Classic and Contemporary Poetry: Explained

Robert Creeley';s poem "Billboards: Big Time" presents a powerful commentary on violence, dependency, and the struggle for control. The poem';s stark language and direct address convey an urgency that compels the reader to confront the impulse to destroy. It captures an existential moment, examining the relationship between the aggressor and the object of aggression, questioning what drives the desire for destruction and how deeply intertwined the self and the "enemy" are.

The poem begins with the line "What you got / to kill now isn’t / dead enough / already?" This rhetorical question implies frustration or disbelief, challenging the necessity of further action. The phrasing suggests that whatever the subject wants to destroy is already weakened or deadened—perhaps emotionally, psychologically, or metaphorically—and yet there is still an urge to finish it off. The question, "isn’t dead enough already?" points to an excessive need for control or dominance, highlighting the futility and brutality inherent in the impulse to destroy something that is already essentially defeated. It implies that the speaker sees the action as not only unnecessary but also potentially harmful to the one enacting it.

"Wait, / brother, it dies, it / no way can live / without you" shifts the tone to one of urging restraint. The address "brother" conveys a sense of camaraderie or kinship, as if the speaker is trying to reach out to someone close. This fraternal address softens the harshness of the previous lines, suggesting that the speaker wants to prevent their "brother" from doing something harmful or irreversible. The assurance that "it dies" and "it / no way can live / without you" implies a dependency between the subject and the object of destruction. The "it"—which could represent a relationship, a feeling, or some part of the self—cannot exist independently and is already in a state of decline. This dependency suggests that whatever the subject wishes to kill is intrinsically tied to their own existence or identity, and its survival is contingent upon their continued engagement with it.

The final line, "it';s / waiting in line," evokes a sense of inevitability. The phrase "waiting in line" implies that death, or the end of whatever "it" represents, is an unavoidable part of the process—something that will happen in due time without the need for force or intervention. The line also conveys a sense of patience, as if there is an order to things, and this particular death or ending is simply awaiting its turn. This suggests that the aggressive impulse to kill or destroy is ultimately unnecessary, as the natural course of events will bring about the desired outcome on its own.

The poem explores themes of violence, dependency, and the often irrational drive to exert control over something that is already on the brink of ending. The repetition of "kill" and "dead" emphasizes the harshness of the subject’s desire, while the speaker’s plea for restraint highlights the futility of such actions. By pointing out the dependency of "it" on the subject—"it / no way can live / without you"—Creeley suggests that the aggressive urge might be rooted in a deeper connection between the self and the object of aggression. The object’s dependency implies that by letting go, the subject can also release their own burden, severing the link that keeps them bound to this destructive impulse.

The poem';s direct, conversational tone and spare language lend it a sense of immediacy, as if the speaker is trying to intervene in a critical moment of decision. The use of "brother" adds an emotional dimension, suggesting a sense of care and concern for the subject. The final image of "waiting in line" underscores the inevitability of endings and the importance of patience, encouraging the subject to trust in the natural course of things rather than taking drastic action.

"Billboards: Big Time" challenges the reader to consider the nature of destructive impulses and the deeper connections that bind us to what we wish to eradicate. The poem raises questions about control, the futility of violence, and the way our identity can be tied to what we seek to destroy. Through its minimalistic and evocative language, Creeley creates a poignant reflection on the importance of restraint, urging the reader to recognize the inherent futility of attempting to force an end that is already destined to come.

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