arrive. The Ladies from the Ladies' Betterment League Arrive in the afternoon, the late light slanting In diluted gold bars across the boulevard brag Of proud, seamed faces with mercy and murder hinting Here, there, interrupting, all deep and debonair, The pink paint on the innocence of fear; Walk in a gingerly manner up the hall. Cutting with knives served by their softest care, Served by their love, so barbarously fair. Whose mothers taught: You'd better not be cruel! You had better not throw stones upon the wrens! Herein they kiss and coddle and assault Anew and dearly in the innocence With which they baffle nature. Who are full, Sleek, tender-clad, fit, fiftyish, a-glow, all Sweetly abortive, hinting at fat fruit, Judge it high time that fiftyish fingers felt Beneath the lovelier planes of enterprise. To resurrect. To moisten with milky chill. To be a random hitching post or plush. To be, for wet eyes, random and handy hem. Their guild is giving money to the poor. The worthy poor. The very very worthy And beautiful poor. Perhaps just not too swarthy? Perhaps just not too dirty nor too dim Nor—passionate. In truth, what they could wish Is—something less than derelict or dull. Not staunch enough to stab, though, gaze for gaze! God shield them sharply from the beggar-bold! The noxious needy ones whose battle's bald Nonetheless for being voiceless, hits one down. But it's all so bad! and entirely too much for them. The stench; the urine, cabbage, and dead beans, Dead porridges of assorted dusty grains, The old smoke, heavy diapers, and, they're told, Something called chitterlings. The darkness. Drawn Darkness, or dirty light. The soil that stirs. The soil that looks the soil of centuries. And for that matter the general oldness. Old Wood. Old marble. Old tile. Old old old. Not homekind Oldness! Not Lake Forest, Glencoe. Nothing is sturdy, nothing is majestic, There is no quiet drama, no rubbed glaze, no Unkillable infirmity of such A tasteful turn as lately they have left, Glencoe, Lake Forest, and to which their cars Must presently restore them. When they're done With dullards and distortions of this fistic Patience of the poor and put-upon. They've never seen such a make-do-ness as Newspaper rugs before! In this, this "flat," Their hostess is gathering up the oozed, the rich Rugs of the morning (tattered! the bespattered . . . ), Readies to spread clean rugs for afternoon. Here is a scene for you. The Ladies look, In horror, behind a substantial citizeness Whose trains clank out across her swollen heart. Who, arms akimbo, almost fills a door. All tumbling children, quilts dragged to the floor And tortured thereover, potato peelings, soft- Eyed kitten, hunched-up, haggard, to-be-hurt. Their League is allotting largesse to the Lost. But to put their clean, their pretty money, to put Their money collected from delicate rose-fingers Tipped with their hundred flawless rose-nails seems . . . They own Spode, Lowestoft, candelabra, Mantels, and hostess gowns, and sunburst clocks, Turtle soup, Chippendale, red satin "hangings," Aubussons and Hattie Carnegie. They Winter In Palm Beach; cross the Water in June; attend, When suitable, the nice Art Institute; Buy the right books in the best bindings; saunter On Michigan, Easter mornings, in sun or wind. Oh Squalor! This sick four-story hulk, this fibre With fissures everywhere! Why, what are bringings Of loathe-love largesse? What shall peril hungers So old old, what shall flatter the desolate? Tin can, blocked fire escape and chitterling And swaggering seeking youth and the puzzled wreckage Of the middle passage, and urine and stale shames And, again, the porridges of the underslung And children children children. Heavens! That Was a rat, surely, off there, in the shadows? Long And long-tailed? Gray? The Ladies from the Ladies' Betterment League agree it will be better To achieve the outer air that rights and steadies, To hie to a house that does not holler, to ring Bells elsetime, better presently to cater To no more Possibilities, to get Away. Perhaps the money can be posted. Perhaps they two may choose another Slum! Some serious sooty half-unhappy home!— Where loathe-lover likelier may be invested. Keeping their scented bodies in the center Of the hall as they walk down the hysterical hall, They allow their lovely skirts to graze no wall, Are off at what they manage of a canter, And, resuming all the clues of what they were, Try to avoid inhaling the laden air.
Gwendolyn Brooks: A Centennial Celebration
A Pulitzer Prize winner, an Academy Fellowship winner, and the first black woman appointed as consultant in poetry to the Library of Congress, Gwendolyn Brooks was—and continues to be—an outstanding voice in the world of contemporary American poetry. Brooks, who was awarded countless literary honors in her lifetime, was known for writing poems that captured a cross-section of everyday life in her hometown of Chicago. In sonnets, ballads, epic poems, and more, Brooks captured the lives, speech, and perspectives of people as varied as those she encountered in her city, and was particularly known for her interrogation of race relations and class.
This year marks Brooks’s centennial, and to celebrate, we’ve created this new collection of essays, audio, and poems by and about Brooks.
Oh mother, mother, where is happiness? They took my lover's tallness off to war, Left me lamenting. Now I cannot guess What I can use an empty heart-cup for. He won't be coming back here any more. Some day the war will end, but, oh, I knew When he went walking grandly out that door That my sweet love would have to be untrue. Would have to be untrue. Would have to court Coquettish death, whose impudent and strange Possessive arms and beauty (of a sort) Can make a hard man hesitate—and change. And he will be the one to stammer, "Yes." Oh mother, mother, where is happiness?
