Classic and Contemporary Poetry: Explained

In "Peace," Robert Creeley offers a raw, unfiltered reflection on aging, change, and the disillusionment that often comes with the passage of time. Through colloquial language and direct, almost abrasive phrases, Creeley captures the voice of someone who has moved past certain youthful ideals and identities, finding instead a detached acceptance of life’s inevitable transitions. The poem’s fragmented, conversational tone mirrors the speaker’s sense of disorientation and ambivalence, evoking a world where certainty has faded, replaced by a weary acknowledgment of the transient and the superficial. This work examines the complexities of personal history and the disillusionment with material attachment, presenting an unsentimental, almost resigned view of existence.

The opening line, “You’re looking at a chopper, / brother—no words to say,” sets a tone of immediacy and toughness, as though the speaker is calling attention to something blunt and mechanical, a “chopper” that could be either a motorcycle or a helicopter. This “chopper” might symbolize freedom or escape, representing a mode of swift departure from whatever the speaker is facing. Addressing the reader as “brother” establishes a casual, almost confrontational familiarity, as though the speaker is talking to an old friend or companion in a coded, shared language. The phrase “no words to say” suggests a feeling of emptiness or loss for what to express, reflecting the inarticulate frustration or resignation that often accompanies disillusionment.

“Just step on / the gas, man, up and away” conveys an impulse to escape or leave behind whatever burdens the speaker. The command to “step on / the gas” implies a desire for immediate action, for getting away from the current reality without overthinking. The phrase “up and away” further emphasizes this longing for distance, suggesting that the speaker feels trapped or limited by the constraints of their life or environment. There’s a sense of weariness here, as though the speaker sees escape as the only option left, albeit one that might be fleeting or incomplete.

“That’s dead, I know, / I don’t even talk like that / any more” introduces a shift in tone, where the speaker acknowledges that the language and attitudes they once held are now irrelevant or outdated. This line reveals an awareness of change, a recognition that the things the speaker once valued or expressed no longer hold the same weight. The phrase “that’s dead” suggests not only a disavowal of a past self but also a feeling of finality, as though certain aspects of the speaker’s identity have been irrevocably left behind. The act of disowning old language reflects a broader theme of detachment from the past, as if the speaker is shedding old skins or personas that no longer serve them.

“My teeth / are hurting” introduces a jarring physical detail that grounds the poem in the reality of aging and physical discomfort. This line seems to break the flow of thought, emphasizing the intrusion of the body’s limitations and the inevitability of decline. The mention of hurting teeth adds a raw vulnerability to the speaker, humanizing them in a way that counters the tough, detached tone of the earlier lines. This small detail captures the passage of time and its effects on the body, reminding the reader that physical decay is an unavoidable part of existence.

“But if you’ll wait / out back, and / hit yourself over the head / with a hard object” shifts to a sarcastic, almost self-deprecating humor. Here, the speaker invites the listener to join in their disillusionment, suggesting a crude way to experience the sense of detachment and numbness that life has imposed upon them. The act of hitting oneself “over the head” with a “hard object” is absurd and humorous, yet it also carries a hint of bitterness, as though the speaker believes that only through self-inflicted discomfort can one truly understand the realities of life. This invitation to share in the speaker’s disillusionment creates a bridge between past innocence and current cynicism, as if only through experience can one “dig” or understand the complexities of life.

“Like, you / like me were young once” underscores the shared inevitability of aging and the loss of youthful ideals. This line implies that both the speaker and the listener have experienced the same arc, moving from youthful optimism to a more jaded, pragmatic outlook. The casual, almost dismissive phrasing—“like, you / like me”—suggests a reluctance to dwell on these changes, as though the speaker prefers to avoid the weight of nostalgia or sentimentality. This acknowledgment of lost youth serves as a reminder of the impermanence of identity, as people grow and shed aspects of themselves over time.

“Jesus, here come / the creeps” introduces an unexpected shift, as if the speaker is suddenly interrupted by an unpleasant presence or memory. The “creeps” could represent unwelcome reminders of the past, people or experiences that no longer fit the speaker’s current life. This exclamation conveys both exasperation and resignation, implying that the speaker is accustomed to these intrusions but still finds them unsettling. This line adds a touch of irony to the poem, as though the speaker recognizes the absurdity of trying to escape while being continually haunted by what they’ve left behind.

“I wrote / a book once, and was / in love with / substantial objects” reflects on past accomplishments and material attachments with a tone of detachment. The reference to writing a book suggests a time when the speaker pursued something meaningful or creative, while the phrase “in love with / substantial objects” hints at a past infatuation with things that seemed solid or enduring. This line captures a sense of nostalgia for a time when life felt more grounded, when tangible achievements and possessions seemed to hold lasting value. However, by stating “No more,” the speaker reveals a shift away from this attachment, suggesting that these once-meaningful objects or pursuits have lost their significance.

The following lines—“I can / get out of here / or come here / or go there / or here, in five minutes”—convey a sense of restlessness and detachment from place, as though the speaker’s relationship to the physical world has become unmoored. The repeated mentions of “here” and “there” suggest a lack of rootedness, as if each location is interchangeable and ultimately meaningless. This movement between places reflects the speaker’s inner dislocation, a feeling of being adrift and unattached to any specific identity or goal. The phrase “in five minutes” adds an almost humorous tone, implying that the speaker’s sense of time and place has become trivial, reduced to an indifferent back-and-forth.

The final lines—“Later. This / is just to say I was / something or other, and you dig it, / that’s it, brother”—conclude the poem with a sense of resignation and irony. “Later” serves as a casual farewell, as if the speaker is tired of trying to explain or justify themselves. The phrase “just to say I was / something or other” reflects a dismissive attitude toward their own past, as though whatever they once were no longer matters. This line encapsulates the speaker’s disillusionment, suggesting that identity itself is transient and ultimately inconsequential. By ending with “that’s it, brother,” the speaker extends a sense of solidarity or understanding, as if inviting the listener to accept the same perspective of detachment and ambivalence.

Structurally, "Peace" is fragmented and conversational, with abrupt shifts in tone and topic that mirror the speaker’s ambivalence and disorientation. The lack of traditional poetic structure reflects the speaker’s resistance to being confined by form or convention, aligning with the poem’s theme of detachment from past ideals and identities.

In "Peace," Robert Creeley presents a candid, sometimes harsh reflection on aging, identity, and the disillusionment that comes with letting go of youthful aspirations. Through colloquial language and fragmented thoughts, the poem captures the speaker’s journey from attachment to detachment, from the pursuit of “substantial objects” to a state of acceptance that life is transient and ungrounded. The poem’s tone, both humorous and melancholic, underscores the complexities of reconciling with a self that is constantly changing, suggesting that peace may lie in embracing the impermanence of identity and finding solidarity in the shared human experience of growth and loss.

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