Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Dialing for Dollars" is a fragmented reflection on themes of money, family, mortality, and the value of human connection. The poem consists of four parts, each offering a distinct vignette that explores how money intersects with different aspects of life—health, love, desire, and materialism. Creeley’s use of fragmented language and shifting tones evokes the complexity of these relationships, blending humor, vulnerability, and resignation.

The first section, "CHOO CHOO," begins with a reference to the poet';s mother: "My mother just on edge of unexpected death / the fact of one operation over successful." This line situates the reader in a moment of uncertainty, hovering between life and death. The "edge of unexpected death" captures the precariousness of her situation, while the mention of a successful operation suggests a temporary reprieve. The mother';s declaration—"it’s all free, Bob! / You don’t have to pay for any of it!"—infuses the poem with an almost ironic optimism. Her excitement about the absence of cost contrasts with the gravity of the situation, implying a sense of relief, perhaps, in the face of mortality. The mention of "Life, like. / Waiting for the train." connects life to a transient state, like waiting for a train that will eventually depart, suggesting that life, too, is something we cannot hold onto forever. The metaphor captures both the impermanence of life and the way we often find ourselves in moments of anticipation, unsure of what comes next.

The second section, "LIKE MINE," takes on a more intimate, personal tone: "I’ll always love you / no matter you get all that money / and don’t need a helping hand like mine." This stanza explores love in the context of financial success. The speaker expresses an unconditional love that persists regardless of material circumstances, even as they acknowledge that the recipient of their love may no longer need them. The phrase "a helping hand like mine" suggests a sense of vulnerability, as if the speaker has been a source of support, but now finds themselves in a position where their assistance may no longer be required. The juxtaposition of love and money raises questions about dependency and the true nature of relationships—whether love transcends material wealth or if financial independence diminishes the need for emotional support.

The third section, "WAITING," shifts to a reflection on money itself: "I’ve never had the habit of money / but have at times wanted it, / enough to give myself and friends / an easy time over the hump." Here, the speaker admits to never having been accustomed to wealth, but acknowledges a desire for it—not for luxury, but simply "to give myself and friends / an easy time." This sentiment captures the universal wish for financial stability and the ability to alleviate the struggles of those we care about. The phrase "over the hump" suggests that the desire for money is not driven by greed but by a need to get through difficult times. The speaker goes on to say, "but you can probably keep it, / I’m just here breathing, brother, / not exactly beside you." This line conveys a sense of resignation, as if the speaker has decided that money, ultimately, is not essential to their sense of self or well-being. The reference to "breathing" implies a focus on the basic necessities of life, suggesting that simply existing and being present is more important than material wealth. The phrase "not exactly beside you" adds a layer of ambiguity, perhaps suggesting a distance—emotional or physical—between the speaker and the person they are addressing.

The final section, "THE WILLYS," is succinct and enigmatic: "Little dollar bills." The simplicity of this line underscores the triviality of money, reducing it to "little dollar bills." The word "little" diminishes the importance of money, contrasting with the previous sections where financial concerns were linked to love, health, and stability. The title "THE WILLYS" might refer to a feeling of unease or anxiety—often colloquially called "the willies"—implying that money, despite its supposed power, can be a source of discomfort or unease. This closing section serves as a reminder that, ultimately, money is just paper—something small and insignificant in the grand scheme of life.

The structure of "Dialing for Dollars" is fragmented, with each section standing alone while contributing to a larger meditation on the complexities of money and human relationships. The shifts in tone—from humor and irony to intimacy and resignation—reflect the multifaceted nature of the subject matter. Creeley’s use of simple, conversational language allows the poem to explore profound themes in an accessible way, inviting readers to consider their own relationships with money and the ways in which it intersects with love, mortality, and identity.

Overall, "Dialing for Dollars" by Robert Creeley is a reflective exploration of the different ways in which money impacts our lives. Through vivid vignettes and shifting perspectives, Creeley captures the tension between the desire for financial security and the realization that true value lies in human connection and presence. The poem ultimately questions the significance of money, suggesting that while it can provide temporary comfort or stability, it is ultimately inadequate in addressing the deeper needs of love, companionship, and the acceptance of life';s impermanence.

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