Classic and Contemporary Poetry: Explained

In "White Fence", Robert Creeley responds to Paul Strand’s photograph titled “White Fence,” using poetry to explore the themes of perception, containment, and the cultural resonance of seemingly mundane imagery. By meditating on the photograph and engaging with the symbolic and literal aspects of the fence, Creeley delves into the complex interplay between reality and representation, between visual art and language. This poem becomes a dialogue between the medium of photography and the medium of words, as Creeley attempts to capture and dissect the essence of Strand’s image through his own art form.

The poem opens with “Particularizing ‘White / Fence’ beyond which / the seeming / echoes of barn, house,” situating the reader immediately within the context of the photograph. The word “particularizing” suggests a focus on the specific details that make the image unique. Creeley is not just describing the fence itself but is also acknowledging the other elements present in the photograph, such as the “barn” and “house.” These are presented as “seeming echoes,” as if they are faint reflections or reverberations of something that once was or could be, emphasizing their distance and perhaps their elusiveness. This phrasing highlights the idea that in photographs, objects are not merely themselves but part of a larger composition, creating layers of meaning that extend beyond what is visibly present.

The description “bright light flat / on foursquare / far building” introduces a stark, almost harsh visual quality, as if the light itself contributes to the photograph’s structure and sense of order. The “foursquare” building suggests solidity and stability, but the distance implied by “far building” contrasts with the immediacy of the fence in the foreground, creating a sense of separation and inaccessibility. Creeley’s mention of “closer view shades / darken the faint ground” further develops the theme of contrast, as light and shadow interact to create depth and complexity. The faint ground hints at the subtle elements within the image that are not immediately apparent, reinforcing the idea that there is more to perceive than what first meets the eye.

Creeley then shifts his attention explicitly to the fence, noting, “Yet fence as / image or word, / white or black, or / where place the person, / the absent, / in this ring of focus?” Here, he addresses the dual nature of the fence as both a literal object within the photograph and as a symbol within his poem. By calling attention to “image or word,” he highlights the tension between visual and verbal representation, questioning the adequacy of each medium in capturing reality. The mention of “white or black” underscores the binary nature of the fence as both a visual element (white against the landscape) and a potential metaphor for separation, division, or purity.

The line “where place the person, / the absent, / in this ring of focus?” introduces an existential dimension, questioning the absence of human presence within the photograph and, by extension, the poem. This absence becomes significant, suggesting that the fence, despite being a static, inanimate object, somehow holds a space where human presence is implied or yearned for. The “ring of focus” could refer to the lens’s focal point, capturing this lifeless fence in detail, yet leaving the viewer to ponder the absence of people, the lives that might surround or interact with this space. Creeley’s question about “the absent” suggests a longing for human connection or meaning within the boundaries defined by the fence, as if the static nature of the image begs for human context.

When Creeley observes, “I come closer, see / in there the / wistful security, / all in apparent place,” he speaks to the paradox of the fence. There is a “wistful security” in the fence, a longing for safety and order, as it establishes a clear boundary, defining what is within and what is beyond. The phrase “all in apparent place” suggests a sense of rightness, as if everything is arranged purposefully, yet the wistfulness hints at an underlying sense of melancholy or nostalgia. This fence, while offering structure, also signifies a containment that might be comforting but could equally be confining, an image of America’s desire for stability, but also an implicit limitation on movement and exploration.

Creeley continues with “the resonant design, diamond, / the dark/light, / the way all plays to pattern,” acknowledging the geometric and aesthetic quality of the fence. The “diamond” shape of the fence’s design reflects the ordered, repeating structure that creates a visual rhythm in Strand’s photograph. This design element contributes to the harmony of light and dark, of presence and absence, creating a visual “pattern” that is both pleasing and rigid. Creeley is fascinated by the way this structured pattern speaks to an idealized “longed for world / of common facts.” This line reflects a yearning for simplicity and order, a world where things can be neatly categorized and understood. The fence, as an image of division and organization, embodies this desire, presenting a seemingly perfect exterior that hides deeper complexities.

The final lines—“Then this fence again, / as if pasted on, / pushes out and across, / a static, determined / progress of detailing / edges, American, an / odd reason so forced / to be seen”—offer a more critical view. Creeley describes the fence as “pasted on,” suggesting it feels artificial or imposed, as if it doesn’t naturally belong to the landscape but has been placed there for symbolic effect. The phrase “static, determined / progress of detailing / edges, American” points to the rigidity and precision associated with American ideals of property, boundaries, and order. The fence embodies a form of Americana, an insistence on structure and possession that feels “forced,” as though this clarity and separation must be acknowledged. The repetition and meticulousness of the fence’s construction reflect the American obsession with boundaries and identity, the need to define and protect what is “ours.”

The concluding line, “It / cannot accommodate, / cannot let get past, / unaffected, any, must be / ‘White Fence,’” reinforces the fence’s role as an unyielding barrier. It “cannot accommodate” anything beyond its defined borders, suggesting it serves as a boundary not just physically, but also ideologically. The fence restricts, prevents movement, and establishes a firm divide between “inside” and “outside,” allowing nothing to slip through unfiltered or undefined. The phrase “must be / ‘White Fence’” signifies an insistence on identity and meaning—a declaration of what it represents, both in the photograph and in Creeley’s interpretation. This fence is not just any fence; it is the “White Fence,” symbolizing an immovable idea of boundaries and the American psyche’s focus on clear, controlled divisions.

In "White Fence", Robert Creeley uses Strand’s photograph as a springboard to examine themes of order, identity, and containment. The poem reflects on the American preoccupation with boundaries, both physical and conceptual, and the ways these structures shape our perception of the world. By focusing on the fence as both a literal and symbolic object, Creeley explores the interplay between security and confinement, between simplicity and the complexity that lies beneath. The fence becomes a metaphor for a “longed for world of common facts,” a desire for clarity and control that is inherently restrictive. Through his nuanced language and layered imagery, Creeley suggests that while such boundaries provide comfort, they may also limit our understanding, forcing us to see only what fits within their rigid framework.

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