Produced for K-12 educators, Teach This Poem features one poem a week from our online poetry collection, accompanied by interdisciplinary resources and activities designed to help teachers quickly and easily bring poetry into the classroom. The series is written by our Educator in Residence, Dr. Madeleine Fuchs Holzer, and is available for free via email.
Abortions will not let you forget. You remember the children you got that you did not get, The damp small pulps with a little or with no hair, The singers and workers that never handled the air. You will never neglect or beat Them, or silence or buy with a sweet. You will never wind up the sucking-thumb Or scuttle off ghosts that come. You will never leave them, controlling your luscious sigh, Return for a snack of them, with gobbling mother-eye. I have heard in the voices of the wind the voices of my dim killed children. I have contracted. I have eased My dim dears at the breasts they could never suck. I have said, Sweets, if I sinned, if I seized Your luck And your lives from your unfinished reach, If I stole your births and your names, Your straight baby tears and your games, Your stilted or lovely loves, your tumults, your marriages, aches, and your deaths, If I poisoned the beginnings of your breaths, Believe that even in my deliberateness I was not deliberate. Though why should I whine, Whine that the crime was other than mine?— Since anyhow you are dead. Or rather, or instead, You were never made. But that too, I am afraid, Is faulty: oh, what shall I say, how is the truth to be said? You were born, you had body, you died. It is just that you never giggled or planned or cried. Believe me, I loved you all. Believe me, I knew you, though faintly, and I loved, I loved you All.
Dawn oversees percolating coffee
and the new wreckage of the world.
I stand before my routine reflection,
button up my sanity,
brush weary strands of hair with pomade
and seal cracked lips of distrust
with cocoa butter and matte rouge.
I ready myself once again
for morning and mortify.
Stacking poetry and bills in a knapsack;
I bundle up hope (it’s brutal out there).
For a moment, I stand with ghosts
and the framed ancestors surrounding me.
I call out, hoping she can hear me
over the day-breaking sirens—
hoping she’s not far away,
or right down the street,
praying over another dead black boy.
How will we make it through this, Ms. Brooks?
When she held a body,
she saw much worse than this.
I know she was earshot and fingertip close to oppression.
She saw how hateful hate could be.
She raised babies, taught Stone Rangers,
grew a natural and wrote around critics.
She won a Pulitzer in the dark.
She justified our kitchenette dreams,
and held on.
She held on to all of us.
Hold On, she whispers.
Another day, when I have to tip-toe
around the police and passive-aggressive emails
from people who sit only a few feet away from me.
Another day of fractured humans
who decide how I will live and die,
and I have to act like I like it
so I can keep a job;
be a team player, pay taxes on it;
I have to act like I’m happy to be
slammed, severed, and swindled.
Otherwise, I’m just part of the problem—
a rebel rouser and rude.
They want me to like it, or at least pretend,
so the pretty veils that blanket who we really are—
this complicated history, can stay pretty and veiled
like some desert belly dancer
who must be seen but not heard.
We are a world of lesions.
Human has become hindrance.
We must be stamped and have papers,
and still, it’s not enough.
Ignorance has become powerful.
The dice that rolls our futures is platinum
but hollow inside.
Did you see that, Ms. Brooks?
Do you see what we’ve become?
They are skinning our histories,
deporting our roots,
detonating our very right to tell the truth.
We are one step closer to annihilation.
Hold On, she says, two million light years away.
Hold On everybody.
Hold On because the poets are still alive—and writing.
Hold On to the last of the disappearing bees
and that Great Barrier Reef.
Hold On to the one sitting next to you,
not masked behind some keyboard.
The one right next to you.
The ones who live and love right next to you.
Hold On to them.
And when we bury another grandmother,
or another black boy;
when we stand in front of a pipeline,
pour another glass of dirty drinking water
and put it on the dining room table,
next to the kreplach, bratwurst, tamales, collards, and dumplings
that our foremothers and fathers—immigrants,
brought with them so we all knew that we came from somewhere;
somewhere that mattered.
When we kneel on the rubbled mosques,
sit in massacred prayer circles,
Holding On is what gets us through.
We must remember who we are.
We are worth fighting for.
We’ve seen beauty.
We’ve birthed babies who’ve only known a black President.
We’ve tasted empathy and paid it forward.
We’ve Go-Funded from wrong to right.
We’ve marched and made love.
We haven’t forgotten—even if they have—Karma is keeping watch.
Hold On everybody.
Even if all you have left
is that middle finger around your God-given right
to be free, to be heard, to be loved,
and remembered…Hold On,
They eat beans mostly, this old yellow pair. Dinner is a casual affair. Plain chipware on a plain and creaking wood, Tin flatware. Two who are Mostly Good. Two who have lived their day, But keep on putting on their clothes And putting things away. And remembering . . . Remembering, with twinklings and twinges, As they lean over the beans in their rented back room that is full of beads and receipts and dolls and cloths, tobacco crumbs, vases and fringes.
THE POOL PLAYERS. SEVEN AT THE GOLDEN SHOVEL. We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon.
They carved the letters yellow,
the wood around the letters green,
chained a picnic table to the grass
out near where the roof of the dead
mall directs a crack
of sunset to radiate the Burger King sign gold.
Last place open after midnight:
then apartment windows hold
stars and satellites in the cold.
A creek runs like a paper fold
from one corner of park to other,
twenty or thirty blocks from where
she took her first breaths of infancy
in the only city I know of
with the letters for poet
that does not also carry
a port or a point in its name.