Classic and Contemporary Poetry: Explained

In "H’s", Robert Creeley presents a tender and intimate portrait of a young girl, likely a child named Hannah, capturing her innocence and vitality in vivid, minimalist detail. The poem is structured around moments of observation, where small gestures and physical details build a picture of a child’s presence in the world. Creeley’s characteristic economy of language is evident throughout, as each phrase contributes to the emotional resonance of the scene. Through these fragmented images, the poem reflects on childhood, love, and the simple yet profound act of being present in the world.

The opening line, "Have Hannah’s happy health—" sets the tone with an invocation of well-being. This line conveys a sense of hope or blessing for the child’s continued health and happiness, a wish for her to retain the vitality that defines her. The phrase "happy health" underscores the connection between physical wellness and joy, as if health and happiness are inseparable in the purity of childhood. This opening feels celebratory, as though the speaker is offering a kind of benediction for Hannah’s life.

The following line, "have whatever, be here, hombre . . .," introduces a casual, almost playful shift in tone. The speaker seems to be addressing another person, possibly an adult, in a relaxed and colloquial manner. The use of "hombre," a term that carries connotations of masculinity and camaraderie, contrasts with the delicate image of the child. This juxtaposition hints at a broader meditation on presence—whether it is Hannah’s presence in the world or the speaker’s presence in the moment. The phrase "be here" reinforces the idea of presence, suggesting that to fully experience life, one must be fully present, just as the speaker is in this moment with Hannah.

Creeley then zooms in on specific details: "Her hands upon edge of table, her eyes as dark centers, her two teeth." These lines create an intimate snapshot of Hannah’s physical features and actions. The image of "her hands upon edge of table" evokes a child’s curiosity and engagement with the world, as if she is exploring her surroundings or preparing to climb up. The phrase "her eyes as dark centers" conveys a sense of depth and focus, as though Hannah’s eyes hold a universe of thoughts and emotions despite her young age. The mention of "her two teeth" adds a touch of innocence and vulnerability, grounding the poem in the small, specific details that make Hannah uniquely herself.

The description that follows—"her climbing, sacklike, / limp, her hands outstretched"—captures a moment of physical action, possibly Hannah’s attempt to move or reach for something. The word "sacklike" suggests a playful clumsiness, as if her movements are uncoordinated but endearing, typical of a young child still learning to control her body. The image of her "hands outstretched" implies a gesture of reaching, either for something physical or for connection with the world around her. This moment of action conveys both her innocence and her determination to engage with her surroundings.

"Or simply out / to it, her coming here, / her, all of her, her" reinforces Hannah’s presence and the speaker’s focus on her. The repetition of "her" emphasizes the totality of her being, as if the speaker is in awe of everything that she is. This line suggests that Hannah is not defined by a single action or feature but by the fullness of her existence. Her mere presence, her "coming here," is enough to capture the speaker’s attention and affection. There is a sense of reverence in these lines, as though the speaker is marveling at the completeness of her being.

The next lines—"her words of her, Hannah, / Hannie, Good girl, / good"—introduce speech and affection. The repetition of "her" and the use of her names—"Hannah, Hannie"—show the speaker’s intimacy and tenderness toward the child. The use of "Good girl, / good" reflects the kind of simple, affirming language often used with children, reinforcing both care and approval. The speaker’s love for Hannah is evident in these repetitions, as though each utterance of her name is an expression of affection and pride.

"So we go / on with it. So is / Hannah / in this world" concludes the poem with a reflection on continuity and existence. The phrase "So we go / on with it" suggests that life, despite its small moments of wonder or tenderness, continues in its usual rhythm. There is a sense of acceptance here, as if the speaker recognizes that these fleeting moments with Hannah are part of the larger flow of life. The final lines, "So is / Hannah / in this world," affirm her place in the world, underscoring the simplicity and profundity of her being. The use of "in this world" situates Hannah within the broader context of life, acknowledging both her individual uniqueness and her shared existence within the human experience.

Overall, "H’s" is a beautifully spare meditation on the presence of a young child, capturing the wonder and simplicity of her existence through Creeley’s characteristic minimalism. The poem is rich with affection, as the speaker observes and cherishes the small details of Hannah’s movements, appearance, and presence. Through these carefully chosen fragments, Creeley reflects on the beauty of being present in the moment, both for the speaker and for the child, and how such moments are central to the experience of life itself.

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