the harsher realities that enable them.

The line "We will meet again one day, we will gather at the river / (Paterson perchance) so turgidly oozes by, etc." evokes a sense of inevitability, perhaps referring to a future reunion or a final reckoning. The mention of "Paterson," likely referencing the city in New Jersey and possibly alluding to William Carlos Williams'; epic poem "Paterson," adds a layer of cultural and historical resonance. The river, described as "turgidly oozing," suggests stagnation and decay, contrasting with the idealized notion of gathering at a river as a symbol of renewal or redemption. The phrase "etc." adds a dismissive quality, as if the sentiment is a tired or clichéd expression, reflecting a certain cynicism about human aspirations.

"Nothing new in the world but us, the human parasite / eats up that self-defined reality we talked about in ages past" critiques humanity';s tendency to consume and exploit. The term "human parasite" underscores the exploitative nature of human behavior, and the idea of "self-defined reality" suggests that the constructs and systems humans create are ultimately artificial, yet we consume them as if they are inherently meaningful. This line captures the tension between human ingenuity and the destructive tendencies that accompany it.

"Now prophecy declares, got to get on with it, back to the farm, / else die in streets inhuman ’spite we made them every one." Here, Creeley presents a call to return to a simpler, more sustainable way of life, juxtaposed with the harsh reality of urban life and modern society. The idea of dying "in streets inhuman" points to the dehumanizing effects of the modern world, suggesting that the very structures humans have built have alienated them from their own humanity.

"Ah friends, before I die, I want to sit awhile / upon this old world’s knee, yon charming hill, you see, / and dig the ambient breezes, make of life / such gentle passing pleasure!" This passage reveals a yearning for peace and a return to a simpler, more innocent enjoyment of life. The imagery of sitting "upon this old world’s knee" evokes a childlike desire for comfort and safety, and the wish to "dig the ambient breezes" suggests an appreciation for the natural world and its fleeting pleasures. This idyllic vision contrasts sharply with the earlier descriptions of urban decay and societal disillusionment.

"Were it then wrong to avoid, as might be said, / the heaped-up canyons of the dead— / L.A.’s drear smut, and N.Y.C.’s crunched millions?" These lines question the morality of turning away from the harsh realities of life, such as the crowded, impersonal nature of cities and the inevitability of death. The imagery of "heaped-up canyons of the dead" evokes both the physical landscape of the city and the metaphorical accumulation of lost lives. The speaker grapples with the impulse to avoid these uncomfortable truths, reflecting on the tension between escapism and facing reality.

The reference to "Walter Whitman’s 19th century Mr. Goodheart’s Lazy Days and Ways / In Which we might still save the world" evokes the idealism of Walt Whitman and the belief in the potential for human goodness and progress. However, the speaker follows this with "I loved it but I never could believe it," indicating a deep-seated skepticism about the possibility of realizing such ideals. This sentiment contrasts with the hopeful vision of Whitman, suggesting that the speaker';s experience has led them to doubt the feasibility of saving the world or achieving a truly just society.

"My mind to me a nightmare is— / that thought of days, years, went its apparent way / without itself, with no other company than thought." This passage conveys a profound sense of existential dread and isolation. The speaker describes their own mind as a "nightmare," suggesting a deep discomfort with their thoughts and the passage of time. The image of "days, years" passing "without itself" reflects a feeling of disconnection from one';s own life, as if time has moved on without the speaker';s active participation.

"So—born to die—why take everything with us? / Why the meagerness of life deliberately, why the patience / when of no use, and the anger, when it is?" These lines grapple with the inevitability of death and the futility of human endeavors. The speaker questions the value of accumulating possessions or experiences when death is the ultimate outcome. The juxtaposition of "patience" and "anger" reflects the struggle to find meaning in life’s contradictions—why show patience when it seems pointless, and why express anger when it is equally futile?

The poem concludes with a reflection on humanity';s interconnectedness and vulnerability: "Didn’t they have a world too? / But then they don’t look like us, do they? / But they’ll get us, / someone will—they’ll find us, / they won’t leave us here / just to die / by ourselves / all alone?" This ending raises questions about empathy, difference, and the fear of being abandoned. The rhetorical question "Didn’t they have a world too?" suggests a recognition of shared humanity, while the acknowledgment that "they don’t look like us" points to the divisions that separate people. The final lines express a fear of dying alone, a universal anxiety that underscores the poem';s exploration of human connection and isolation.

"Desultory Days" is a complex and richly layered poem that explores themes of disillusionment, mortality, and the contradictions of human existence. Through fragmented imagery and shifting tones, Robert Creeley captures the restlessness of modern life, the struggle to find meaning amidst chaos, and the yearning for simplicity and connection. The poem’s juxtaposition of the mundane with the profound, the hopeful with the cynical, reflects the multifaceted nature of the human experience, inviting readers to confront both the beauty and the despair inherent in their own desultory days.

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