Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Having To" reflects his signature minimalism and attention to the interplay of thought, object, and perception. The poem, brief in form yet expansive in its implications, offers a meditation on the transient nature of both thoughts and the material world. In typical Creeley fashion, the poem eschews any overt narrative or emotional outpouring, instead presenting a series of images that gradually coalesce into a quiet exploration of existence, movement, and the human experience of having to engage with the world.

The poem begins with an admission of uncertainty: "HAVING TO - what do I think to say now." This opening line introduces the idea of obligation, perhaps both in life and in language. "Having to" conveys the sense of being compelled to act or speak, whether through societal expectations, personal commitments, or the inevitabilities of life. The dash following "HAVING TO" creates a pause, suggesting hesitation or reflection before moving forward. The speaker questions their own ability to articulate something meaningful, as if the burden of expression is itself a weight. The phrase "what do I think to say now" signals both a moment of introspection and a subtle frustration—there is a sense that the speaker feels the pressure of needing to find words, yet nothing definitive comes to mind.

The next line, "Nothing but comes and goes in a moment," captures the fleeting nature of thoughts and experiences. Here, Creeley underscores the ephemerality of human existence—everything, whether thoughts or events, arises and then fades away in a brief instant. This transience is a central theme of the poem, as the speaker grapples with the impermanence of both inner and outer worlds. There is an almost meditative quality to this acknowledgment, as if the speaker is resigned to or even at peace with the notion that nothing is fixed or lasting.

Creeley then shifts from abstract musings to a series of concrete, everyday objects: "Cup. / Bowl. / Saucer. / Full." These objects, simple and domestic, ground the poem in the material world. Each item is presented in isolation, as if the speaker is observing them with careful attention, yet without any particular emotional attachment. The list-like nature of these words, stripped of conjunctions or explanations, suggests the speaker is noticing things as they are, without assigning them deeper meaning. These objects are "full," yet what they are full of is left to the reader’s imagination. The "fullness" might symbolize the potential of the moment, the completeness of things as they are, or simply the speaker’s recognition of their presence.

"The way into the form, the way out of the room" introduces a sense of motion, of entry and exit, both physically and conceptually. "The form" could refer to the shape of things, such as the cup, bowl, and saucer, or it could be a metaphor for life or a particular situation. The line evokes the idea that everything has a way in and a way out—a beginning and an end. Similarly, "the room" can be read both literally and figuratively. The room may be a space of reflection or existence itself, and the way out might symbolize escape, change, or death. The juxtaposition of entering and leaving suggests that all things, including the self, are in a constant state of flux.

Creeley continues this theme of motion with "The door, the hat, the chair, the fact." These objects seem to stand in for the basic elements of daily life, things that we encounter routinely and may not even think about consciously. Yet, by listing them in this manner, Creeley draws attention to their existence as "facts" of life—things that simply are, without requiring deeper analysis. The door represents a point of passage, the hat something worn or carried, the chair a place of rest or pause, and the "fact" encapsulates the notion that these objects, like life itself, are immutable in their simplicity. Creeley’s style of listing seemingly unrelated items creates a collage of ordinary moments, hinting at the fragmented and often disjointed nature of experience.

The poem’s concluding lines—"Sitting, waves on the beach, or else clouds, in the sky, / a road, going by, / cars, a truck, animals, in crowds"—introduce a broader landscape, moving from the domestic sphere to the outside world. The speaker is now "sitting," perhaps in contemplation, watching the world unfold. The imagery of "waves on the beach" and "clouds in the sky" evokes a sense of calm, a natural rhythm of the earth that contrasts with the earlier, more static objects. Yet even in this peaceful setting, there is movement—the waves, like thoughts or moments, "come and go," while the clouds drift across the sky. The sense of impermanence continues, as both waves and clouds are symbols of constant change.

The final images of "a road, going by, / cars, a truck, animals, in crowds" suggest the bustling, ongoing flow of life outside the speaker’s stillness. The road, vehicles, and animals all represent motion, whether human-made or natural. This closing section contrasts the stillness of the speaker with the liveliness of the world outside, highlighting the tension between contemplation and action. Life, the poem suggests, is always moving, always shifting, whether we engage with it or simply observe it.

Creeley’s minimalist style is central to the poem’s effectiveness. By using short, fragmented lines and everyday language, he creates a sense of immediacy and directness. The absence of complex metaphors or elaborate descriptions allows the reader to focus on the subtle relationships between the objects and ideas presented. The poem’s lack of punctuation further emphasizes the fluidity of thought and experience, as each image flows into the next, mimicking the continuous movement of life itself.

In "Having To," Robert Creeley explores the inevitability of engagement with the world, the pressure to articulate thoughts and feelings, and the fleeting nature of existence. Through a series of fragmented observations, he captures the tension between stillness and movement, permanence and transience, inviting the reader to reflect on the way they move through the world and the objects that populate it.

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