Classic and Contemporary Poetry: Explained

In "Pacing as with Some Consequent," Robert Creeley constructs a fragmented, associative meditation on expectation, language, family, and the act of searching for meaning or worth. The poem moves in a disjointed, almost erratic manner, mirroring the feeling of pacing—of restlessly circling an idea without quite arriving at a conclusion. Through this layering of internal dialogue, shifting tones, and varied references, Creeley explores the nuances of language and its limitations, as well as the desire for clarity and significance in relationships, particularly within the family. The poem is challenging, yet its fractured structure reflects a complex inner monologue, a struggle to reconcile expectation with reality, and a continual search for something that resonates as meaningful.

The poem opens with the phrase, "PAcINg as with some consequent expectance," which captures the feeling of anticipation paired with anxiety or frustration. The capitalization of “PAcINg” suggests an emphasis on the restless movement, as if the speaker is caught in a loop of repetition, unable to settle or resolve their thoughts. This opening line immediately establishes a tone of tension, as if the speaker is waiting for something significant to materialize, but that expectation remains elusive. The term “consequent expectance” hints at a hope or a belief that something should naturally follow, suggesting that the speaker is either waiting for a resolution or for a realization that remains just out of reach. This sense of unfulfilled expectation frames the entire poem, which feels like a circular search for meaning or connection that is never fully realized.

The interjection “viz—‘look out’—the expected sequence then waited for” introduces a feeling of caution, as though the speaker anticipates something both inevitable and potentially unsettling. “Look out” is both a warning and an invitation to pay attention, implying that the expected sequence—whether a thought, a memory, or a revelation—will arrive, though perhaps not in the form the speaker desires. This expectation builds a sense of suspense, of something just around the corner, heightening the reader’s sense of anticipation and unease. It hints that the speaker is caught in an endless loop of waiting, perhaps for a moment of insight or for validation that never quite comes.

The line “Come fly with me—like, out of your mind is no simile, no mere / description” disrupts the previous rhythm, introducing a phrase that could imply freedom or escape but instead veers toward a breakdown of language itself. The phrase “like, out of your mind” plays on the dual meaning of madness and liberation, as though the speaker desires a release from the confines of rational thought or language. By stating that “out of your mind” is “no simile, no mere / description,” Creeley challenges the limitations of language in capturing certain states of being. This line suggests that what the speaker is experiencing cannot be easily conveyed, that it transcends the “mere” descriptive powers of language, leaving them in a space beyond words. The phrase “out of your mind” becomes both an aspiration for freedom from expectation and a recognition of the insufficiency of language to fully articulate certain experiences.

“Emily—simile” introduces the idea of an external reference or figure, possibly alluding to Emily Dickinson, whose own poetic style grappled with themes of isolation, language, and the search for meaning. The wordplay here suggests that “Emily” and “simile” are intertwined concepts for the speaker, as if this figure represents a metaphorical way of understanding their inner state. This connection to Dickinson (if that’s the intended reference) adds depth to the speaker’s search for expression, as Dickinson’s work often explored the tension between inner experience and outward expression. By invoking “Emily” alongside the notion of “simile,” Creeley points to the idea that understanding is often achieved indirectly, through metaphor and suggestion, rather than straightforward explanation.

The question “What are you staring at?” interrupts the flow, adding an abrupt shift in tone. This line could be directed inward, as though the speaker is questioning their own fixation on finding meaning or clarity. It implies frustration, as if the speaker is tired of searching for answers or validation in their surroundings or within themselves. This line captures the existential discomfort of wanting to find something concrete or respectable—something “worthy of respect” like “family”—yet feeling stuck or unable to grasp it. Here, “family” becomes an anchor point, representing something stable and valuable, yet also something unattainable or distant for the speaker. This line reveals a yearning for connection or rootedness, which seems both desired and elusive, mirroring the poem’s restless pacing.

The line “What are you crossing all those out for. A silence lasting from then on…” introduces the act of erasure, implying a rejection or revision of past thoughts or expressions. This action of “crossing out” conveys frustration or dissatisfaction with language and the inability to capture or express the desired meaning fully. The “silence lasting from then on” suggests a retreat into quiet or resignation, as though the speaker has reached a point where words no longer serve their purpose. This silence might represent a cessation of the search or a recognition that language has its limits in conveying certain truths. The image of “crossing out” and falling into silence evokes a sense of giving up on articulation, of abandoning the effort to force words to align with experience.

The closing lines—“Round and round all the corners”—return to the poem’s initial theme of pacing, suggesting that despite the moments of silence and erasure, the speaker is still caught in a circular pattern. The repetition of movement “round and round” implies a journey with no end, a continuous searching that takes the speaker to the same unresolved places. This image reinforces the sense of frustration and futility that runs throughout the poem, as though each attempt to understand or find meaning only leads back to the starting point. The “corners” suggest limits or boundaries, implying that the speaker’s journey is confined within specific parameters, making true escape or clarity impossible.

Structurally, "Pacing as with Some Consequent" exemplifies Creeley’s fragmented, free-associative style. The lack of punctuation and the abrupt shifts in thought create a disjointed rhythm, mirroring the feeling of restless pacing and the disorientation of the speaker’s internal search. The structure gives the poem a stream-of-consciousness quality, where thoughts bleed into one another without clear transitions, reflecting the speaker’s difficulty in pinning down meaning or satisfaction. This fragmented form emphasizes the poem’s central theme of searching without finding, as each line seems to reach for clarity but ultimately circles back to ambiguity.

In "Pacing as with Some Consequent," Creeley captures the experience of existential uncertainty and the struggle to find grounding or meaning in a world that feels disjointed and elusive. Through fractured language and shifting perspectives, he conveys the frustration of seeking significance—whether in family, language, or personal insight—and the inevitability of encountering boundaries and limitations. The poem’s circular pacing and unresolved ending suggest that the search itself is both necessary and inherently incomplete, reflecting the tension between the desire for certainty and the acceptance of life’s inherent ambiguity. Ultimately, Creeley’s poem serves as a meditation on the limits of language and the restless pursuit of understanding, a journey that leads “round and round” through familiar, confining spaces but never quite breaks free.

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