This later poem makes a fitting companion piece to "Stopping by Woods." Even the rhyme scheme (aaba) is the same, although in this poem, the poet has not chosen to commit himself to the greater difficulty of linking his stanzas by means of rhyme. This speaker too is traveling through falling snow at night fall. The woods are present in this poem as well, though we are more conscious of their darkness in "Stopping by Woods" and more conscious of whiteness here. While the opening line sounds soothing with its repetition of "s," and "f," and "o," we know as early as the second line that this speaker does not stop, even for a moment—the fields he describes are those he is "going past." What is not presented as frightening in "Stopping by Woods" is frightening in this poem. Nothing here makes one feel that the speaker finds this snowfall attractive, nothing draws him in, for this snowfall does not present a relaxing oblivion; it presents a concrete blankness. Because it is with blankness that he identifies, it presents no escape, only a reminder of self, a self that is not a welcome haven or wellspring. Withdrawal would not be "strategic" and self-preserving. It would be facing a desert.
The open space is surrounded by woods that "have it." They claim it, and the speaker willingly relegates it to them—willing not because of a decision he has struggled to make, but because he is too apathetic, "too absent-spirited to count." The structural ambiguity in this line and its seeming carelessness emphasize his absent-spiritedness, his apathy. We cannot be sure whether "count" is being used in its active sense (to count, to tell what is happening, to reckon up woods, animals and fields) or in its passive sense (to be counted, to count to anything or anyone else). The following line is also enriched by its apparently careless use of "unawares," which could modify "loneliness" or could modify "me." Again, the ambiguous use of the word illustrates that very unawareness, that carelessness that causes us to associate absent-spiritedness with absent-mindedness.
In the third stanza loneliness is in apposition to snow, and just as the snow will cover more and more, will leave nothing uncovered to relieve its smooth unbroken whiteness, so the loneliness will become still more lonely and unrelieved. That same whiteness—snow or loneliness—is what makes desert of a field, helps the woods to "have" the fields in that it obliterates clear boundaries between field and woods, raising, as it does in "Stopping by Woods," the dangerous prospect of boundarilessness. Even when the journey is into one's own desert places, one's humanity or identity is threatened, and loneliness, the apposition suggests, can do this too. What terrifies him so much, however, is not the fact that he is alone, without other people, but that alone with himself he may find nothing—no one and nothing within. Whereas "Stopping by Woods" presented an invitation to the solitude and inertia of snow, this poem presents the attendant fear that once giving in to the self, or going into the self, he will find that the journey has been for nothing. That there is nothing but loneliness, blankness, and absent-spiritedness in the sense of absence of spirit.
The "nothingness" that Frost fears is not the metaphysical void, it is the void he fears in himself. In relating this personal void to the spaces between stars, he suggests that a personal void can have—or seem to have—cosmic proportions, that it can seem at least as important, as vast and as frightening, as anything "out there." This speaker fears the void, but he does not seem, like Wallace Stevens's snow man, to be "nothing himself"; he is capable of beholding what is not there. He is not a man of snow because he has enough feeling to be afraid. His is not yet a "mind of winter," for he can still think about having one, fear that he might discover it if he explores inside himself. He has it "in him"—again, as in "Spring Pools"—the threatening potential of what lies within. The man with the "mind of winter" does not think, but to Stevens there are two kinds of nothingness—"the nothing that is" and "nothing," which is the absence of something. The greater lack is the latter—the absence of imagination in the man who "beholds nothing that is not there." In "Desert Places" the speaker fears blankness "with no expression, nothing to express." There is a difference between "nothing to express" and an expression of nothingness, as Stevens has shown us. The fear in the poem is of the former, but the act of the poem is the latter.
For the poet there is an additional terror in identifying his own "desert places" with the blank landscape: it is a "whiteness…with no expression, nothing to express." If there is nothing there, nothing showing or growing, if there is no spirit, what will he have to say? This fear of nothing to say was a constant one to Frost. To Untermeyer he once confided "a very damaging secret…The poet in me died nearly ten years ago…The calf I was in the nineties I merely take to market…Take care that you don't get your mouth set to declare the other two [books] a falling off of power, for that is what they can't be…As you look back don't you see how a lot of things I have said begin to take meaning from this?…I tell you, Louis, it's allover at thirty…Anyway that was the way I thought I might feel. And I took measures accordingly…I have myself all in a strong box" (SL 201-2). Having nothing more to say was what he assumed lay behind Hemingway's decision to commit suicide—a motive and a decision Frost defended (LY 294) .
Even worse than having nothing to say, perhaps, is emotional poverty—feeling used up, both by the pain of events in life and by the demands of his art. He once wrote: "[poets] are so much less sensitive from having overused their sensibilities. Men who have to feel for a living would unavoidably become altogether unfeeling except professionally" (SL 300). Whatever the basis, the poem ends with the fear of one's own emptiness, one's own nothingness. To traverse these spaces inside the self is to traverse the barren.
At the same time, though, and characteristically, the fear is expressed with a kind of bravado: "they can't scare me!" The comparison between the interstellar spaces and his own desert places also serves to aggrandize the speaker and the importance of his personal desert. Then, also characteristically, Frost undercuts both the bravado and the self-importance, mainly by means of metrics. Where the speaker tries so hard to show strength the lines end weakly: they are the only feminine rhymes in the poem; the three rhyming lines of the last stanza all have an added, unstressed eleventh syllable: /ez/. The effect in lines 13 and 14 is to undercut the tone of confidence. By the last line, where bravado gives in to fear, the unstressed ending reinforces the fear by sounding weak in the face of what is feared. The XX rhyme concluding the poem also works against a feeling of closure and resolution.
While the whole final stanza has its metrical bumps, line 14 jolts us the most and alerts us to other tensions with and within that line. For example, whereas "spaces" and "places" are both noun objects of prepositions, rhyming what is also structurally parallel, "race is," as a noun subject and verb, seems out of kilter with the other two. To focus more closely, though, on these words is to notice the possible pun "where no human races" and the tensions that produces between the two possible meanings: in one sense, the contrast between a place where people do not race—no rushing, no competition—and a world where the need to go forward quickly and competitively obtains even in one's private desert. Following on this contrast is another: the active verb of one reading— "races"—contrasts with the static "is" of the other, which creates further tensions. Grammatically, the two would be awkward together, as we do not coordinate an active verb with a stative one. Semantically, the difference is related to two conflicting needs: going, doing, rushing to compete and simply being. Such stasis, though, is located where there is no human life (a concept we will take up in another context in chapter 7). Seen this way, the poem presents another version of the conflict between going and stopping, motion and stasis. While in this poem the outward action is not stopping but going past the field (he races?), what inner desert it represents, of course, goes with him, and, as "Stopping by Woods" reminds us, we must go—move, do—if we are to be.