Classic and Contemporary Poetry: Explained

Robert Creeley’s poem "Apres Anders" is an enigmatic piece that plays with imagery, language, and form to evoke a dreamlike and surreal atmosphere. The title, meaning "After Anders," suggests that the poem is a reflection or homage—perhaps to another poet or artist named Anders. This sense of being inspired by or coming after someone else is woven into the fabric of the poem, which feels like an abstract, almost impressionistic scene, as though Creeley is capturing fleeting glimpses of moments that blur together, defying easy interpretation.

The opening line, "HAHA," is striking in its abruptness and ambiguity. It could be an expression of laughter, joy, or perhaps something ironic. The choice to open with such a seemingly incongruent word immediately sets the reader off-balance, suggesting a playful, almost mocking tone. This initial outburst may indicate a disruption of the expected narrative, introducing a feeling of unpredictability that continues throughout the poem.

Creeley introduces the first vivid image: "In her hair the moon, with / the moon, wakes water—" Here, the moon is personified and placed "in her hair," creating an ethereal image that blurs the boundaries between the natural world and the human form. The repetition of "the moon" adds a rhythmic quality, emphasizing the moon’s presence and its effect. The moon "wakes water," suggesting a sense of fluidity and motion, as if the moon has power over natural forces. This line is reminiscent of mythological imagery, evoking a figure who is closely connected to celestial and natural elements.

The next phrase, "balloon hauls her into the blue," evokes a sense of levitation or escape. The imagery of a balloon lifting someone "into the blue" carries connotations of freedom and weightlessness, as if the subject is being pulled away from the constraints of the earth and into the sky. This surreal ascent adds to the poem';s dreamlike quality, as the reader imagines the subject floating away, perhaps in a state of reverie or detachment. The use of "blue" here suggests the sky, evoking a sense of boundlessness and open space.

Creeley then shifts into a mix of languages, employing the German word "fängt" (meaning "catches" or "seizes"), which adds a sense of action and abruptness. The phrase "she / in the woods faints, finds, fakes / fire" suggests a sequence of experiences that are both physical and ephemeral. The alliteration of "faints, finds, fakes" creates a musicality that binds these actions together, but the meaning remains elusive. The subject seems to be caught in a cycle of discovery and deception, navigating through an environment that is both mysterious and potentially dangerous.

The reference to "fire, high in / Erlen, oil, Earl—" introduces new elements, seemingly unrelated yet evocative. "Erlen" refers to alder trees, grounding the scene in a specific, natural setting, while "oil" and "Earl" add layers of association that are harder to pin down. The abrupt listing of these words, almost like fragments, suggests a jumble of images or thoughts, as if Creeley is capturing the fleeting, associative nature of consciousness. The use of "oil" might imply something slippery or elusive, while "Earl" could be a personal reference or a title, adding a human or historical element to the otherwise natural imagery.

The final lines—"like a Luftschiffern, tails of high clouds up there, one says."—bring the poem to a close with a simile that compares the scene to something like "Luftschiffern," a term that could refer to airships or aerial navigators. This word evokes a sense of being airborne, traveling above the earth, and aligns with the earlier image of the balloon. The "tails of high clouds" suggests something fleeting and ethereal, while the phrase "one says" introduces an anonymous voice, as if these observations are being relayed secondhand. This ending adds to the poem’s elusive nature, blurring the line between the observer and the observed, and leaving the reader with a sense of ambiguity.

"Apres Anders" is a poem that resists easy interpretation, instead inviting the reader to engage with its associative and impressionistic imagery. Creeley employs a mixture of languages, abrupt shifts in imagery, and fragmented syntax to create a piece that feels like a surreal montage. The imagery of the moon, the woods, and the sky all contribute to the dreamlike quality, suggesting a narrative that is both deeply personal and abstract. The subject of the poem seems to be in a constant state of movement—whether being "hauled into the blue" or navigating the woods—emphasizing a sense of fluidity and transformation.

Creeley';s use of disjointed phrasing and unexpected word choices challenges the reader to find meaning in the interplay of sound, image, and language. The poem ultimately speaks to the complexity of perception, the elusiveness of meaning, and the beauty of language itself as a vessel for capturing fleeting experiences. "Apres Anders" leaves an impression of something almost grasped but always slipping away—a reflection, perhaps, of the nature of ambition, creativity, and the struggle to articulate the ineffable.

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