Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Eight Plus" is a set of meditative inscriptions written for eight bollards at 7th & Figueroa in Los Angeles, dedicated to James Surls. The inscriptions are poetic fragments that explore themes of existence, presence, identity, and the passage of time, engaging with the urban environment as both a physical and symbolic space. The poem speaks from the perspective of these stationary objects, reflecting on the lives and moments that pass by, creating a layered dialogue between the inert and the dynamic, the mundane and the profound.

The opening lines, "What’s still here settles at the edges of this simple place still waiting to be seen," suggest an awareness of a quiet, overlooked presence. The speaker—perhaps the bollard itself—reflects on being part of a "simple place" that often goes unnoticed, yet continues to exist, "waiting to be seen." The "edges" refer to both the literal edges of the place and the figurative periphery of attention, indicating that the bollard represents something unassuming that settles into the background.

"I didn’t go anywhere and I haven’t come back!" emphasizes the static nature of the bollard, which is physically immobile, yet it implies a consciousness that has experienced something without ever moving. This statement challenges the idea that movement is necessary for experience, suggesting that even stillness carries its own form of presence.

"You went by so quickly thinking there’s a whole world in between" addresses the transient movement of people passing by, who may not notice the bollard at all. The phrase "a whole world in between" conveys the sense that the moments people experience, while rushing from one place to another, are significant in themselves but often missed. The bollard';s stationary nature allows it to witness this movement, suggesting a deeper appreciation of the present moment, which those who rush past may overlook.

"It’s not a final distance, this here and now" implies that the present moment is not a conclusion but part of an ongoing process. The "here and now" is fleeting and continuously transforms, suggesting that the experience of being in one place is not static but constantly in flux. The bollard, despite its stillness, embodies this shifting nature of existence.

"How much I would give just to know you’re standing in whatever way here" introduces a sense of longing and connection. The bollard desires recognition, wanting to know that someone acknowledges its presence. This sentiment evokes the human need for connection, emphasizing the symbolic relationship between the stationary and the passerby.

"Human eyes are lights to me sealed in this stone" conveys the perception of the bollard as something that sees and witnesses but is bound within its physical form. The "human eyes" represent the living, dynamic presence of people, while the bollard is "sealed" in stone—aware but unable to actively engage.

"No way to tell you anything more than this one" suggests limitations in communication. The bollard, despite having thoughts or awareness, lacks the means to convey them fully. This sentiment captures the barrier between perception and expression, highlighting how much can be experienced but never shared.

"You walk tired or refreshed, are past in a moment, but saw me" emphasizes the transient nature of human interaction. The people walking by might be weary or energetic, but their passing is brief, a momentary recognition of the bollard. Despite the fleeting connection, the speaker values being seen, pointing to the small but meaningful acknowledgment of its existence.

"Wish happiness most for us, whoever we are, wherever" offers a universal sentiment of goodwill, directed towards both the bollard and the people passing by. It suggests a sense of unity, a recognition that despite the differences in experience, there is a shared hope for well-being.

"If I sit here long enough, all will pass me by one way or another" captures the sense of inevitability in the passage of time. The bollard remains in one place, and over time, everything will eventually come to pass. This line reflects the patience of something fixed, which watches as the world changes around it.

"Nothing left out, it’s all in a heap, all the people completed" suggests an accumulation of experiences, moments, and people. The phrase "all in a heap" implies a collective whole, where everything has contributed to a complete narrative. It conveys a sense of closure or fullness, a recognition that all experiences are part of a larger, interconnected whole.

"Night’s eye is memory in day- light" introduces a poetic image of memory as something that lingers into the present, much like how the experiences of night remain present in daylight. This line suggests that what is experienced or remembered at night carries over into the daytime, creating a continuity of awareness.

"I’ve come and gone from here with no effect, and now feel no use left" speaks to a sense of futility or insignificance. The speaker acknowledges that its presence has not had any notable impact, reflecting an existential realization of purposelessness.

"No one speaks alone. It comes out of something" emphasizes the idea that all communication is part of a larger context, emerging from a shared history or collective experience. This reflects a fundamental interdependence, suggesting that even a solitary voice is connected to others.

"Could I think of all you must have felt? Tell me." This question introduces empathy and curiosity, suggesting the bollard';s desire to understand the experiences of those passing by. It points to the limitations of perception while conveying an openness to learning about others.

The following lines explore the idea of what lies beyond the physical space: "What’s inside, what’s the place apart from this one?" This question suggests a curiosity about what is beyond the visible, implying a philosophical inquiry into the unseen or unknown.

"I’m just a common rock, talking" brings a self-awareness to the bollard';s role, acknowledging its ordinariness yet also its attempt to communicate. This line captures the juxtaposition between the mundane and the profound, as something as simple as a rock seeks expression.

"World’s still got four corners" suggests a persistence of traditional notions or fixed ideas, indicating stability amidst change. It may also imply a sense of continuity in a rapidly changing world.

"You’ve got a nice face and kind eyes and all the trimmings" is a moment of warmth, as if the bollard is extending a compliment to a passerby. The casual tone adds a touch of humor, suggesting that even something as inanimate as a bollard can observe and appreciate human qualities.

"We talk like this too often someone will get wise!" This closing line introduces a playful warning, suggesting that the ongoing conversation—perhaps between the bollard and the humans passing by—may eventually lead to a greater realization. It implies that repeated exchanges or observations might lead to an understanding or insight that could change everything.

Robert Creeley';s "Eight Plus" is a profound exploration of presence, perception, and the interaction between the mundane and the significant. Through the voice of a seemingly inanimate bollard, the poem captures the complexity of being stationary in a dynamic world, the desire for connection, and the observations made from a fixed position. The poem invites readers to consider the perspectives of those things that seem ordinary or invisible, emphasizing the value of recognition, the shared experience of existence, and the interconnectedness of all beings and objects, however static or fleeting they may be.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...