Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "For John Duff" draws on personal reflection, existential questioning, and a conversation about art and place, much like his previous poems dedicated to specific individuals. Here, Creeley addresses the sculptor John Duff, blending themes of friendship, art, and the ruggedness of the natural world. By referencing Wallace Stevens’ poem "Anecdote of the Jar" in the epigraph, Creeley immediately situates the reader in the realm of the relationship between art and environment—how objects placed within a landscape can transform it, and, in turn, be transformed by it. This poem is no different: it explores the interaction between human-made structures and the natural world, as well as the way in which life, friendship, and art are inevitably shaped by the places we inhabit.

The poem begins with a vivid image of a "Blast of harsh flat sunlight on recalcitrant ground after rain." This scene sets the tone of life in New Mexico, where Creeley lived for a time. The sunlight is "harsh" and "flat," suggesting an unyielding, almost oppressive environment. The ground, described as "recalcitrant," resists both the rain and the subsequent sun, much like the human experience Creeley alludes to in the poem—a life that refuses to yield to easy answers or comfort. This landscape reflects the speaker’s inner world: tough, unwelcoming, yet real.

Creeley’s description of New Mexico as "not a tourist’s paradise" and "not the solar energy capital of the world" suggests a gritty reality that contrasts with the romanticized notions people often have about the American Southwest. It’s not a place of easy living or idyllic weather, and Creeley makes it clear that he doesn’t necessarily feel at home here. He goes so far as to say, “If I had my way, I’d be no doubt long gone.” This sentiment reveals a sense of restlessness, a desire to escape. But at the same time, the speaker remains grounded—"But here I am"—accepting his place within this rough landscape, perhaps because of the connections he shares with friends like John Duff.

The speaker shifts into a conversation about "plastic America," a phrase that evokes the artificiality and consumerism that permeate modern life. This critique contrasts with the rugged, natural environment of New Mexico. The conversation between the speaker and Duff touches on "other friends other places," suggesting a world beyond their current setting, yet it’s clear that the conversation also circles back to the here and now. The question, "What will we do today?" underscores the sense of existential aimlessness: what is there to do in a world where heart’s peace seems so elusive? The phrase "When will heart’s peace descend in rippling, convenient waves" captures the longing for tranquility, but also the awareness that such peace is not easily achieved, nor does it arrive conveniently.

Creeley’s questioning tone continues with "Why is the sky still so high. What’s underfoot." These rhetorical questions reflect the speaker’s deeper search for meaning in an environment that feels both vast and indifferent. The sky’s height represents the unattainable, the distant, while the "underfoot" suggests a groundedness in reality. The contrast between the vast sky and the immediate ground highlights the tension between lofty ideals and the hard realities of life.

The poem takes a personal turn with Creeley’s admission, "I don’t feel comfortable with Indians— / and the Mexican neighbors with seventeen kids." This uncomfortable honesty speaks to the complexities of living in a place with different cultures and histories. Creeley acknowledges his unease, revealing a sense of alienation or disconnect from the indigenous and Mexican communities around him. The question, "what time exists now still to include them," suggests a reflection on time, space, and belonging. How do different cultures coexist in a place that has been marked by so many layers of history, colonization, and change?

Creeley moves from these personal and existential questions to a more concrete image: "On the slight lip of earth down from the gate at the edge of the arroyo sits a menhir." The menhir, a type of upright stone, represents something ancient and enduring, much like the natural landscape itself. However, Creeley quickly undermines this mythic image by pointing out that the "menhir" is made of "common old stretcher cement blocks." The juxtaposition of the ancient and the mundane highlights Creeley’s recurring theme of art and construction in a world that is both beautiful and utilitarian. This "column" is a humble structure, not grand or mythic, but it is "explicit, of the mind, both thought and the senses provoke it." The column stands as a symbol of the relationship between art and the material world—how simple, practical objects can evoke complex thoughts and emotions.

Creeley’s focus on this "quiet grey column" reflects his appreciation for minimalism and subtlety. It’s not grandiose, but it is "handsome," and in its simplicity, it holds meaning. The column is “here now forever,” Creeley asserts, though he acknowledges the irony that “no matter it falls in a day.” This paradox captures the tension between permanence and impermanence in both life and art—everything can be destroyed, but its impact, its presence, lingers.

The poem’s closing lines turn back to Duff and the personal connection that inspired this piece: "Ok, John. / When you’re gone, I’ll remember also forever the tough dear sentiment, the clarity, / of your talking, the care." Here, Creeley expresses gratitude for Duff’s presence and the friendship they shared. Duff’s "tough dear sentiment" suggests both a no-nonsense attitude and a deep affection, while his "clarity" speaks to his insight or artistic vision. This tribute to Duff becomes a broader meditation on the nature of art and existence: "And this it you gave us: / here is all the wonder, / there is all there is." Creeley seems to be saying that Duff, through his art and his friendship, revealed the wonder of the present moment, the significance of "here" and "there," of being in the world and recognizing the beauty and meaning that can be found in it.

In "For John Duff", Creeley blends personal reflection with philosophical inquiry, using the harsh landscape of New Mexico and the simple image of a cement column to explore themes of place, identity, and art. The poem grapples with the tension between permanence and impermanence, between the natural world and human-made structures, and between the individual and the collective. Through his tribute to Duff, Creeley offers a meditation on the value of friendship and the enduring impact of art, even in a world where nothing lasts forever.

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