Few American poets since 1950 have received so much persistent attention as Robert Creeley. And the Black Mountain poets` influence runs so deep in contemporary American poetry that it remains one of the principal sustaining poetics among innovative poets today. Creeley`s poetry and poetics seek an openness for the poem and reject the conventional, pre-established literary forms. As Altieri says, "His is a poetics of conjecture rather than closure." Creeley is associated with new art movements of the 1950s and 1960s, in particular with Charles Olson and Projective Verse, with the jazz of Charlie Parker, and with Abstract Expressionism and Minimalism. He also employed the syncopated improvisational rhythms of jazz, convolute grammar and arbitrary syntax. And Creeley has repeatedly insisted that in his works he is primarily interested in language itself. Creeley wants a language that he can taste, touch, and mold, and he has no framework, no direction, no preconceived course. And Creeley`s poetics of conjecture and extension is open form poetics and describes creative writing process as the open-ended self-realization of a linguistic event. And his poetry records spontaneous impulse, insights and impressions. This study on the postmodern characteristics of Creeley`s poetics and his open form poetry will afford us a useful prospect to understand not only his poetry but the development of the American poetry over the recent several decades.