Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Billboards: Moral" presents a stark commentary on the nature of privilege and human behavior, utilizing his distinct minimalist style and sharp, fragmented diction. Creeley, a poet often associated with the Black Mountain poets, has a characteristic approach that emphasizes direct language, exploring the underlying truths of modern existence. In this poem, he seems to confront both social inequity and personal accountability, alluding to how privilege and exploitation are frequently rationalized under the guise of humility or moral high ground.

The opening line, “Practice your humility elsewhere,” immediately establishes a confrontational tone, challenging both the reader and an unspecified individual who embodies the complacent wielding of privilege. Creeley is wary of false humility, suggesting that it is nothing but a convenient excuse that masks one';s privilege as something acceptable or even virtuous. The imperative "practice" gives the impression of cynicism toward moral behavior that seems performative—indicative of the hollowness he sees in such gestures when performed without self-awareness. The directness of his language further emphasizes this point, leaving little room for interpretation as he strips down language to convey the rawness of his critique.

The phrase "another excuse for privilege, / another place not another’s" alludes to the constant, almost casual ways in which some people encroach upon spaces that do not belong to them, driven by a sense of entitlement. The repetition of "another" highlights the repetitive, almost mundane nature of this behavior—suggesting it is a well-worn and unexamined habit. It points to the cyclical nature of privilege, its relentless ability to reassert itself through various forms. In these lines, Creeley interrogates not just the act of privilege but also the mindset that continually justifies such actions. The language is direct, unadorned, yet laden with implications, suggesting both moral weariness and an unwillingness to sugarcoat the truth.

The shift to “What you got to kill now isn’t dead enough already?” introduces a darker, more violent metaphor, suggesting that privilege and exploitation inherently involve destruction—whether literal or metaphorical. The rhetorical question, framed in a colloquial manner, conveys a sense of incredulity. It is as if Creeley is questioning the necessity of further damage when so much has already been lost or destroyed. The informal syntax, using "got to" and "isn’t dead enough," suggests a conversational, almost confrontational, tone—one that aligns with the billboard motif, as if these are public messages meant to provoke thought.

The poem then moves into a reflection on inevitability: “Wait, brother, it dies, / it no way can live without you, / it’s waiting in line.” Here, Creeley suggests that the destructive force (likely representing privilege or greed) is inherently unsustainable. It depends on the participation of individuals—without the active support of people perpetuating it, it cannot survive. The image of "waiting in line" conjures a sense of inevitability and impersonality, as if this process of decay or collapse is simply part of a larger, mechanistic sequence. The repetition of "it" throughout this section distances the destructive entity, depersonalizing it and implying that it is something systemic rather than individual.

The latter part of the poem shifts into a reflective mode: “It was a thoughtful sense of paced consideration, / whatever the agenda had prompted as subject.” This line suggests an attempt to understand or rationalize actions after the fact, as though the speaker is reflecting on what has just occurred or been decided. The phrase "paced consideration" contrasts sharply with the urgent, confrontational tone of the earlier lines. This juxtaposition suggests a tension between the chaotic, destructive nature of privilege and the false, measured rationalizations that attempt to justify it. Creeley’s tone here seems almost sardonic, as if mocking the detached, bureaucratic language that often accompanies morally questionable actions.

The phrases “Here we are,” and “There they were” further exemplify the banality of this rationalization. The vague, nonspecific language distances the speaker from responsibility, reducing human experience to impersonal observations. These phrases might be intended to mimic the way people often try to create a narrative that absolves them of complicity, reducing others'; suffering to a dispassionate footnote.

The poem concludes with a resigned tone: “So all together now, a deep breath, / a fond farewell. / Over.” This finality is poignant. The call for a "deep breath" implies a moment of collective reflection, yet it is followed by "a fond farewell," which carries a tone of detachment, almost as if the inevitable end is accepted with little emotion. The single-word line "Over" serves as a stark, abrupt conclusion. It signifies not just an ending, but a cutting-off—a refusal to indulge in further sentimentality. It’s Creeley’s way of emphasizing that whatever has been done cannot be undone; it’s an ending without hope for redemption or transformation.

In terms of structure, "Billboards: Moral" employs Creeley’s trademark fragmented and enjambed lines, which help convey a sense of immediacy and disjointedness. The lack of punctuation enhances the poem';s sense of conversational flow while also reflecting the jagged, disjointed nature of the thoughts being expressed. The free verse form underscores the rawness of Creeley’s message, resisting the constraints of formal rhyme or rhythm, which might have softened the bluntness of his critique.

Creeley’s language is minimalist yet powerful, each word selected for maximum impact. His use of colloquial language and rhetorical questions creates an intimate, direct connection with the reader, forcing them to confront uncomfortable truths. The imagery, while sparse, is vivid and effective—particularly the metaphor of waiting in line, which conveys both inevitability and a sense of resignation.

"Billboards: Moral" is a poem that exposes the hypocrisy of performative morality and the destructive nature of unchecked privilege. Through stark language, fragmented structure, and sharp imagery, Creeley delivers a powerful critique of societal complacency and personal accountability. His message is clear: the time for false humility and rationalization is over; it is time to confront the consequences of our actions directly, without the comfort of excuses.

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