Classic and Contemporary Poetry: Explained

Robert Creeley';s "Dogs of Auckland" is a deeply reflective and multi-faceted poem that captures the speaker';s experience of being in a foreign place, the passing of time, and the relationships between individuals, animals, and their environments. Through its eight sections, the poem uses the motif of dogs to explore themes of belonging, identity, connection, and alienation. The dogs represent both literal and symbolic presences, embodying companionship, familiarity, and even the primal instincts that exist within human society.

The first section sets the scene with a sense of curiosity and exploration: "Curious, coming again here, where I hadn’t known where I was ever." This opening introduces the speaker';s disorientation in Auckland, suggesting a sense of being lost or unsure of one’s place. The speaker follows the "lead of provident strangers," an indication of their willingness to adapt, relying on others for direction and purpose. The mention of a "small balloon of purpose across the wide ocean" emphasizes a sense of frailty and the precariousness of one';s journey away from home, with friends and relations "all left behind." There is an inherent tension between the drive to keep moving forward and the vulnerability of being in an unfamiliar place. The reference to a story by Janet Frame, where a brain is discarded by a cleaning woman, hints at existential questions—how one';s identity, when isolated from its context, can be diminished or discarded without meaning.

In the second section, the speaker reflects on their escape from their "apparent life" almost twenty years ago, fleeing "into the vast Pacific" to Auckland. This departure is described with an air of dramatic finality, as if the speaker sought a transformation or an escape from something burdensome. The arrival at "Auckland Airport" and meeting old friends like Russell Haley and Alan Loney gives a sense of comfort, yet there is an underlying feeling of disconnection. Even in the midst of familiar faces and events like the America’s Cup, the speaker questions, "How to stay real in such echoes?"—highlighting the struggle to maintain a sense of authenticity amidst overwhelming experiences and celebrations. The body is mentioned several times, suggesting physical limitations or discomfort, as if the speaker is attempting to reconcile their sense of self with their physical presence.

The third section introduces a more intimate aspect of the speaker';s life in New Zealand. The poem shifts to domestic scenes, with vivid descriptions of a rented house, children, and a garden. The line "I am writing this, sitting at the table, and love you more and more" reveals a personal and tender connection with someone else, contrasting the earlier feelings of alienation. The mention of going to bed, lying "side by side, reading," and then "sliding close up to one another" paints a picture of warmth and closeness, which stands in contrast to the cold detachment described elsewhere. This moment offers a respite from the existential questioning that pervades other parts of the poem, focusing instead on the comforts of love and routine.

In the fourth section, the speaker returns to reflections on Auckland, noting the everyday sights of "green plastic garbage bins" and "persistent small flowering bushes." The presence of dogs becomes more pronounced, with a dog barking at the speaker as they enter through the gate. The dog';s "young slight mistress" appears "as if in dream," adding to the surreal quality of the scene, as if everything around the speaker is slightly disconnected from reality. The questions "where sounds go after they’ve been, where light once here is now" reveal a preoccupation with the transient nature of existence, mirroring the ephemeral quality of the sights and experiences described. The imagery of the bus "papered with dogs, pictures of dogs" evokes a whimsical and surreal moment, as if the dogs themselves are traveling, occupying human roles and appearing as "patient like passengers."

In the fifth section, the speaker muses on their continued experience of Auckland. "Raining again. Moments ago the sky was a grey lapping pattern" conveys a sense of the changing weather, reflecting the speaker';s shifting emotions. The reference to Ted Berrigan and friends who are "absent or dead" introduces an element of nostalgia and loss. The quote "you don’t really know where you are till you move away" resonates with the speaker';s experience of being in Auckland—displacement allows for new perspectives but also leads to a sense of disorientation. The scene with the lady pushing in to pay for her items and then watching dogs playing reflects a yearning for connection, but also an awareness of the limitations of interaction.

The sixth section, "Hence the dogs, ';The Dogs of Auckland,';" brings the dogs into focus as symbols of belonging and specific identity within the city. The speaker describes their memory of stepping carefully over a castle made of blocks as a child, suggesting a sense of care for something fragile, which parallels the way they view the city of Auckland—vast and surrounded by an endless ocean. The dogs are described as having a "cannily human" presence, embodying familiarity and companionship. The mention of Maggie, the speaker';s former dog, brings a sense of nostalgia and personal connection, contrasting with the imagery of the dogs of Auckland. There is a reflection on identity and companionship, as the speaker imagines themselves as a dog, revealing an affinity with the simplicity and loyalty often attributed to dogs.

The seventh section presents a shift towards emptiness and alienation: "Empty, vacant. Not the outside but in." The speaker reflects on a place that seems to lose its meaning when viewed in the context of absence—both people and dogs are no longer there. The phrase "Le Chien d’Auckland, c’est moi!" suggests a moment of self-identification with the dog, representing a state of both vulnerability and independence. The imagery of a lost dog, along with the reference to Anubis, the Egyptian god associated with death and the afterlife, adds a darker, more introspective tone. The poem delves into themes of mortality and the sense of being left behind, as if the speaker has taken on the role of an abandoned or wandering creature.

In the final section, the speaker reflects on the presence of the dogs once more, noting how "the dogs aren’t necessarily with the people at all, nor are the people with the dogs." This observation points to the separation between beings, even those that appear to belong together. The line "That’s where we are" evokes a sense of suspended reality, as if the speaker and the dogs are caught in a moment of reflection that transcends physical location. The dogs are described as being "down on all fours" with "furry, various coats," representing a kind of grounding that the speaker seems to lack. The section ends with an acknowledgment of the simplicity and loyalty of the dogs, whose presence provides comfort and a sense of continuity amidst the complexities of human relationships.

Overall, Robert Creeley';s "Dogs of Auckland" is a complex and introspective meditation on identity, belonging, and the relationships between people, places, and animals. Through vivid imagery and shifting perspectives, the poem captures the speaker';s experience of being in Auckland, exploring the tension between connection and alienation, the desire for companionship, and the transient nature of existence. The dogs, both literal and symbolic, serve as a recurring motif that embodies loyalty, simplicity, and a grounding presence, contrasting with the speaker’s introspective questioning and the complexities of human life. The poem ultimately speaks to the challenges of finding one';s place in the world and the longing for a sense of home, whether through human relationships, familiar routines, or the comforting presence of animals.

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