Classic and Contemporary Poetry: Explained

In "Turn," Robert Creeley meditates on the themes of transience, violence, and the inevitability of endings. The poem explores the way movement and perception interact, how things appear and disappear, and the often painful reality of change. Through the image of a tree unable to move except through force, Creeley touches on themes of inevitability and helplessness, inviting readers to confront the discomfort inherent in life's cycles.

The poem begins with a reflection on perception and presence: “Each way the turn / twists, to be apprehended: / now she is / there, now she.” This line captures the elusive nature of existence, as if the act of being present is tied to constant motion, like a fleeting vision. The shift from “now she is” to “now she is not” encapsulates the fragility of presence, hinting at the way people and experiences slip in and out of our grasp. Creeley’s language mirrors the cyclical nature of thought and perception, a turning that continuously brings something into view only for it to recede again.

As the poem progresses, the focus shifts to a sense of helplessness, especially in the lines, “The tree / cannot walk, all its / going must / be violence.” Here, Creeley uses the image of a tree—a symbol of rootedness and stability—to underscore the inevitability of suffering and change. Since the tree cannot move on its own, any movement it experiences is “violence,” a force imposed upon it. This concept captures a profound vulnerability, suggesting that change often arrives without consent, disrupting stability and leaving destruction in its wake. The tree, rooted and immobile, stands as a metaphor for beings that cannot escape the forces that act upon them, a reminder of the discomfort and pain that accompany transformation.

The line “They listen / to the saw cut, the / roots scream” personifies the tree, endowing it with a voice of anguish. This “screaming” of the roots is poignant, presenting the cutting of the tree not as a benign act but as a violent severance from its place of growth. By giving the tree a voice, Creeley invites readers to empathize with nature, to feel the tree’s pain and imagine the suffering inherent in acts of destruction. The description of “screaming” roots evokes a primal sense of loss, as if the tree mourns its forced separation from the earth.

The poem’s exploration of violence extends beyond the tree to the natural world at large: “And in eating / even a stalk of celery / there will be pathetic screaming.” This line points to the inescapable violence present in all acts of survival, even the seemingly benign act of eating vegetables. Creeley suggests that all living things are bound in a web of interconnected suffering, that life itself is predicated on cycles of consumption and destruction. The phrase “pathetic screaming” underscores the helplessness of all living beings, painting the act of eating as a quiet tragedy that underscores our reliance on taking life to sustain life.

In the final lines, Creeley reflects on the gap between desire and reality: “But what we want / is not what we get. / What we saw, we think / we will see again?” Here, the speaker confronts the harsh truth that life is full of unmet expectations. The things we hope to hold onto—whether people, places, or moments—inevitably change or disappear. This statement reflects a deep resignation, an acknowledgment that life’s continuity is an illusion; what we see and experience now cannot be recaptured, no matter how much we might wish otherwise.

The closing lines—“We will not. Moving, / we will / move, and then / stop”—deliver a stark meditation on the nature of existence. Movement, here, symbolizes the passage of time, the way life constantly propels us forward, leaving the past irrevocably behind. The phrase “and then / stop” alludes to the finality of death, the ultimate cessation of movement and experience. Creeley presents life as a series of motions leading toward an inevitable end, urging readers to recognize the transient nature of all things.

In "Turn," Robert Creeley combines imagery of the natural world with existential reflections on impermanence and inevitability. The poem confronts the violence that underpins existence, suggesting that all life is subject to forces beyond its control. Through the recurring motifs of movement, cutting, and screaming, Creeley emphasizes the pain that accompanies growth, change, and eventual cessation. The poem ultimately serves as a meditation on life’s inherent suffering and the need to accept that what is seen and experienced in one moment will inevitably vanish, leaving only memories and the forward march toward an end.

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