Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Roman Sketchbook: Here" captures the essence of a moment in Rome, juxtaposing historical remnants with the chaotic, often gritty modern reality of the city. Through his observations, Creeley invites readers to explore themes of impermanence, the layering of history, and the search for a sense of escape. His characteristically sparse and unembellished language helps convey the ordinary, everyday scene, highlighting the coexistence of the past and present within the Roman landscape.

The opening line, "Back a street is the sunken pit of the erstwhile market first century," introduces an evocative image of the city’s ancient history. The "sunken pit" of the "erstwhile market" suggests a place that has been lost to time, a relic of the "first century" that is now reduced to a remnant. The word "sunken" implies both literal depth and a metaphorical sense of being forgotten or neglected. The market that once thrived has become a pit—a hollow in the city that hints at what was once full of life. This juxtaposition sets the tone for the rest of the poem, emphasizing the inevitable decline that accompanies the passage of time.

Creeley’s reference to "the feral cats now wait for something to fall in" adds a touch of bleak humor and poignancy. The feral cats, now the only inhabitants of this historic site, symbolize the resilience of life in unexpected forms. Their waiting, however, is passive, and their presence in the ruins of a once-vibrant market suggests the transformation of a space once bustling with human activity into one of abandonment and survival. The image evokes a sense of decay and a stark contrast between the grandeur of the past and the mundane present.

The description continues: "along the far side is the place where you get the bus, a broad street divided by two areas for standing with a covered provision, etc." Creeley moves from the ancient market to a modern bus stop, emphasizing the disjunction between past and present. The mundane details of the bus stop—the "broad street" and "covered provision"—highlight the everyday, utilitarian nature of contemporary life, a stark contrast to the ancient history that lingers just behind. The abrupt "etc." implies an indifference or a reluctance to elaborate, as if the speaker sees the modern infrastructure as unremarkable compared to the historical context.

The interjection "Antichi! Zukofsky’d say—all of it humbling age," references Louis Zukofsky, an influential poet and key figure in the Objectivist movement. The word "Antichi!"—meaning "ancient" or "old" in Italian—underscores the overwhelming presence of history in Rome. By mentioning Zukofsky, Creeley nods to a fellow poet who might also appreciate the juxtaposition of past and present, and who would recognize the humbling effect of seeing ancient relics in the midst of modern life. The use of "all of it humbling age" suggests that the remnants of history evoke a sense of awe and humility in the face of time';s vastness.

Creeley continues, "the pitted, pitiful busts someone’s sprayed with blue paint," painting a vivid image of vandalized statues. The description of the busts as "pitted" and "pitiful" suggests the erosion of both time and respect, while the blue paint speaks to the disregard for these artifacts by contemporary onlookers. The defacement of these historical objects becomes a metaphor for the way the past is often misunderstood or mistreated by the present—its significance obscured by the careless marks left behind.

The line "the small streets laboring with compacted traffic" highlights the contrast between the narrow, ancient streets and the pressures of modern life. The streets are described as "laboring," giving them an almost human quality, as if they are straining under the weight of cars and congestion. This image of the small, struggling streets reflects the tension between the city';s historical character and the demands of modern urban life. The word "compacted" implies a sense of overburdening, suggesting that the infrastructure was never meant to handle such weight and activity.

"The generous dank stink floods the evening air" captures the sensory reality of the city. The "dank stink" is described as "generous," an ironic choice that conveys the abundance of unpleasantness, permeating the air without restraint. This vivid, visceral imagery serves as a reminder that the city is not just a romanticized collection of ancient ruins but a living, breathing entity, complete with its unsavory and overwhelming qualities.

The poem concludes with the question, "Where can we go we will not return to?" and the assertion, "Each moment, somewhere." This rhetorical question suggests the inevitability of return, whether literal or figurative. It implies that no matter where one goes, there is a sense of revisiting—whether it be in memory, experience, or even a cycle of similar feelings and circumstances. The answer, "Each moment, somewhere," reflects the transient nature of experience. Every moment, while unique, is a return to a familiar state of existence—there is no ultimate escape from the cycles of life. The ending emphasizes the theme of perpetual movement, both in time and space, and the impossibility of escaping one';s internal journey.

"Roman Sketchbook: Here" captures the coexistence of history and modernity in Rome and reflects on the inevitability of decay and the cyclical nature of existence. Creeley’s detailed, unembellished language presents a city that is both ancient and relentlessly current, juxtaposing the grandeur and decline of history with the banalities and discomforts of everyday life. The contrast between the ruins inhabited by feral cats and the bustling, smelly streets filled with traffic underscores the dissonance between the romantic ideal of Rome and the reality of its lived experience.

Creeley’s reflections on age, history, and the passage of time are interwoven with the recognition that each moment, however seemingly ordinary, carries echoes of what came before. The poem’s closing question and answer reinforce the idea that while we may seek escape or novelty, we are constantly confronted by the past—whether it be in the physical remnants of ancient history or the recurring patterns of our own lives. Through "Roman Sketchbook: Here," Creeley captures the beauty, complexity, and contradiction of a city that is forever caught between what it was and what it continues to become.

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