Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Body (1)" delves deeply into the inner complexities of human existence, exploring the interplay between the mind, body, and the fragmented sense of self. In this poem, Creeley adopts a stream-of-consciousness style to examine themes of dislocation, identity, and the physical embodiment of thought and emotion. Through the use of broken syntax, fragmented imagery, and repetition, Creeley offers a portrayal of the body that is intimately connected to both the inner mind and the outer, physical world, yet ultimately grapples with the struggle to find coherence.

The poem begins with a description of "What twisting thought I’d been taken," indicating that the speaker’s mind is caught in a complex, perhaps painful, mental state. The phrase "twisting thought" suggests confusion or turmoil—a thought that has spiraled out of control, unable to be fully understood or contained. This sense of disorientation is further developed with "holds in place held driven parts of mind," which implies that the speaker is being driven by forces beyond their control. The use of words like "held" and "driven" indicates both a sense of restriction and compulsion, suggesting that the mind is struggling to maintain its own coherence amid conflicting forces.

The next line—"brought fixed body’s found displaced"—begins to connect the mind with the body, illustrating how the disorientation in thought affects the body itself. The word "displaced" suggests that the body, much like the mind, is out of place or unanchored, lacking stability. This physical displacement could be a reflection of the internal instability the speaker experiences. The fragmented nature of Creeley';s syntax creates a sense of unease and reflects the disruption of the natural relationship between body and mind.

"In reflection makes grace weight love sounded" adds a layer of ambiguity, as the speaker contemplates how the reflection (perhaps a literal reflection in a mirror or a metaphorical reflection on the self) generates feelings of "grace" and "weight." The juxtaposition of these two words—grace and weight—captures the dual nature of the experience. Grace suggests beauty, ease, and perhaps transcendence, whereas weight implies burden, gravity, and something that holds one down. The addition of "love sounded" evokes an aural element, as if love is something that resonates, giving form to the speaker';s otherwise fragmented emotions. This moment in the poem seems to hint at the possibility of finding meaning or beauty even amid confusion and disorder.

The lines "hangs head down included secured / stands behind puts out made me" further explore the physical manifestations of the speaker';s mental state. The imagery of the head hanging down implies resignation or submission, a bodily response to the weight of thoughts and emotions. The words "included secured" suggest a sense of being bound or held in place, reinforcing the feeling of being confined by one';s own thoughts or experiences. "Stands behind puts out made me" can be read as a reflection on the speaker';s sense of identity, suggesting that who they are is shaped by forces outside their control—something "put out" or imposed upon them.

"Other arms with their hands / than simplifying thought whether up or down" introduces the idea of being touched or held by someone else, but in a way that complicates rather than simplifies the experience. The use of "other arms" and "their hands" implies an external presence—someone else';s touch that influences the speaker';s experience. This touch, however, is described as being more complex than a mere physical sensation. The ambiguity of "whether up or down" suggests a lack of certainty about the direction or intention of this influence. It underscores the difficulty of reconciling the physical body with the inner workings of the mind.

"Broken out doubling cock here / come to rest head hung faceless" takes a more explicit turn, emphasizing the raw physicality of the body. The use of "cock" is a direct reference to the male body, a reminder of the sexual aspect of physical existence. Yet, this explicit physicality is juxtaposed with the image of the "head hung faceless," suggesting a loss of identity or individuality. The body is reduced to its most basic components, but the mind, represented by the head, remains "faceless"—unable to fully assert itself or find meaning. The repetition of imagery involving hanging or being held down emphasizes a recurring theme of surrender, resignation, and the struggle to maintain agency.

The poem reaches a conclusion with "one and another down hands at last together. / held me held me." This repetition suggests both a coming together and a letting go. The phrase "hands at last together" evokes an image of unity or closure, as if the speaker has finally found a way to reconcile the different parts of themselves—mind, body, and perhaps even another person. The repetition of "held me held me" reinforces the longing for comfort and connection, as if the speaker finds solace, however fleeting, in being held.

Creeley';s use of fragmented syntax and enjambment throughout "Body (1)" mirrors the disjointed nature of the speaker';s thoughts and emotions. The structure itself reflects the difficulty of maintaining a coherent sense of self when confronted with the complexities of the body and mind. The lack of punctuation creates a stream-of-consciousness effect, emphasizing the immediacy and fluidity of the speaker';s experience. The fragmented language and imagery contribute to a sense of dislocation, as if the speaker is continually trying to piece together their identity from disparate parts.

"Body (1)" is a powerful exploration of the relationship between the body and the mind, the desire for connection, and the struggle for identity. Through its fragmented structure, raw language, and evocative imagery, the poem captures the complexity of human existence—the tension between the physical and the mental, the longing for wholeness, and the inevitability of disintegration. Creeley’s portrayal of the body is unflinching, presenting it as both a site of desire and a vessel of confusion, constantly shifting and evolving as the speaker grapples with their own sense of being. The poem leaves the reader with a sense of the unresolved nature of identity, the body forever caught between connection and isolation, presence and absence.

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