Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Dreams" is an exploration of human desire, the nature of hunger—both literal and metaphorical—and the fragmented self. The poem juxtaposes dream imagery with introspective musings, presenting a scene that feels simultaneously personal and universal. Creeley uses a conversational tone that oscillates between a narrative of a shared meal, reflections on identity, and the feeling of being in multiple places at once. This dynamic exploration reveals the complexity of the human experience, particularly the tension between satisfaction and longing, and the way our past experiences shape our present perceptions.

The poem opens with a vivid, visceral image: "What you think you eat at some table like a pig / with people you don’t even know." This scene sets a tone of discomfort and alienation. The comparison to a pig suggests a lack of refinement and a sense of excess or indulgence. The speaker finds themselves eating in the company of strangers, which evokes an unsettling sense of disconnection and unfamiliarity. The act of eating, something often associated with comfort and community, here becomes a scene of almost grotesque consumption—a reflection of base instincts without emotional fulfillment. The setting emphasizes the feeling of not belonging, as the speaker shares a meal with "people you don’t even know."

"And lady there feeds you all and you, finally you at least are full, say, / look at them still eating!" introduces a figure of authority, the "lady," who is responsible for feeding everyone. The speaker, having been fed, notices that others continue eating, even after they are full. This observation leads to a critical reflection, as if the speaker is distanced from those who are still consuming, unable to understand their insatiable hunger. The speaker';s remark, "look at them still eating!" implies judgment or a sense of superiority, as if they have achieved a sense of satisfaction that eludes the others.

"Why (says a woman, another sitting next to me) those others still eating you so cannily observed / are unlike you who could be fed because you were hungry!" shifts the perspective to another character—a woman sitting next to the speaker who offers an explanation. She distinguishes between the speaker and the others, suggesting that the speaker';s hunger was genuine, while the others are "possessed by the idea of hunger." The phrase "possessed by the idea of hunger" implies that their need is psychological rather than physical, a kind of existential emptiness that cannot be satiated. This distinction highlights a central theme of the poem: the difference between true need and an insatiable desire driven by something deeper, a need that goes beyond mere sustenance.

"But them, they can’t—they are possessed by the idea of hunger, never enough to eat for them, agh . . ." emphasizes the unending nature of this desire. The use of "agh" conveys frustration or despair, suggesting that the speaker recognizes the futility of their consumption. It implies a deep dissatisfaction that cannot be alleviated, a reflection of the human condition where the pursuit of fulfillment often leads to more emptiness. This hunger, whether it is for food, connection, or something more abstract, becomes an endless pursuit, highlighting the inherent incompleteness of human beings.

"Or you either, dreamer, who tells this simple story / being all these same offensive persons in one empty head." Here, the poem takes a self-reflective turn, as the speaker identifies themselves as the "dreamer" who embodies all of these "offensive persons." This acknowledgment blurs the line between the observer and the observed, suggesting that the judgment cast upon the others is also a judgment on the self. The phrase "one empty head" emphasizes the idea of a fragmented identity, where multiple conflicting desires and perspectives exist within a single person. This fragmentation points to the complexity of human nature—how we can be both the critic and the subject of critique, simultaneously seeking fulfillment while being aware of the futility of our pursuits.

"In dreams begin the particulars of those echoes and edges, / the quaint ledges of specific childhood nailed to my knees and / leaning in unison while the other men went off, the / women working, the kids at baleful / play, mud-colored." This section delves into the nature of dreams and memory, connecting the present experience with the past. "In dreams begin the particulars" suggests that dreams are the starting point for understanding specific details of one';s life, the "echoes and edges" that shape identity. The imagery of "specific childhood nailed to my knees" evokes a sense of being burdened by the past, as if memories are physically attached to the speaker, weighing them down. The description of "the other men went off, the women working, the kids at baleful / play" presents a scene of disconnection and perhaps loss, where traditional roles are being played out, but the overall tone remains one of unease and dissatisfaction. The mention of "mud-colored" adds a sense of dullness, as if the vitality of childhood is clouded or obscured.

"Years ago in / Albuquerque, New Mexico we’d / stopped the night I dreamt I was to be child forever / on way to get the kids from camp." This part of the poem offers a specific memory, grounding the dream imagery in a real place and time. The idea of "dreamt I was to be child forever" reflects a longing for the innocence and simplicity of childhood, contrasted with the responsibilities of adulthood. This moment captures the tension between the desire to return to a simpler time and the recognition that such a return is impossible. The specificity of the location—Albuquerque, New Mexico—serves to anchor this otherwise ethereal reflection, suggesting that these memories are deeply rooted in real experiences.

"Have you ever had vision as if / you were walking forward to some / edge of water through the trees, some country / sunlit lane, some place was just ahead / and opening as your body elsewise came / and you had been in two places?" These closing lines evoke a vivid vision that blends the natural world with a sense of possibility. The imagery of "walking forward to some / edge of water through the trees" suggests a journey toward something that is just out of reach, a liminal space between what is known and what is unknown. The mention of being "in two places" speaks to a sense of dislocation, as if the speaker exists simultaneously in the present and in a dream, or between two different realities. This sensation reflects the duality of dreams, where one can experience both a profound sense of presence and an awareness of being elsewhere.

The structure of "Dreams" is fragmented, with enjambed lines that create a sense of fluidity and movement, mirroring the dream-like quality of the imagery. The lack of clear punctuation in places allows the poem to flow between different thoughts and images, reflecting the fluid and often disjointed nature of dreams. Creeley';s use of direct language, combined with introspective and philosophical musings, captures the tension between the ordinary and the extraordinary, the literal and the metaphorical.

"Dreams" ultimately explores themes of desire, fulfillment, and the fragmented self. Through vivid imagery and a conversational tone, Robert Creeley captures the complex nature of human hunger—whether for food, connection, or meaning. The poem delves into the idea of insatiable longing, contrasting the speaker';s momentary satisfaction with the unending hunger of others, and ultimately recognizing that these different facets of desire exist within the same "empty head." By blending dream imagery with specific memories, the poem reflects on the interplay between the conscious and subconscious, the past and the present, and the tension between what is real and what is imagined. In "Dreams," Creeley invites readers to confront the complexities of their own desires and the elusive nature of fulfillment, acknowledging that the pursuit of satisfaction is often as fragmented and ambiguous as the dreams that inspire it.

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