Classic and Contemporary Poetry: Explained

In "Some Afternoon," Robert Creeley contemplates life, mortality, and the inevitable fading of all things, capturing a reflective moment that oscillates between the personal and the existential. Through a series of meditative phrases, Creeley explores how we measure our existence and the transient nature of everything we cherish. The poem’s introspective tone invites readers to confront their own sense of temporality, while its language and structure emphasize both the beauty and fragility of human connections.

The opening line, “Why not ride / with pleasure,” suggests a casual acceptance of life as it is, urging an embrace of the moment. This invitation to “ride with pleasure” captures a philosophy of taking life as it comes, suggesting that pleasure and acceptance might be the best approach to navigating existence. Yet, the phrase “and take oneself / as measure” complicates this simple enjoyment, hinting at the human tendency to evaluate life, oneself, and one’s impact on the world. Here, Creeley presents an idea of self-reflection, indicating that while pleasure is essential, individuals also carry a desire to assess their place and significance.

In “making the world / tacit description / of what’s taken / from it,” Creeley addresses how humans interact with and interpret the world. “Tacit description” implies an unspoken understanding, as if people inherently absorb and carry pieces of the world within them. This line may also reflect the idea of extracting meaning or value from experiences. The ambiguity in the phrase “of what’s taken from it” suggests both a consumption of the world’s offerings and a subtle loss as each person removes something intangible from it.

The line “for no good reason, / the fact only” brings a certain resignation, acknowledging that sometimes life lacks clear purpose. This moment of acceptance reflects a detached view of existence, where one moves forward not because of any ultimate meaning but because it is simply a “fact.” This perspective aligns with Creeley’s often minimalist approach to life’s existential questions, favoring acknowledgment over over-explanation. The following line, “There is a world / elsewhere, but here,” reaffirms the presence of the current moment, emphasizing that, while other realms or possibilities exist, one must ground oneself in the tangible present.

The phrase “the tangible faces / smile, breaking / into tangible pieces” captures the transient nature of human connections and the inevitable fragmentation of memory and relationships. The faces that “smile” may represent friends, family, or loved ones, suggesting a fleeting moment of happiness or familiarity. However, this warmth is quickly undercut by the image of these faces “breaking into tangible pieces,” hinting at the disintegration of both people and memories over time. The repetition of “tangible” highlights the tension between the real and the ephemeral, underscoring the poet’s awareness of both connection and decay.

Creeley then lists “myself and family, / and friends, and / animals attached,” emphasizing the personal significance of these relationships while placing them in a broader, almost universal frame. By including “animals” and “the house, the road,” Creeley expands the scope to encompass not just personal relationships but the everyday environment that defines one’s life. The inclusion of these details reinforces a sense of attachment to both living beings and the physical spaces that hold memories, giving a grounded, everyday quality to the existential reflections.

“All go forward / in a huge / flash, shaken / with that act” captures the inevitable movement toward an ending, with the “huge flash” evoking an image of suddenness or finality. This flash could symbolize a moment of realization, the end of life, or the ephemerality of existence. The phrase “shaken with that act” suggests that this transition—perhaps death or the dissolution of memory—is jarring and impactful, affecting everything in its path. This line serves as a turning point in the poem, highlighting the irreversible nature of time and change.

In the lines “Goodbye, goodbye. / Nothing left / after the initial / blast but,” Creeley conveys a sense of finality. The repeated “Goodbye” feels almost ritualistic, as if the speaker is preparing themselves for an end or acknowledging the departure of something precious. The “initial blast” may represent the onset of this realization or the moment of loss, leaving an empty space in its wake. This emptiness is echoed in the line, “some echo like this,” suggesting that all that remains after such an impactful moment is a faint, lingering memory—a mere “echo” of what once was.

The poem concludes with “Only the faded / pieces of paper / etc.,” reducing the remnants of life to “faded pieces of paper.” This image emphasizes the fragility and transience of human existence, as even the most significant elements of life are eventually reduced to “faded” memories or records. The use of “etc.” implies an endless continuation of this pattern, as if the cycle of existence, memory, and erasure is universal and ongoing. This ending encapsulates the poem’s meditation on mortality, hinting at the ultimate insignificance of material attachments while acknowledging their emotional weight.

In "Some Afternoon," Robert Creeley reflects on the passage of time, the impermanence of relationships, and the search for meaning in a transient world. Through spare, contemplative language, Creeley presents an intimate meditation on the beauty and inevitability of endings, reminding readers of the fragile, fleeting nature of life and connection. By blending personal details with existential musings, he invites the reader to confront their own attachments and the quiet but profound impact of time’s relentless progression. The poem resonates as both a personal farewell and a universal reflection on the human experience.

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