Classic and Contemporary Poetry: Explained

In "Whatever", Robert Creeley offers a meditative exploration of boundaries, perspective, and the vastness of existence. This poem, dedicated to Futura 2000, a pioneering graffiti artist, is both minimalist and philosophical, drawing attention to the concepts of containment, expansiveness, and perception. Creeley’s language here is stripped to its essence, reflecting the way he views the relationship between the self and the world as both intimate and infinitely open, both limited and limitless. Through his sparse and contemplative words, Creeley captures a moment of introspection that engages with the profound and the ephemeral alike.

The poem begins with the phrase “One around one— / or inside, limit / and dispersal.” The repetition of "one" suggests a meditation on unity or individuality, implying a focus on the self as both a single entity and something encased within boundaries. The ambiguity in "one around one" hints at both containment and protection, as if the self is wrapped within itself. Yet, Creeley quickly juxtaposes this containment with the ideas of “limit / and dispersal.” The “limit” here suggests the constraints of the self or of perspective, while “dispersal” implies a scattering or breaking free, suggesting the potential for movement beyond these boundaries. Creeley’s choice of language here highlights the paradox of existence: we are bound by our individual perspectives and limitations, yet there is always an impulse toward expansion, toward moving beyond these confines.

The next line, “Outside, the emptiness / of no edge, round / as the sky,” expands on this theme by introducing the image of the infinite. The word “Outside” implies a shift from the inner contemplation of self to the vast external world. Creeley describes this world as having “no edge,” a phrase that speaks to boundlessness, to a reality that stretches infinitely without boundary. The “round as the sky” comparison suggests the universe’s cyclical, enclosing quality, even as it remains vast and limitless. This roundness evokes the completeness of the cosmos and the circularity of perception itself—how one’s sense of self and the world often feel interconnected and in continuous motion. In this way, Creeley juxtaposes the finiteness of individual perspective with the infinite nature of the universe, capturing the tension between what we can know and the endless unknown.

The line “Or the eye seeing / all go by / in a blur of silence” introduces the concept of perception and its limitations. Here, Creeley shifts focus from the expansiveness of the universe to the act of observation, specifically the eye as a tool of perception. The phrase “all go by” conveys a fleeting, transient quality to what the eye observes, emphasizing that while the universe is vast, our experience of it is momentary and ever-passing. The “blur of silence” suggests both the clarity and the impermanence of perception; we see, but not always with precision, and we observe, but without always comprehending. The silence in this line amplifies the solitude of the act of perception, as if what the eye sees is experienced in a vacuum, isolated from other senses or from a broader understanding. This notion of a “blur” also implies that much of what we perceive remains indistinct, just out of reach, reinforcing the limitations of human cognition in the face of vastness.

Structurally, "Whatever" is composed of short, carefully spaced lines that mirror the fragmented and introspective nature of its themes. Each line seems to hover, leaving space for the reader’s own reflections and interpretations to emerge. This sparse structure also reflects the poem’s focus on silence and emptiness, allowing the language to echo within a larger conceptual space, much like how individual consciousness occupies a small place within the vast universe. The absence of punctuation creates a continuous flow, suggesting that these concepts are interconnected and fluid rather than fixed or neatly contained.

The dedication to Futura 2000 adds an intriguing dimension to the poem, connecting it to the world of graffiti art. Futura 2000, known for his abstract, boundary-pushing style, transformed urban landscapes into canvases of infinite expression, blurring the lines between traditional and street art. By dedicating the poem to him, Creeley may be acknowledging the artist’s approach to space and perception, where a finite canvas can become a site of limitless expression and transformation. In a way, the poem mirrors Futura’s style, capturing a sense of boundary and freedom, containment and dispersal, much as Futura’s art does within the urban landscape.

In "Whatever", Robert Creeley captures the paradox of existence as both contained and boundless. Through simple, evocative language, he reflects on the relationship between the self and the cosmos, between the limitations of individual perception and the unending vastness of reality. The poem leaves readers with a sense of quiet wonder and a recognition of the fleeting, silent nature of perception itself. By contemplating the “blur of silence” through which we observe the world, Creeley invites readers to reflect on their own experiences of boundary and expansion, suggesting that understanding may lie not in reaching definitive answers but in embracing the openness and mystery inherent in being.

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