Classic and Contemporary Poetry: Explained

In "Road," Robert Creeley contemplates mortality, loss, and the passage of time with stark, unflinching language that conveys a sense of isolation and inevitability. The poem captures the speaker’s confrontation with the reality of death, not as a distant concept, but as an approaching certainty. Through imagery of the dead’s physical decay and reflections on the soul’s impermanence, Creeley evokes an existential contemplation on the fragility of life and the solitude of the journey toward death. "Road" ultimately reflects a sense of resignation, as the speaker recognizes the inescapable destination that lies at the end of life’s path.

The opening lines, “Whatever was else or less / or more or even / the sinister prospect / of nothing left,” present a series of possible outcomes or interpretations of existence, as though the speaker is exploring various scenarios for what might come after life. The mention of “the sinister prospect / of nothing left” introduces an element of existential dread, hinting at the fear of absolute emptiness or meaninglessness. This phrase captures the speaker’s anxiety over death as an end with no continuation, suggesting that the prospect of “nothing left” is both disturbing and conceivable.

The line “not this was anticipated, / that there would be no one / even to speak of it” brings a sense of unexpected desolation. The speaker expresses surprise at the complete solitude surrounding death, not only for themselves but for all people, as though there will be no one left to remember or mourn. The idea that there would be “no one / even to speak of it” underscores the finality of death, suggesting that all remnants of existence fade without witnesses or legacies, leaving an unrecorded emptiness. This line reveals a profound loneliness, as if the speaker had once hoped for connection or continuity beyond life but now confronts a reality devoid of those assurances.

“Because all had passed over / to wherever they go” introduces the image of those who have already died, transitioning to an unknown realm. This phrase evokes a sense of mystery, as though the departed have moved to an unreachable place, leaving the living in a state of inevitable separation. The uncertainty of “wherever they go” emphasizes the speaker’s lack of knowledge about the afterlife, reinforcing the theme of death as a journey into the unknown. This ambiguity reflects the universal fear and curiosity surrounding what happens after death, as well as the understanding that death is a solitary journey, unshared and ultimately unknowable.

The lines “Into the fiery furnace / to be burned to ash. / Into the ground, / into mouldering skin and bone” provide vivid, almost brutal imagery of physical decomposition. “The fiery furnace” suggests cremation, while “into the ground” conjures images of burial and decay. These images are unflinching, focusing on the bodily processes that follow death without romanticizing or obscuring them. The words “mouldering skin and bone” emphasize the decay and transience of the human body, underscoring the inevitability of returning to the earth. This grounding in the physical world highlights Creeley’s unsentimental view of death, portraying it as a natural yet stark process that strips away identity and personality, reducing individuals to mere remains.

“With mind the transient guest, / with the physical again dominant / in the dead flesh under the stones” reflects on the ephemeral nature of consciousness, suggesting that the mind or soul is merely a temporary inhabitant within the body. By describing the mind as a “transient guest,” Creeley implies that while the soul or consciousness gives life its essence, it does not linger after death; instead, the physical body becomes dominant once again in death. This line emphasizes the finality of death, where the mind fades and the body returns to its elemental state. The phrase “dead flesh under the stones” is hauntingly evocative, drawing attention to the way burial renders the body anonymous and inert, absorbed by the earth without individuality or consciousness.

The question, “Was this the loved hand, the / mortal ‘hand still capable of grasping . . .’” reflects on the paradox of the human body’s transformation in death. The “loved hand” is an image of intimacy and life, a part of the body associated with connection and touch. The use of a quote—“hand still capable of grasping”—echoes William Carlos Williams’ meditation on mortality, emphasizing the loss of the hand’s ability to act or connect once life has passed. This line evokes the sorrow of seeing a beloved body rendered powerless, emphasizing the transition from life, where the hand could once reach and connect, to death, where it becomes nothing more than flesh beneath the earth. The question implies a lingering disbelief or grief, as though the speaker struggles to reconcile the living person they once knew with the inanimate remains they leave behind.

“Who could speak / to make death listen?” introduces a sense of powerlessness in the face of death. This question suggests that no words, no pleas, can alter the course of mortality or delay its approach. Death is portrayed as indifferent, unaffected by human desires or expressions of grief. This line reflects the speaker’s resignation, as though they recognize that death is unresponsive and immovable, immune to any attempt at negotiation or defiance.

“One grows older, / gets closer” brings a personal tone to the meditation, connecting the poem’s reflections to the speaker’s own aging process. The simple phrasing captures the inevitability of moving toward death, step by step, with each passing year. The repetition in these lines conveys a sense of slow but relentless progress, emphasizing that everyone is on this journey, moving gradually but certainly closer to the end.

The closing line, “It’s a long way home, / this last walking,” encapsulates the poem’s somber meditation on life’s final journey. The idea of a “long way home” suggests that death is both an end and a return, as though the speaker is returning to the earth or to a state of nonexistence. This “last walking” evokes a sense of solitude and resignation, as if the speaker views this journey toward death as a solitary process that one must face alone. The tone here is not one of fear but of acceptance, acknowledging that this final journey is part of the natural course of life.

In "Road," Robert Creeley presents a deeply contemplative reflection on mortality, solitude, and the inevitable decay of the body. Through vivid, sometimes brutal imagery, he examines the reality of death and the gradual journey toward it, ultimately accepting it as the final “walking” that each individual must undertake alone. The poem’s unflinching exploration of physical decay, the transient nature of consciousness, and the indifferent finality of death offers a poignant reminder of the human condition, urging readers to confront and accept the natural progression toward life’s end with humility and introspection.

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