Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Roman Sketchbook: Object" is a contemplative exploration of the tension between external perception and internal experience, particularly in the context of self-reflection and personal identity. The poem presents a striking image of a man retreating to the safety of his hotel room, using the physical act of "pulling in" as a metaphor for internalizing and attempting to control both his physical body and his mental state. The poem uses simple, almost domestic imagery to explore complex ideas about personal boundaries, identity, and the desire for freedom.

The opening line, "The expandable enveloping flat flesh," suggests a pliable, somewhat vulnerable human body. The choice of words like "expandable" and "enveloping" implies both physical elasticity and an all-encompassing nature, while "flat flesh" evokes an image of something ordinary and unremarkable, yet crucially human. There is a sense of the body being malleable, adaptable, and ultimately capable of being shaped or influenced. This malleability implies a lack of fixed boundaries, suggesting that identity, too, may be shaped by both external forces and internal decisions.

The next lines—"he pulls in to center in hotel / room’s safety like taking in / the wash which had flapped / all day in the wind"—describe a retreat into a controlled space. The action of "pulling in" indicates a need for security and consolidation, moving away from the unpredictability of the external world. The comparison to "taking in / the wash which had flapped / all day in the wind" is evocative; it suggests vulnerability to external forces, just as laundry is exposed to the wind, left to be shaped and moved by something beyond its control. By taking in the wash, the speaker implies an act of reclaiming and containing oneself after a period of exposure.

The repetition of "in"—"In, he / measures his stomach, in like / manner his mind"—highlights the inward focus of the speaker. The act of "measuring his stomach" is literal, but it also suggests an internal assessment, an attempt to quantify or control something physical. This self-measurement extends metaphorically to the mind, as the speaker attempts to gauge and understand his own thoughts and feelings. The repeated use of "in" emphasizes the withdrawal from external distractions, reflecting a desire to turn inward, seeking clarity and control.

The line "inside his / persistent discretion, way, unopened / to anything by impression" suggests a self-imposed boundary—a deliberate and persistent discretion that prevents outside influences from entering. The speaker appears to be closed off, choosing not to let external impressions affect his internal world. This discretion indicates a kind of self-protection, a reluctance to be influenced or swayed by anything beyond the self. It conveys a sense of isolation, as if the speaker is trying to keep himself insulated from the chaos and unpredictability of the world.

The ellipsis in the middle of the poem signals a pause or a gap in thought, leaving space for contemplation or the acknowledgment of something unspoken. It is as though the speaker’s inward examination requires a moment of silence—a recognition that there may be aspects of this internal process that cannot be fully articulated.

The following lines—"So often in such Romantic apprehension / he had wanted only to roam"—reflect a desire for freedom and exploration, contrasting sharply with the earlier images of containment and inward focus. The term "Romantic apprehension" evokes a longing for the idealized freedom often associated with Romanticism, a yearning to escape boundaries and constraints in search of something greater or more meaningful. Yet, despite this desire "to roam," the speaker is weighed down by the realities of existence, by the limitations of both the physical and mental self.

The poem’s conclusion—"but howsoever he weighed it or waited / whatsoever was ';Rome'; was home"—brings together the themes of longing, place, and identity. The reference to "Rome" is significant, as the city is historically a symbol of grandeur, exploration, and cultural achievement. However, for the speaker, "Rome" represents something different—it is "home," suggesting a return to familiarity and comfort rather than a place of adventure. The phrase "howsoever he weighed it or waited" implies that despite all considerations and attempts to reconcile the desire for exploration with the need for security, the conclusion remains the same: the notion of "Rome" is inevitably tied to the concept of home.

The poem’s title, "Object," suggests a focus on something tangible, something that can be observed or examined. In this context, the "object" may be the self—the speaker';s body, mind, and sense of identity. The poem is an introspective examination of this object, reflecting on the tension between external perceptions and internal realities. The contrast between the desire to roam and the acceptance of home suggests that the speaker is ultimately grappling with the limitations of the self, recognizing that the yearning for freedom is tempered by the need for security and familiarity.

"Roman Sketchbook: Object" captures the complexity of human experience, the push and pull between the desire for exploration and the need for safety. Creeley’s use of imagery, from the expandable flesh to the laundry flapping in the wind, conveys a sense of vulnerability and the inevitability of being shaped by both internal and external forces. The poem’s introspective tone invites the reader to consider the boundaries between the self and the world, and the ways in which our identities are formed by both our experiences and our responses to them. Through the interplay of containment and longing, Creeley presents a nuanced meditation on the nature of identity, the struggle for autonomy, and the reconciliation between the desire to explore and the comfort of home.

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