Classic and Contemporary Poetry: Explained

Robert Creeley’s "Help (2)" is a sharp, biting reflection on the harsh realities of life, aging, and the societal pressures of economic survival. The poem’s disjointed, conversational tone mirrors the speaker';s frustration with the relentless demands placed on individuals in a capitalist society, particularly as they grow older and become physically vulnerable. Creeley’s characteristic minimalism is evident in the poem’s fragmented structure, allowing him to distill complex themes into short, cutting lines that convey a sense of helplessness, cynicism, and resignation.

The poem opens with a rhetorical question: "Who said you didn’t want to keep what you’ve got," implying that someone (perhaps society, or the speaker’s own internal critic) has questioned the value of holding onto material possessions or stability. The phrasing suggests that people are expected to desire more than they have, to continually strive for accumulation, and that even what they currently possess is precarious. The speaker’s use of the phrase "would help the other guy share the bulging pot of goodies" hints at a sense of irony or bitterness, as if the idea of sharing wealth or resources is either an unrealistic ideal or something that comes with strings attached. The "bulging pot of goodies" symbolizes the material rewards of life, which are often unevenly distributed and guarded by those who have them.

The notion of being "bought on time by the plot" introduces the idea of life being controlled by external forces—whether societal, economic, or even existential. "Bought on time" suggests living on borrowed time, perhaps through debt, contracts, or obligations that govern one’s life. The "plot" could refer to a larger societal scheme or narrative that dictates people’s actions and choices, limiting their freedom. Creeley hints at the tension between individual agency and societal control, suggesting that even if people appear to have possessions or wealth, they are still subject to a larger "plot" that ultimately defines their lives.

The line "wouldn’t give you a dime sick or not" reflects the stark reality of economic systems that prioritize profit over individual well-being. Whether healthy or ill, one’s value in this system is tied to their ability to stay "well" and productive. The phrase "you’ve got to stay well if you want to buy time" reinforces the idea that health is commodified—remaining healthy is necessary for continuing to work, earn money, and essentially "buy time" to enjoy life’s basic pleasures. The use of the phrase "buy time" also evokes the idea that time itself is a luxury, something that must be earned or purchased through labor.

As the poem progresses, Creeley paints a grim picture of physical deterioration: "when you aren’t sick in bed / blood running out / bones broken down / eyes going blind." These vivid, visceral images of aging and illness convey a sense of inevitable decline. The body is breaking down, succumbing to time’s effects, and with that breakdown comes an increasing sense of powerlessness. The juxtaposition of this physical decline with the earlier discussion of material survival emphasizes the disconnect between societal expectations of productivity and the reality of human frailty. The line "you battered old goat" adds a touch of bitter humor, suggesting that even in this state of physical degradation, one is expected to keep going, to keep participating in a system that demands constant output.

The poem shifts towards a critique of economic systems that offer no respite or support: "no payments to make / no insurance is fine / when you plan to die." Here, Creeley underscores the futility of financial systems like insurance when death is inevitable. The line "no insurance is fine" is laden with irony—insurance is only useful if one expects to live long enough to benefit from it. When death is near or inevitable, the speaker implies, the need for such protections becomes moot. The idea of "planning to die" suggests a resignation to one’s fate, a grim acceptance that, in the end, financial and material security mean little in the face of mortality.

Creeley’s poem touches on the tension between life’s demands and the inevitability of death. The lines "when you don’t mind the wait / if you can’t stand up" speak to the speaker’s weariness. The inability to "stand up" symbolizes both physical decline and the emotional or psychological exhaustion that accompanies it. The speaker seems to have reached a point where waiting for death has become tolerable, even preferable, to the ongoing struggle to keep up with the demands of life.

The poem ends on a note of bitter contrast, as the speaker observes that "all the others are busy / still making money." This closing image highlights the perpetual cycle of capitalism, where, even as some individuals succumb to illness, aging, or death, others continue the relentless pursuit of wealth. There’s a sense of isolation here—the speaker is no longer part of this cycle but instead watches from the sidelines, aware that the system continues without them. The word "busy" implies a kind of mindless engagement, as if those still making money are caught up in the system without questioning its purpose or their own participation in it.

Overall, "Help (2)" offers a stark, unflinching look at the intersection of aging, mortality, and capitalism. Creeley’s use of vivid imagery and dark humor drives home the point that life’s demands do not cease even as the body fails, and the pursuit of material wealth often continues in a way that overlooks the inevitability of death. The poem’s fragmented, conversational style reflects the speaker’s internal dialogue, grappling with the tension between personal decline and societal expectations. Through this meditation, Creeley invites readers to consider the absurdity of a system that demands constant productivity and participation, even as the end of life approaches.

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