Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Knock Knock" is a minimalist reflection on avoidance, resistance, and the nature of external pressures that demand attention. Through concise language and an almost instructional tone, Creeley creates a sense of psychological tension between the speaker and an unnamed, yet clearly powerful, force. The poem explores themes of self-preservation, identity, and the nature of confrontation, while also hinting at a deeper existential struggle. By refusing to engage with this external force, the speaker asserts a kind of passive resistance that may be seen as both a defense mechanism and an act of defiance.

The title, "Knock Knock," immediately evokes the familiar rhythm of a knock at the door—a universal signal of someone or something trying to gain entry, seeking acknowledgment or interaction. The knock represents a form of intrusion or demand, and the title primes the reader to expect a response to this familiar call. However, the poem subverts this expectation from the outset, as the speaker commands, "Say nothing / to it." This instruction signals an immediate refusal to engage with whatever is knocking, whatever is trying to enter. The imperative "say nothing" is not just a call for silence, but for non-engagement—an active resistance to the impulse to respond.

"Push it away" follows this initial command, emphasizing physical and emotional distancing from this external force. The speaker is not merely suggesting avoidance but a forceful rejection of what is being offered or demanded. The word "push" conveys an act of will, a conscious effort to create space between oneself and the approaching force. The refusal to engage is not passive but rather a deliberate choice to resist being drawn into a confrontation or interaction.

The line "Don’t answer" reinforces this stance of refusal. To answer would be to open oneself up to whatever "it" is, to acknowledge its presence and potentially allow it entry. The speaker’s insistence on not answering creates a barrier, a boundary that protects the self from the demands or influence of this external force. The repetition of commands—"say nothing," "push it away," "don’t answer"—builds a sense of urgency and reinforces the speaker’s determination to remain detached.

The following lines, "Be grey, / oblique presence," introduce a more nuanced approach to resistance. The speaker suggests that one should not only refuse to engage but should become something amorphous and difficult to grasp. "Grey" is often associated with ambiguity, neutrality, and blending into the background. To "be grey" is to become indistinct, to avoid standing out or becoming a target for attention. The phrase "oblique presence" furthers this idea, suggesting a presence that is indirect, unclear, or difficult to pin down. By becoming an "oblique presence," the speaker seeks to become something that cannot be easily defined or confronted, making it harder for the external force to gain control or influence.

The speaker then takes this concept further with the line "Be nothing / there." This instruction represents the ultimate form of resistance: to become nothing at all, to entirely remove oneself from the situation. "Be nothing" is an act of self-erasure, a way of withdrawing so completely that the external force has nothing to latch onto. This withdrawal is not framed as a loss of self, but as a form of protection. By becoming "nothing," the speaker escapes the demands or influence of whatever is knocking. This line resonates with the poem’s broader themes of self-preservation and the desire to remain untouched by external forces.

The poem shifts slightly in tone with the lines, "If it speaks / to you, it / only wants / you for itself." Here, the speaker acknowledges the possibility that the external force might speak, but immediately warns against engaging with it. The "it" in the poem is not given a specific identity, allowing readers to project their own interpretations onto it—it could represent societal expectations, fear, temptation, or even the pressures of daily life. What is clear, however, is that the "it" is seen as a threat to the speaker’s autonomy. The warning "it only wants / you for itself" suggests that engaging with this force would result in a loss of self, that the "it" is greedy, consuming, and manipulative. The phrase "wants you for itself" implies that this force seeks to dominate or possess, leaving no room for the speaker’s individuality or independence.

The final lines, "and it has / more than you, / much / more," conclude the poem on a note of stark realism. The speaker acknowledges the overwhelming power of this external force—"it has / more than you"—implying that the "it" is stronger, more resourceful, or more persistent than the speaker. This admission of the force’s superiority adds a layer of vulnerability to the speaker’s position. The speaker knows that they are outmatched, that engaging with this force would likely result in their being overwhelmed or consumed. However, this recognition does not lead to defeat but rather reinforces the earlier instructions to resist, avoid, and withdraw.

The repetition of "much / more" at the end of the poem underscores the vastness of the external force’s power. It serves as a final reminder that, while the speaker may be aware of their limitations, they can still choose to resist by not engaging, by remaining "grey" and "nothing" in the face of overwhelming power.

Structurally, the poem’s short lines and sparse language reflect the urgency and directness of the speaker’s instructions. The minimalism of the poem mirrors the simplicity of the speaker’s strategy: say nothing, do nothing, be nothing. This spareness also creates a sense of isolation, as if the speaker is caught in a solitary struggle against an unnamed force. The lack of punctuation and enjambment between lines encourages a continuous flow, as if the speaker is offering these instructions in a rapid, urgent tone, reinforcing the idea that resistance must be immediate and unwavering.

Thematically, "Knock Knock" explores the tension between self-preservation and external pressure. The knocking represents a force that seeks to disrupt the speaker’s autonomy, while the speaker’s refusal to engage represents a form of passive resistance. The poem’s emphasis on becoming "nothing" or "grey" suggests that the speaker believes the best way to maintain autonomy is to avoid confrontation altogether, to become invisible or elusive in the face of overwhelming power.

In conclusion, Robert Creeley’s "Knock Knock" is a meditation on resistance, avoidance, and the delicate balance between engagement and self-preservation. Through minimalist language and stark imagery, Creeley captures the internal struggle of a speaker faced with an external force that threatens to consume or dominate. The poem’s refusal to name the force allows it to resonate with a wide range of personal, societal, or existential challenges, making it a powerful exploration of the ways we protect ourselves from forces that seek to control or overwhelm us. By choosing to "say nothing" and "be nothing," the speaker asserts a form of passive defiance, highlighting the power of silence and withdrawal in the face of greater forces.

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