Classic and Contemporary Poetry: Explained

Robert Creeley’s “House (2)”, set in Mas-Soñer Restaurat—Any— 1920, is an evocative meditation on decay, memory, and the persistence of life and beauty despite ruin. Through its detailed imagery and reflective tone, the poem explores themes of restoration, the passage of time, and the inherent potential for renewal. Creeley’s characteristic attention to physical details and the delicate interplay between the present and the past create a poignant reflection on impermanence and the resilience of memory and nature.

The poem begins with a depiction of an old structure: “Old slope of roof, gutted windows, doors, / the walls, with crumbling stucco shows the mortar and stones underneath.” The description paints a vivid image of an old farmhouse or building in disrepair, exposing the underlying materials that form its foundation. The emphasis on “gutted windows” and “crumbling stucco” suggests a sense of neglect or abandonment, highlighting the passage of time and the building’s gradual decay. The phrase “shows the mortar and stones underneath” hints at a deeper theme of revealing what lies beneath the surface—both physically and metaphorically. There is a rawness to this description, as if the building’s essence is laid bare, exposing the fragility of human constructions.

The speaker’s position is made clear in the line “Sit on stone wall adjacent / topped with brick,” establishing a sense of physical proximity and engagement with the scene. The act of sitting and observing implies a contemplative stance, as if the speaker is taking a moment to reflect on the past and the present state of this place. The details of the “ground roundabout’s weeds, red dirt, bare rock” further emphasize the setting’s sense of natural encroachment and deterioration, as nature gradually reclaims what was once carefully constructed. The choice of words such as “weeds” and “bare rock” suggests a kind of natural persistence, where life continues to grow and adapt despite the decline of human-made structures.

The poem then shifts focus as the speaker looks outward: “Then look east down through valley— / fruit trees in their rows, the careful fields, / the tops of the other farmhouses below— / then the city, in haze, the sea.” This panoramic view offers a contrast to the decayed building, suggesting a broader landscape that extends beyond the immediate ruins. The “fruit trees in their rows” and “careful fields” indicate the presence of ongoing cultivation and care, hinting at the persistence of life and labor even in the midst of decay. The mention of the “city, in haze” and “the sea” evokes a sense of distance and nostalgia, as if the speaker is considering the broader context in which this place exists.

The speaker’s introspective stance becomes more apparent as the poem delves into memory and time: “Look back in time if you can— / think of the myriad people contained in this instant in mind.” Here, the speaker encourages both themselves and the reader to reflect on the passage of time and the countless lives that have intersected with this place. The phrase “contained in this instant in mind” suggests that memory is not linear but layered, with the past coexisting with the present in the speaker’s consciousness. This reflection on “myriad people” hints at the transient nature of human life and the ways in which places accumulate layers of history and meaning.

Despite the decay and the passage of time, the poem rejects an easy conclusion of loss or melancholy. Instead, the speaker acknowledges the ruin with acceptance: “But the well top’s gone, and debris litters entrance. / Yet no sadness, no fears life’s gone out.” This line suggests a recognition of change and decay without succumbing to despair. The absence of “sadness” or “fears” indicates a sense of peace or acceptance of the inevitability of change and the passage of time. The phrase “life’s gone out” might initially suggest finality, but the subsequent lines counter this impression with an assertion of potential restoration and renewal.

The poem’s tone shifts again as the speaker considers the possibility of revival: “Could put it all right, given time, and need, / and money, make this place sing, / the rooms open / and warm, and spring / come in at the windows / with the breeze.” The conditional phrasing—“given time, and need, / and money”—acknowledges the practical constraints of restoration, but the imagery of making “this place sing” conveys a sense of hope and possibility. The idea of the “rooms open / and warm” evokes a vision of hospitality and renewal, where the building could once again be a living, breathing space. The mention of “spring” coming in at the windows with the breeze reinforces the idea of renewal and rejuvenation, connecting the physical restoration of the building with the natural cycles of growth and change.

The poem concludes with a delicate image: “the white blossom / of apple / still make this song.” The reference to the “white blossom / of apple” suggests purity, beauty, and the continuity of life. The phrase “still make this song” implies that, despite the passage of time and the decay of human constructions, the essential beauty and vitality of nature persist. The use of the word “song” conveys a sense of harmony and continuity, as if the apple blossom embodies the ongoing resilience and grace of the natural world.

In “House (2)”  Creeley captures a moment of reflection on decay, memory, and the potential for renewal. The poem’s detailed imagery and shifting perspectives evoke a sense of both loss and hope, acknowledging the inevitability of change while suggesting the possibility of restoration and revival. Through its attention to the physical details of the landscape and its nuanced exploration of memory, the poem invites readers to consider the ways in which places accumulate meaning over time and the resilience of beauty in the face of impermanence.

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