Classic and Contemporary Poetry: Explained

In "Up in the Air," Robert Creeley weaves a collage of fragmented thoughts and sensations, exploring themes of transience, memory, and the body’s sensual relationship to the world. The poem is layered with shifting imagery and scattered memories, echoing the way thoughts meander, catch on random details, and circle back to themes of presence and absence. Creeley's style here is characteristically sparse, with abrupt line breaks, punctuating dots, and snippets of direct speech, each contributing to a sense of fragmented coherence—a world that resists straightforward interpretation, much like the ephemeral quality of thought itself.

The poem opens with a deceptively simple line, “Trees breathing air.” The personification of trees as “breathing” evokes a sense of quiet vitality, placing the natural world in a state of living, almost meditative presence. Trees, firmly rooted yet interacting with the environment through their branches and leaves, become symbols of both stability and permeability. This image reflects the way the speaker—or human consciousness more broadly—is anchored in place yet open to sensations and impressions from the surroundings. This is a fitting start to a poem that will delve into fleeting moments and shifting perceptions.

Creeley introduces the theme of absence with “No longer closely here no longer.” The phrase is repetitive, as if struggling to hold onto something that is slipping away. It suggests a sense of loss or distance, perhaps in relationships, memory, or even self-perception. The repetition underscores the instability of being fully “here,” as if presence is a concept that perpetually eludes complete capture. This sense of detachment is mirrored in other parts of the poem, where the speaker moves between past and present, grappling with moments that feel tangible one second and unreachable the next.

The line “Fire still burning in heart” introduces a note of enduring passion or desire, a warmth that remains even as other things fade. This fire contrasts with the poem’s more subdued, airy imagery, emphasizing the complexity of emotions that linger, burning quietly beneath the surface of daily life. The fire is both a source of life and, perhaps, a weight, an emotional anchor that grounds the speaker amidst the fleeting nature of everything else.

In the stanza containing “Think it’s back where you left it? / Think, think of nothing,” Creeley explores the futility of seeking stability in memory or expectation. The speaker’s questioning tone, followed by the command to “think of nothing,” suggests a struggle with overthinking and the elusive nature of clarity. There is an irony here—trying to think of “nothing” is an exercise in itself, often resulting in more thoughts. This reflects the human tendency to dwell on the past or search for lost parts of ourselves, even as they remain out of reach.

The lines “Mind tremors, (taught) taut rubber, shimmers of bounce” use vivid imagery to capture the tension of the mind, likening it to stretched rubber, ready to snap back or vibrate with the slightest disturbance. This tactile metaphor suggests that the mind, like a taut rubber band, is constantly under strain, stretched between thoughts, memories, and sensations. The “shimmers of bounce” hint at resilience and the mind’s ability to absorb impact, yet they also suggest the fragility and volatility of mental equilibrium.

When Creeley writes, “Reechoes, re-collects. / Each one its own imagination / ‘at best,’” he suggests that memories and thoughts echo back, gathering layers of interpretation and subjective meaning. Each recollection has its own “imagination,” as if every memory is reinterpreted each time it’s revisited. This idea reinforces the poem’s exploration of perception as something mutable and subjective, constantly reshaped by the mind’s ongoing engagement with past and present.

The references to song lyrics, such as “I’m going to take a trip in that old gospel ship,” introduce a nostalgic, almost whimsical tone. These lines of gospel song evoke the spiritual longing for transcendence, escape, or freedom. The words carry an optimistic sense of leaving the worldly troubles behind, a sentiment echoed later in the lines “Beauty’s desire shall be endless and a hell of a lot of fun.” This blending of spiritual yearning and a lust for life paints a picture of the speaker’s own desires—both to find meaning beyond the self and to embrace the physical world’s pleasures. The line “Luck? / Looks like.” captures a resigned acceptance, acknowledging that chance or fate plays a role in life’s unfolding events.

As the poem nears its end, Creeley provides reflections on resilience: “Many times broke but never poor. / Many times poor but never broke.” This line is a testament to endurance, suggesting that material or emotional hardship doesn’t necessarily break one’s spirit. This distinction between being “broke” and “poor” implies that while circumstances may change, a certain inner wealth or resilience persists.

In the closing lines, “Heavy time moves imponderably present. / Let her sing it for herself,” Creeley contemplates the weight of time and the importance of allowing each person their own voice, their own experiences. The concept of “heavy time” evokes the burden of existence, the slow, constant march of moments accumulating into life’s full tapestry. “Keep a distance recovers space” suggests the need for emotional boundaries or perspective, indicating that separation can sometimes restore a sense of self and autonomy.

"Up in the Air" encapsulates the ethereal and shifting nature of thought, memory, and self-awareness. Through its collage of images, fragmented language, and interspersed song lyrics, the poem mirrors the mind’s fluid movement between sensation and reflection. Creeley’s work ultimately invites readers to embrace life’s transient moments, to hold onto resilience amidst change, and to find balance between the weight of memory and the openness of the present.

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