The instructor said,

    Go home and write
    a page tonight.
    And let that page come out of you—
    Then, it will be true.

I wonder if it's that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:

It's not easy to know what is true for you or me
at twenty-two, my age. But I guess I'm what
I feel and see and hear, Harlem, I hear you:
hear you, hear me—we two—you, me, talk on this page.
(I hear New York, too.) Me—who?
Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn't make me not like
the same things other folks like who are other races.
So will my page be colored that I write?

Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That's American.
Sometimes perhaps you don't want to be a part of me.
Nor do I often want to be a part of you.
But we are, that's true!
As I learn from you,
I guess you learn from me—
although you're older—and white—
and somewhat more free.

This is my page for English B.

From The Collected Poems of Langston Hughes, published by Knopf and Vintage Books. Copyright © 1994 by the Estate of Langston Hughes. All rights reserved. Used by permission of Harold Ober Associates Incorporated.

Man in a chicken suit, you’re the only one today 
not selling beauty: 5th Avenue star-struck with Christmas,
three-story diamonds and flocks of ballerinas pirouetting
clockworking gears as if the Industrial Revolution
were a life-sized music box of desires and we’ve just kept 
on winding. If. And Wish Upon. And shopping bag. And you
with your wind-ruffled feathers and flyers, pleading 
for our primitive hungers. That inelegant grease spot 
and crunch to remind us. The mannequins don’t 
even have bones. I’ll never have a purse nice enough
to hold a wallet worth the money to buy the purse
at Barney’s. And what does it matter? There are drumsticks.
I’m a vegetarian. You are no masked creature worth hugging
for a picture. No Minnie. No marble nymph of Beauty
in pigeon net outside the library:  old yet ever new eternal voice 
and inward word. As if we hear it clear in the gizzard: 
Beauty is God and love made real. You will be this beautiful
if. You are the rock in the crowd-raked garden of traffic,
just past the corner of jaguar-made-of-dazzle and flapper
reading Shakespeare bound in bardic sparkles. Your yellow,
a scant flag to claim us:  ordinary strange as holy chickens
in a gilded cage in Spain. Their ancestors, heralds 
of a miracle. A huge mechanical owl recites Madonna 
in a window Baz Luhrmann designed since February. 
It takes all year for a miracle with this many moving parts.
All of us in a rush to wait for the catastrophe of personality 
to seem beautiful again. As if this is the best we can hope for:  
seeming to ourselves—like panhandlers dressed as Buddhist 
monks the real monks are protesting. Asked for her secret, 
the model for Beauty said, The dimples on my back
have been more valuable to me than war bonds. Asked for proof, 
one orange-robed woman said, I can’t tell you where, but I do
have a temple. Beaked promise of later lunch, catastrophe
of unbeautiful feather, how can we eat the real you
that you are not? Which came first? The shell to hatch 
desire, or desire? Which skin holds my glittering temple? 
 

Copyright © 2016 by Alexandra Teague. “Late American Aubade” originally appeared in Cimarron Review. Reprinted with permission of the author.