Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Kick / of the Foot Against" delves into the tension between irritation, anticipation, and the cyclical nature of experience. Through minimal language and fragmented imagery, the poem captures a moment of physical and mental agitation, while also hinting at a deeper meditation on the mind’s relationship to time, patterns, and routine frustrations. In Creeley’s characteristic style, the poem balances abstraction with tactile imagery, creating a space where the reader is invited to consider both the immediate and the existential dimensions of everyday experiences.

The poem opens with "THE KICK / of the foot against . . ." — an action left unfinished, an incomplete gesture. This truncated line immediately creates a sense of interruption and frustration. The "kick" suggests both physical movement and an emotional reaction, as kicking is often associated with irritation, anger, or impatience. The ellipsis after "against" implies that the object of this kick is not defined, leaving it open-ended. The omission invites the reader to imagine what might be provoking this reaction—a physical object or an emotional obstacle. The vagueness also amplifies the universality of the gesture, allowing it to represent any number of frustrations we encounter in daily life.

The next line, "Make time of irritations, looking for the recurrence—" introduces a philosophical layer to the poem. "Make time" suggests that irritations themselves become a measure of time or are woven into the fabric of our daily lives. Rather than passing moments, these irritations recur, forming part of a cyclical experience. The phrase "looking for the recurrence" suggests that the speaker anticipates or even seeks out these repeated frustrations, as though they have become a predictable rhythm. Creeley hints at a resigned acceptance of irritation as an inevitable part of existence. There is an element of waiting, almost as if the speaker is bracing for the next small disruption, knowing that it will come.

The repetition of the word "waiting" in the next line—"waiting, waiting, on the edge of its to be there where it was, waiting"—amplifies the sense of anticipation and frustration. The speaker is caught in a state of perpetual waiting, suspended in a moment just before something happens, or perhaps waiting for a recurrence of a past experience. This line evokes the feeling of being trapped on the cusp of action or resolution, but never quite reaching it. The repetition of "waiting" mirrors the cyclical nature of time and experience that the poem explores, reinforcing the idea that life is often a series of recurring frustrations and anticipations. The phrase "on the edge of its to be there where it was" suggests a constant yearning to return to a familiar moment, place, or feeling—perhaps the comfort of the known, even if it is irritating.

The following line, "Moving in the mind's patterns, recognized because there is where they happen," shifts the focus from the physical world to the mental. The speaker acknowledges that the patterns of thought and experience—particularly those of irritation and frustration—are familiar and predictable. The mind is attuned to these recurring events because they happen repeatedly in the same way, in the same space of consciousness. Creeley’s use of "patterns" suggests that these mental processes follow a recognizable, repetitive structure, further reinforcing the idea that irritations are ingrained in the speaker’s psyche. There is a sense of inevitability here, as if the speaker is resigned to these recurring patterns of thought and frustration, knowing they will continue to play out in the same way.

The poem’s final image, "Grease / on the hands," is strikingly concrete compared to the more abstract lines that precede it. Grease is a substance associated with labor, messiness, and residue. It is difficult to remove and clings to the skin, suggesting that the irritations and frustrations described earlier in the poem leave a lasting impact. The grease on the hands can be interpreted as a metaphor for the residue of these experiences—no matter how hard one tries to move past or ignore them, they leave a mark. The tactile, almost gritty imagery of "grease" contrasts with the mental "patterns" described earlier, grounding the poem in the physical, sensory world. It is a reminder that our frustrations are not only mental but also embodied, and they manifest in the tangible aspects of our lives.

Structurally, "Kick / of the Foot Against" mirrors the content of the poem through its fragmented form. The short, enjambed lines and use of ellipses create a sense of interruption and incompletion, echoing the feeling of irritation and anticipation that runs throughout the poem. The pauses between lines allow the reader to dwell on the act of waiting and on the sense of being caught in a moment of expectation. The lack of a clear resolution at the end of the poem reinforces the idea that these cycles of frustration and anticipation are ongoing, with no definitive end in sight.

The language in the poem is sparse, yet rich with implication. Creeley’s choice of words like "kick," "irritations," "waiting," and "grease" evoke both physical and emotional responses, inviting the reader to engage with the poem on multiple levels. The ambiguity of the ellipses and the open-endedness of certain phrases allow the reader to fill in the gaps with their own interpretations, making the poem feel both personal and universal.

In terms of themes, "Kick / of the Foot Against" explores the intersection of physical and mental experience, particularly the way that small, recurring irritations become ingrained in our consciousness. The poem captures the frustration of waiting for something to happen, for a resolution or a recurrence, and the way that these patterns of anticipation shape our experience of time. At the same time, the poem suggests that these irritations leave a mark on us, both mentally and physically, as symbolized by the "grease on the hands."

In conclusion, "Kick / of the Foot Against" is a meditation on frustration, repetition, and the way that irritations permeate both our mental and physical lives. Through minimalist language and a fragmented structure, Creeley conveys the sense of being caught in a cycle of anticipation, waiting for something that may never come—or that may come again and again in the same frustrating way. The poem invites readers to reflect on their own experiences of irritation and the ways in which these small moments shape their perception of time and self. Ultimately, the poem captures the tension between movement and stasis, action and waiting, and the lingering residue of our daily struggles.

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