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Classic and Contemporary Poetry: Explained | |||
In Robert Creeley’s "Waiting (4)," the poet reflects on the ambivalent relationship with money and the paradox of longing for simplicity amidst financial pressures. The speaker’s tone is candid, confessional, and conversational, creating a sense of intimacy with the reader as he expresses his thoughts on wealth, companionship, and the act of simply existing. The poem opens with a striking admission: "I’ve never had the / habit of money." By referring to money as a "habit," Creeley suggests that financial pursuits are habitual behaviors—a pattern one falls into rather than an intrinsic need. This framing implies that wealth is not inherently fulfilling; rather, it’s a lifestyle many adopt out of habit or necessity rather than genuine desire. The speaker's lack of this "habit" sets him apart, marking him as someone who resists or questions the social norms around the acquisition of wealth. Yet, in the following line, the speaker admits, "but / have at times wanted / it." This desire is not driven by greed or luxury but rather by a wish for ease and comfort—for himself and his friends. His expression "enough to give / myself and friends an / easy time over the / hump" indicates a modest yearning for financial security. "Over the hump" implies overcoming obstacles or burdens, suggesting that money, though not essential for happiness, might alleviate some of life’s challenges and make the path smoother. This desire is communal rather than self-centered; he longs for money not to hoard it, but to share it, to create a sense of mutual relief for himself and those around him. The line "but you can / probably keep it" introduces a shift, as if he’s addressing someone—perhaps society at large or even himself—about the futility of wealth. There’s a sense of resignation here, an acknowledgment that the world’s obsession with money is something he cannot change and may not even want to participate in. This ambivalence reflects a complex inner negotiation: while he recognizes the practical benefits of money, he’s simultaneously repelled by what it represents—perhaps materialism, social expectations, or a departure from his values. The concluding lines, "I’m / just here breathing, brother, / not exactly beside you," serve as a powerful declaration of presence. In stating, "I’m just here breathing," Creeley reaffirms a philosophy of simplicity. Existence itself—"just here breathing"—is portrayed as a valuable state, sufficient in its own right. The word "brother" creates a sense of solidarity, yet the qualifier "not exactly beside you" hints at a divide. He aligns himself with the reader or a broader humanity, yet he maintains a sense of separateness, as if his approach to life places him on a different path. This distance can be interpreted as the space between conventional societal values, which often prioritize wealth, and the poet’s own beliefs, which favor a more introspective and minimalist existence. "Waiting (4)" encapsulates a fundamental human struggle: the balance between practical needs and philosophical ideals. Through understated language, Creeley captures a quiet rebellion against societal norms, valuing presence over possession and connection over currency. The poem resonates as a meditation on what truly matters, suggesting that while money might ease certain burdens, the act of simply "breathing" alongside others holds a value that money cannot replicate. In this way, Creeley elevates the beauty of existence and the authenticity of relationships above the hollow allure of wealth.
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