Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Feeling" examines themes of memory, distance, and self-perception, encapsulated within his characteristic minimalist style. In the poem, Creeley explores how past experiences and relationships shape one’s sense of self and the complex emotional distances that form as a result. The poem';s economy of language and its fragmented structure reflect an internal landscape of confusion, loss, and self-reflection. Creeley uses sparse, simple language to express the complexities of feeling, creating a tension between the straightforwardness of the words and the depth of the emotions they convey.

The poem begins with the lines "However far / I’d gone, / it was still / where it had all begun." These opening lines immediately suggest a sense of inescapability—the speaker has traveled, physically or emotionally, but is still bound to a particular origin point. The idea that "it was still where it had all begun" indicates that despite movement or change, there is a constant return to the initial experience or emotion. This could refer to a formative memory or relationship that continues to shape the speaker’s identity. There is a cyclical quality to these lines, as if no matter how far one goes, they are always pulled back to the starting place. The lack of specificity in terms of time or location emphasizes the abstract nature of this return—it is not so much about a physical place as it is about an emotional or psychological state.

"What stayed / was a feeling of difference," the poem continues, introducing the concept of change and separation. While the speaker acknowledges that they have moved away from the past, what remains is a "feeling of difference." This difference is not fully explained but is left as something that has endured despite the passage of time. The following line, "the imagination / of adamant distance," adds further complexity to this idea. Here, Creeley suggests that the distance between the speaker and their past is as much a construct of the mind as it is a real separation. The use of the word "adamant" conveys a sense of firmness or immovability—the distance is not just imagined but also unchangeable, a barrier that the speaker cannot overcome. Yet, it is the "imagination" of this distance that makes it so powerful, implying that the speaker';s mind has played a significant role in creating or maintaining this separation.

As the poem progresses, Creeley shifts the focus from distance to memory: "Some time, / place, / some other way it was, / the turned face / one loved, / remembered, / had looked for / wherever." These lines evoke the memory of a loved one, possibly someone from the speaker’s past whom they have longed for or sought out in different places and times. The "turned face" suggests both presence and absence—it is someone the speaker once knew but who is now only a memory. The act of remembering is key here, as it is the memory of this person that drives the speaker’s emotional journey. Yet, this memory seems elusive; the "turned face" is not fully present in the speaker’s current reality but exists only in fragments of recollection.

The next lines, "it was all now / outside / and in / was oneself again," mark a shift in the poem’s tone. The speaker realizes that the external world, where they once sought the presence of the loved one, is now separate from their inner self. The phrase "was oneself again" implies a return to self-awareness, a moment where the speaker recognizes that what they were searching for externally has always been internal. However, this realization is not necessarily comforting. The speaker’s return to the self is marked by a sense of emptiness or disorientation, as reflected in the following lines: "except there too / seemed nowhere, / no air, / nothing left clear."

These closing lines encapsulate the emotional ambiguity that pervades the poem. The speaker’s internal world, though familiar, offers no solace. The repetition of "nowhere" and the absence of "air" suggest suffocation or entrapment, as if the speaker is trapped within themselves without any clear way forward. The final line, "nothing left clear," reinforces this sense of confusion and uncertainty. The speaker is left in a state of emotional ambiguity, where both the external and internal worlds offer no resolution.

Creeley’s choice to use short, fragmented lines and simple language mirrors the speaker’s emotional state. The disjointed structure of the poem, with its abrupt pauses and lack of clear narrative flow, reflects the speaker’s fragmented thoughts and feelings. This structure also contributes to the poem’s overall atmosphere of uncertainty, as the reader is never given a complete picture of the speaker’s experiences or emotions. Instead, we are left with fragments—glimpses of the past, memories of love, and the feeling of being disconnected from both the external world and the self.

"Feeling" explores the intricate relationship between memory, distance, and identity. Creeley’s minimalistic style allows him to convey deep emotional truths with very few words, creating a sense of introspection that feels both intimate and universal. The poem’s abstract language and structure invite readers to reflect on their own experiences of love, loss, and the passage of time, while its ambiguous ending leaves room for multiple interpretations. Ultimately, "Feeling" captures the paradox of emotional distance: the further we move away from the past, the more it seems to shape our present, leaving us in a constant state of reflection and longing.

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