Pour O pour that parting soul in song, O pour it in the sawdust glow of night, Into the velvet pine-smoke air to-night, And let the valley carry it along. And let the valley carry it along. O land and soil, red soil and sweet-gum tree, So scant of grass, so profligate of pines, Now just before an epoch's sun declines Thy son, in time, I have returned to thee, Thy son, I have in time returned to thee. In time, for though the sun is setting on A song-lit race of slaves, it has not set; Though late, O soil, it is not too late yet To catch thy plaintive soul, leaving, soon gone, Leaving, to catch thy plaintive soul soon gone. O Negro slaves, dark purple ripened plums, Squeezed, and bursting in the pine-wood air, Passing before they stripped the old tree bare One plum was saved for me, one seed becomes An everlasting song, a singing tree, Caroling softly souls of slavery, What they were, and what they are to me, Caroling softly souls of slavery.
This poem is in the public domain.
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
I'll be at the table
When company comes.
Say to me,
“Eat in the kitchen,”
They'll see how beautiful I am
And be ashamed—
I, too, am America.
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.
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway . . .
He did a lazy sway . . .
To the tune o’ those Weary Blues.
With his ebony hands on each ivory key
He made that poor piano moan with melody.
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Coming from a black man’s soul.
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan—
"Ain’t got nobody in all this world,
Ain’t got nobody but ma self.
I’s gwine to quit ma frownin’
And put ma troubles on the shelf."
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more—
"I got the Weary Blues
And I can’t be satisfied.
Got the Weary Blues
And can’t be satisfied—
I ain’t happy no mo’
And I wish that I had died."
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that's dead.
From The Weary Blues (Alfred A. Knopf, 1926) by Langston Hughes. This poem is in the public domain.
You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise.
Does my sassiness upset you?
Why are you beset with gloom?
’Cause I walk like I’ve got oil wells
Pumping in my living room.
Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.
Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?
Does my haughtiness offend you?
Don’t you take it awful hard
’Cause I laugh like I’ve got gold mines
Diggin’ in my own backyard.
You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.
Does my sexiness upset you?
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs?
Out of the huts of history’s shame
Up from a past that’s rooted in pain
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
Into a daybreak that’s wondrously clear
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
From And Still I Rise by Maya Angelou. Copyright © 1978 by Maya Angelou. Reprinted by permission of Random House, Inc.
For Frank X Walker
FXW: I don’t know how to swim
FXW: There were no pools for Black Folk when I was coming up
In sleep’s 3-D theatre: home,
a green island surrounded
by the blue of ocean. Zoom
to the heart, see the Couva
swimming pool filled with us
—black children shrieking
our joy in a haze of sun; our life-
guard, Rodney, his skin flawless
and gleaming—black as fresh oil
—his strut along the pool’s edge,
his swoonworthy smile; Daddy
a beach-ball-bellied Poseidon,
droplets diamonding his afro;
my brother, hollering as he jumps
into his bright blue fear, his return
to air gasping and triumphant.
And there, the girl I was: dumpling
thick and sun-brown, stripped
down to the red two-piece suit
my mother had made by hand,
afloat in the blue bed of water,
the blue sky beaming above.
When I wake up, I’m in America
where Dorothy Dandridge
once emptied a pool with her pinkie,
and in Texas a black girl’s body
draped in its hopeful, tasseled bikini,
struck earth instead of water,
a policeman’s blue-clad knees
pinning her back, her indigo wail
a siren. I want this to be a dream,
but I am awake and in this place
where the only blue named home
is a song and we are meant to sink,
to sputter, to drown.
Copyright © 2018 by Lauren K. Alleyne. Originally published in Poem-a-Day on April 24, 2018, by the Academy of American Poets.
When it is finally ours, this freedom, this liberty, this beautiful
and terrible thing, needful to man as air,
usable as earth; when it belongs at last to all,
when it is truly instinct, brain matter, diastole, systole,
reflex action; when it is finally won; when it is more
than the gaudy mumbo jumbo of politicians:
this man, this Douglass, this former slave, this Negro
beaten to his knees, exiled, visioning a world
where none is lonely, none hunted, alien,
this man, superb in love and logic, this man
shall be remembered. Oh, not with statues’ rhetoric,
not with legends and poems and wreaths of bronze alone,
but with the lives grown out of his life, the lives
fleshing his dream of the beautiful, needful thing.
"Frederick Douglass." Copyright © 1966 by Robert Hayden. From Collected Poems of Robert Hayden by Robert Hayden, edited by Frederick Glaysher. Used by permission of Liveright Publishing Corporation.
they thought the field was wasting and so they gathered the marker rocks and stones and piled them into a barn they say that the rocks were shaped some of them scratched with triangles and other forms they must have been trying to invent some new language they say the rocks went to build that wall there guarding the manor and some few were used for the state house crops refused to grow i say the stones marked an old tongue and it was called eternity and pointed toward the river i say that after that collection no pillow in the big house dreamed i say that somewhere under here moulders one called alice whose great grandson is old now too and refuses to talk about slavery i say that at the masters table only one plate is set for supper i say no seed can flourish on this ground once planted then forsaken wild berries warm a field of bones bloom how you must i say
Lucille Clifton, "mulberry fields" from Collected Poems of Lucille Clifton. Copyright © 1991 by Lucille Clifton. Reprinted with the permission of The Permissions Company, Inc., on behalf of BOA Editions, Ltd., boaeditions.org.