Classic and Contemporary Poetry: Explained

In "World (1)", Robert Creeley explores the complex interplay between love, memory, and the lingering presence of loss. The poem unfolds as an intimate moment between two people, but it is haunted by the appearance of a third presence—an ambiguous, ghostly figure who embodies the past and intrudes on their shared space. Through a tone that is both tender and unsettling, Creeley captures the fragility of connection, the shadows cast by unresolved memories, and the ways in which past relationships can infiltrate the present. The poem’s language is both direct and enigmatic, leaving readers to decipher the unspoken emotions that permeate the scene.

The poem opens with a yearning to reassure: “I wanted so ably to reassure you, I wanted the man you took to be me, to comfort you.” This line sets up the speaker’s desire to be a source of stability and comfort, embodying the qualities that his partner seeks in him. The phrase “the man you took to be me” introduces a subtle tension, suggesting that the speaker is conscious of the role he is expected to play, as if his partner’s perception of him doesn’t fully align with his own sense of self. This initial desire to “reassure” establishes an undercurrent of vulnerability, as the speaker seems aware that his partner’s comfort depends on a certain idealized version of him.

The speaker then recalls going to the window and “pushed back, as you asked me to, / the curtain, to see the outline of the trees in the night outside.” This action—the simple act of pulling back a curtain—serves as a gesture of openness, allowing light to filter in and illuminating the scene. The outline of trees in the night is both a grounding, familiar image and a harbinger of the mysterious presence that will soon intrude. The night outside holds a certain ambiguity, as if it represents the unknown or the unspoken aspects of their relationship. The act of looking out into the darkness hints at the poem’s central theme of confronting past shadows that remain just beyond reach.

“The light, love, / the light we felt then, greyly, was it, that came in, on us” captures a moment of shared intimacy, where light and darkness blend into an almost indistinct “greyly” hue. This grey light, neither fully dark nor fully bright, suggests a liminal space, as if they are caught between warmth and coldness, love and uncertainty. The phrase “not merely my hands or yours, or a wetness so comfortable” shifts attention to the physical aspects of their connection—their hands, their closeness, the comfort of shared intimacy. Yet, this line also hints that their connection is not solely physical; there is an emotional or perhaps even spectral dimension that transcends touch, entering into a space of shared vulnerability.

As the woman sleeps, a “grey figure” appears and “came so close and leaned over, / between us.” The figure’s intrusion is subtle yet palpable, as it positions itself between the two lovers, disrupting their intimacy. This ghostly presence—revealed to be the woman’s “grey lost tired bewildered brother”—symbolizes a part of her past that has not fully departed. He is described as “unused, untaken— / hated by love, and dead, but not dead,” a phrase that captures the ambiguity of his existence. This brother is no longer living, yet he lingers in the minds and emotions of those who loved him, his presence half-formed and restless, a shadow of unresolved memory.

The speaker experiences this encounter with the ghostly figure as an uncomfortable revelation, forced “to see it, and be seen by it.” This act of mutual recognition between the speaker and the ghost is laden with complexity. The speaker perceives himself as “the intruder, as he was not,” which suggests a sense of guilt or inadequacy in relation to the brother’s memory. In his partner’s life, the brother’s presence was integral, a part of her identity and emotional world that the speaker feels he can never fully replace. By describing himself as the “intruder,” the speaker acknowledges the difficulty of stepping into a life already shaped by loss and past relationships. This confrontation with the brother’s spectral presence lays bare the insecurities that accompany love—the fear of inadequacy and the feeling of being unable to meet the expectations shaped by the past.

The speaker attempts to address the ghostly figure, saying, “it is all right, she is happy, you are no longer needed.” This line is both a reassurance and a dismissal, as if the speaker is trying to lay the memory of the brother to rest. He tells the ghost that his sister is content, implying that the brother’s protective or supportive role has been taken over by the speaker. Yet, the speaker’s tone is hesitant, as if he is uncertain whether this assertion is true or if he has the authority to dismiss the brother’s lingering influence. The speaker’s words, “he is dead,” are an attempt to put the past to rest, to assert the finality of death as a boundary that separates the living from the dead. However, this act of dismissal seems only partly effective, as the ghost leaves only when the woman “shifted and woke,” sensing something amiss.

The poem’s final lines capture the dawning of a new day: “the light then of the sun / coming for another morning in the world.” The appearance of sunlight signals the end of the nocturnal encounter and the return to the present. However, this morning light is more than just a marker of time; it represents a return to normalcy, a grounding in the tangible world after a night filled with specters and unresolved emotions. The sunlight brings warmth and clarity, contrasting with the ambiguous grey light of the earlier scene. Yet, this new day also holds the weight of the previous night’s experience, as if the encounter with the ghost will linger in the speaker’s mind, a reminder of the complexities and shadows that love must navigate.

In "World (1)", Robert Creeley crafts a meditation on love, memory, and the unavoidable presence of the past in our lives. Through the speaker’s interaction with the ghostly figure of the woman’s brother, the poem reveals the layers of history and unresolved emotion that accompany intimate relationships. The speaker’s desire to comfort and reassure is complicated by his confrontation with the past, highlighting the vulnerability and insecurity that come with trying to build a future with someone shaped by loss. "World (1)" ultimately captures the delicate balance between intimacy and separation, between the comforting warmth of love and the haunting shadows of memory. Through this exploration, Creeley invites readers to consider the ways in which the past lingers within our present lives, even as we strive to move forward into the light of a new day.

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