Classic and Contemporary Poetry: Explained

Robert Creeley's poem "Thinking" is a reflective meditation on self-perception, time, memory, and the workings of the mind. Through understated language and a fragmented, almost conversational structure, Creeley delves into the nature of thought, exploring how the mind shapes one’s understanding of life, identity, and relationships. The poem presents thought as a process that continuously shapes and reshapes perception, leaving the reader to consider the ways in which the mind’s "little pictures" and "squiggles and dots" construct the fabric of existence.

The opening lines, "I’ve thought of myself / as objective, viz., / a thing round which / lines could be drawn," reveal the speaker’s attempt to view himself in a detached, almost scientific way. The word "objective" suggests a desire to remove personal bias or emotion, as if the speaker is trying to analyze himself from an outside perspective. By imagining himself as "a thing round which / lines could be drawn," the speaker implies a desire for clarity and definition, a way to understand himself as a fixed, comprehensible entity. This idea of drawing lines around the self suggests boundaries and constraints, as if the speaker is seeking a stable, defined identity within the complexities of life. However, the idea of objectivity in self-perception is elusive, and Creeley hints at the inherent limitations of trying to fully define oneself in such a manner.

The following lines—"or else placed by years, the average / some sixty, say, a relative / number of months, days, / hours and minutes"—introduce the concept of time as another way of measuring and understanding existence. The speaker considers lifespan as a series of units—years, months, days—that create a framework for self-perception. This segmentation of time reflects the human tendency to quantify life, breaking it down into manageable intervals. However, by describing age as "relative," Creeley suggests that time is not an absolute measure of meaning or identity. It is merely a contextual backdrop against which the speaker evaluates his life. This sense of relativity implies that while time may offer structure, it does not fully encompass the richness of lived experience.

The line "I remember thinking of war / and peace and life / for as long as I can remember" reveals the speaker’s ongoing engagement with profound, universal themes. The juxtaposition of "war" and "peace" alongside "life" suggests a recognition of the dualities and conflicts that define human existence. This line implies that the speaker has always been preoccupied with these weighty concepts, as if they are inescapable aspects of conscious thought. The simplicity of "I think we were right" implies a quiet affirmation of the values or beliefs the speaker once held, but the brevity and uncertainty of this statement suggest that these convictions may not be as solid as they once were.

"But it changes, it thinks / it can all go on forever / but it gets older" introduces the theme of aging and the realization that time is not infinite. "It" seems to refer to both the self and the mind, which persist in thinking that life can continue indefinitely. The personification of thought—“it thinks / it can all go on forever”—suggests a sense of self-deception or denial, a resistance to the reality of mortality. However, the acknowledgment that "it gets older" brings a sobering recognition that time affects all, even the mind itself. The line "What it wants is rest" conveys a weariness, a desire for peace or reprieve from the endless cycle of thought. This moment captures the fatigue that often accompanies self-reflection and the gradual acceptance that endless questioning cannot provide all the answers.

"I’ve thought of place / as how long it takes / to get there and of where / it then is" reveals the speaker’s contemplation of physical space and movement. This notion of place is not defined by fixed coordinates but rather by the time and effort it takes to reach it. This perspective reflects a relational view of existence, where meaning is found not in static definitions but in the journey or process of reaching a destination. The speaker’s consideration of place as something dynamic and experiential aligns with the poem’s broader theme of thought as a continuous, evolving process.

The lines "I’ve thought of clouds, of water / in long horizontal bodies, or / of love and women and the children / which came after" broaden the scope of the speaker’s reflections to encompass natural phenomena, relationships, and family. The image of "clouds" and "water in long horizontal bodies" evokes a sense of vastness, fluidity, and continuity, suggesting that the speaker’s thoughts are not limited to abstract concepts but extend to the natural world and its rhythms. The mention of "love and women and the children / which came after" brings an intimate, personal element into the poem, grounding the speaker’s reflections in lived experiences and connections. This line captures a sense of legacy and continuity, as if the speaker’s life and thoughts are part of an ongoing cycle of relationships and growth.

The closing lines, "Amazing what mind makes / out of its little pictures, / the squiggles and dots, / not to mention the words," reflect on the mind’s ability to construct meaning from seemingly simple elements. The "little pictures" and "squiggles and dots" represent the fragments of memory, perception, and language that the mind weaves together to create a coherent sense of self and reality. This line suggests a sense of wonder at the mind’s capacity to build complex structures of thought and identity from such basic building blocks. By referring to these as "little" elements, Creeley highlights the humble, almost arbitrary nature of the pieces that constitute our understanding of the world.

Structurally, "Thinking" is composed of fragmented thoughts that mirror the natural, wandering quality of introspection. Each line presents a new idea or reflection, creating a cumulative effect that mirrors the process of thinking itself—continuous, layered, and often nonlinear. Creeley’s use of plain language and unembellished imagery allows each thought to resonate without unnecessary complexity, emphasizing the accessibility and universality of the speaker’s reflections.

Through "Thinking," Creeley explores the mind’s attempt to make sense of existence, using time, relationships, place, and memory as touchstones in this journey. The poem reflects a gentle acceptance of the mind’s limitations, recognizing that even as thought strives to construct meaning, it is bound by the transient nature of life and the inevitability of aging. In the end, "Thinking" offers a meditation on the beauty and complexity of the mind, acknowledging that while thought may not capture everything, it creates a world of understanding and significance from the simplest "squiggles and dots" of perception. The poem leaves the reader with a sense of quiet reverence for the act of thinking itself, a uniquely human endeavor that shapes our sense of self and reality in profound ways.

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