Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Last Mile" is a profound meditation on mortality, memory, and the human impulse to make sense of life and death. Through a conversational and reflective tone, the speaker grapples with the death of a friend, eight years past, while considering broader existential questions about the meaning of life, the inevitability of death, and the ways in which we, as humans, struggle to find significance in both. The poem explores the tension between the inevitability of death and the persistent desire to continue engaging with life, even when faced with its finality. At its core, "Last Mile" is a reflection on the limits of human experience and understanding, yet it also carries a message of resilience and affirmation.

The opening line, "What's to be said of friend dead-eight years later?" immediately presents the central question of the poem: how do we remember and speak about those who have passed away? The use of "eight years later" signals the passage of time, yet the question implies that the speaker is still wrestling with this loss, suggesting that the memory of the friend remains unresolved or incomplete. The phrase "What's to be said" conveys both the futility and the necessity of language when it comes to death; words often feel inadequate, but they are the only means by which we can process and honor the dead.

The next lines, "Should he have waited for whatever here comes together / to make a use for these friends and fools," introduce the idea of purpose and meaning in life. The speaker questions whether the friend should have "waited" for something more—to see what life might bring, to see how things might "come together." The inclusion of "friends and fools" adds a layer of ambiguity, suggesting that all people—regardless of their wisdom or foolishness—struggle with the same fundamental questions about the purpose of life and death. The speaker seems to wonder whether life offers any ultimate meaning or if, instead, we are all left searching for "excuse" or justification for our lives, grasping for "testament" or "interpretation" that might validate our existence.

The line "for their own investment" hints at the idea that we cling to interpretations of life and death in part because we are personally invested in finding meaning in them. This investment is both emotional and existential, as we seek to reconcile the inevitability of death with our desire to believe that our lives—and the lives of those we love—matter in some larger sense. The poem suggests that these attempts at interpretation are ultimately self-serving, born out of a need to justify our own existence.

The next section of the poem shifts in tone: "You know the world is one big blow—that's all." This blunt statement introduces a note of cynicism or resignation, as the speaker reduces the complexity of life to a single, overwhelming force: a "blow." The word "blow" can be interpreted both literally and metaphorically—it could refer to the harsh realities of life, the unexpected hardships we endure, or the inevitability of death itself. The speaker’s assertion that "that's all" implies a kind of nihilistic acceptance of life's unpredictability and its lack of inherent meaning.

The speaker continues, "I'm here as well, now unable to say what it is or was," emphasizing the uncertainty and confusion that comes with trying to articulate the meaning of life or death. The speaker is caught between past and present, grappling with what life "was" and what it "is" now, but unable to arrive at any definitive understanding. The phrase "he said, more than to stay / in the body / all the way / to the grave" introduces the voice of the deceased friend, whose words resonate with the speaker’s reflections. The friend’s words—about staying in the body until death—emphasize the inevitability of mortality and the simple fact that, despite all our fears and uncertainties, life ends in death.

The lines "which is what scares us / then and now" bring to the forefront the fear of death that pervades human consciousness. The speaker acknowledges that this fear is not new—it has always existed and continues to haunt us. The phrase "So much for the human" is a terse, almost dismissive statement that underscores the fragility and insignificance of human life in the face of death. This line serves as a kind of pivot, where the speaker shifts from contemplating the weight of mortality to reflecting on the futility of human endeavor: "No one more than any / ever did anything."

The poem then transitions into a more introspective reflection on the absurdity of human effort: "But we’ll still talk about it, / as if to get out of it, / be God’s little symbols . . ." These lines suggest that much of human conversation—particularly about death and meaning—is an attempt to escape the reality of mortality. The phrase "be God’s little symbols" introduces a sense of irony, as the speaker reflects on the idea that humans often strive to find meaning or significance in their lives, positioning themselves as symbols of something larger, perhaps divine, but ultimately unable to escape the inevitable.

The poem’s final section offers a moment of defiant resilience: "At least to stand forth— / walk up the path, / kick the goddamn rock." This image of "kicking the goddamn rock" is both literal and metaphorical, symbolizing an act of rebellion, frustration, and engagement with the physical world. The act of kicking the rock becomes a stand-in for resisting the overwhelming weight of existential dread and simply continuing to move forward, despite the inevitability of death.

The concluding lines, "Then take deep breath / and cry— / Thank god I’m alive!" offer a powerful affirmation of life, despite all the uncertainties and fears that surround it. The speaker’s exclamation—thanking God for life—serves as a reminder that, even in the face of mortality and confusion, the act of living is worth celebrating. This final cry, though simple, expresses a deep gratitude for existence, capturing the tension between despair and hope that runs throughout the poem.

Structurally, "Last Mile" employs Creeley’s characteristic enjambed lines and fragmented syntax, which create a sense of fluidity and immediacy. The conversational tone of the poem, combined with its shifting perspectives, allows the speaker to move between personal reflection, philosophical musing, and emotional intensity. This structure mirrors the speaker’s mental and emotional journey as they grapple with death, memory, and the meaning of life.

In conclusion, Robert Creeley’s "Last Mile" is a poignant exploration of mortality, memory, and the human struggle to find meaning in life and death. Through its conversational tone, the poem captures the tension between resignation and resilience, as the speaker confronts the inevitability of death while also celebrating the act of living. The poem’s reflections on the passage of time, the fear of death, and the absurdity of human effort offer a complex meditation on what it means to be human. Yet, in its final moments, "Last Mile" affirms the value of life, suggesting that, despite everything, the simple act of living remains something to be cherished.

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