Classic and Contemporary Poetry: Explained

Robert Creeley';s "Blues" is a poignant exploration of existential uncertainty, disillusionment, and the human struggle to find meaning in a world marked by hardship and fleeting moments of comfort. In the tradition of the blues genre itself, the poem is imbued with raw emotion, expressing a weariness with life and an underlying sense of resilience despite the challenges faced. Creeley uses his signature conversational style, incorporating plain language, repetition, and musical rhythm, to evoke the mood of a blues song—at once sorrowful, reflective, and defiantly hopeful.

The opening lines, "Old-time blues and things to say— / not going home till they come to get me," immediately establish the tone of the poem. Creeley references "old-time blues," alluding to a musical tradition that often conveys themes of sadness, endurance, and survival. The speaker';s determination not to "go home till they come to get me" suggests a sense of resistance, a refusal to give in or retreat despite difficult circumstances. It evokes the image of someone who is caught in a cycle of struggle, unwilling to return to the comfort of home until circumstances force them to do so.

"See the sky black as night, / drink what’s there to drink" further contributes to the mood of the poem, presenting a bleak and unromantic view of the world. The sky being "black as night" serves as a metaphor for the speaker';s emotional state, shrouded in darkness and devoid of hope. The phrase "drink what';s there to drink" conveys resignation—a willingness to make do with whatever is available, even if it offers little comfort or satisfaction. The simple, declarative nature of these lines captures the essence of blues music, reflecting a life marked by scarcity and hardship, yet faced with a sense of acceptance.

The line "God’s dead, men take over, / world’s round, all over" introduces a sense of disillusionment and existential questioning. The assertion that "God';s dead" implies a lack of faith in traditional religious or moral systems, reflecting a world where divine authority has been replaced by human control. The phrase "men take over" suggests a transition to a secular world, but it is stated without enthusiasm, as if the speaker sees little improvement in the change. The blunt, almost indifferent tone of "world';s round, all over" emphasizes the speaker';s sense of futility—these grand ideas and discoveries seem meaningless in the context of their lived experience.

"Think of it, all those years, / no one’s the wiser even older" reflects a contemplation of time and the lack of growth or understanding that comes with it. Despite the passage of time, people do not necessarily gain wisdom, suggesting that age does not guarantee insight or fulfillment. This line carries a sense of frustration, as if the speaker has expected more from life but finds that time alone has not brought answers or contentment.

The repetition of "flesh, flesh, screams in body, you know, / got to sleep. Got to eat, baby, got to. / No way you won’t" emphasizes the physical needs and urges that define human existence. The word "flesh" underscores the corporeal, primal aspects of being, while the repetition of "got to" highlights the inevitability of these needs. There is a sense of resignation in these lines—no matter what else might be happening in the world, the basic demands of the body persist. The informal tone and direct address to "baby" give the poem a conversational, almost intimate quality, as if the speaker is confiding in the reader or a close companion.

"When I lay down big bed going to pillow my sleeping head. / When I fall, I fall, straight down deep I’m going" conveys a yearning for rest and an escape from the burdens of consciousness. The imagery of the "big bed" and "pillow my sleeping head" evokes a sense of comfort, yet the repetition of "fall" and the phrase "straight down deep" also suggest a sense of inevitability and perhaps a fear of losing control. The act of falling here seems to symbolize surrender, a letting go of the struggles and pains of the day.

The lines "You don’t love me like you say you do, / you don’t do me like you said you would" introduce a theme of betrayal or unmet expectations in relationships. The directness of these accusations adds to the emotional weight of the poem, revealing the speaker';s vulnerability and disappointment. The following lines—"What I say to people don’t mean I don’t love, / what I do don’t do, don’t don’t do enough"—suggest a complexity in expressing love or care, acknowledging that actions and words often fall short of conveying true feelings. This tension between intention and action is a recurring theme in Creeley';s work, reflecting the difficulty of authentic communication.

The speaker’s reflection on imprisonment, "Times in jail I was scared / not of being hurt but that people lock you up," delves into the fear of confinement and the loss of freedom. The emphasis is not on physical harm but on the existential dread of being controlled or restricted by others. The phrase "what’s got to be cruel is you know, / and I don’t, you say you got the truth" suggests a power dynamic, where others claim to possess the truth, leaving the speaker feeling powerless and skeptical of those claims. The mistrust of authority and the idea of truth being wielded by others is a powerful statement on the speaker’s disillusionment.

The poem continues with reflections on communication and understanding, with lines like "I wouldn’t listen if I was drunk, / couldn’t hear if I was stoned, / you tell me right or don’t." These lines emphasize the difficulty of truly understanding or accepting what others say, particularly in altered states of consciousness. It suggests a barrier to communication, whether due to external influences or internal resistance, and reflects a desire for straightforwardness that is rarely found.

The final section of the poem—"They kill you, / they kill me. / Both dead, / we’ll rise again. / They believe in Christ, / they’ll believe in men"—evokes themes of mortality and resurrection. The repetition of "they kill" underscores the inevitability of death, but the assertion that "we’ll rise again" introduces a note of defiance and hope. This resurrection is not necessarily religious but rather an affirmation of resilience. The line "They believe in Christ, / they’ll believe in men" suggests a shift from divine faith to faith in humanity, indicating that despite the hardships and betrayals, there is still some hope for redemption or renewal within the human spirit.

"Blues" is a deeply evocative poem that captures the essence of the blues genre—sorrow, endurance, and an unflinching confrontation with the harsh realities of life. Creeley’s use of simple, direct language, repetition, and musical cadence creates a rhythmic, almost incantatory effect that mirrors the emotional rhythms of the blues. Through themes of disillusionment, physical need, love, betrayal, and resilience, Creeley paints a portrait of the human condition that is raw, honest, and ultimately hopeful in its recognition of the shared struggles and small triumphs that define existence. The poem';s unvarnished truth and defiant spirit resonate deeply, offering a poignant reflection on what it means to endure and to seek meaning amidst the uncertainties of life.

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