Gwendolyn Brooks

of the furious Who take Today and jerk it out of joint have made new underpinnings and a Head. Blacktime is time for chimeful poemhood but they decree a jagged chiming now. If there are flowers flowers must come out to the road. Rowdy!— knowing where wheels and people are, knowing where whips and screams are, knowing where deaths are, where the kind kills are. As for that other kind of kindness, if there is milk it must be mindful. The milkofhumankindness must be mindful as wily wines. Must be fine fury. Must be mega, must be main. Taking Today (to jerk it out of joint) the hardheroic maim the leechlike-as-usual who use, adhere to, carp, and harm. And they await, across the Changes and the spiraling dead, our Black revival, our Black vinegar, our hands, and our hot blood.

—And when you have forgotten the bright bedclothes on a Wednesday and a Saturday, And most especially when you have forgotten Sunday— When you have forgotten Sunday halves in bed, Or me sitting on the front-room radiator in the limping afternoon Looking off down the long street To nowhere, Hugged by my plain old wrapper of no-expectation And nothing-I-have-to-do and I’m-happy-why? And if-Monday-never-had-to-come— When you have forgotten that, I say, And how you swore, if somebody beeped the bell, And how my heart played hopscotch if the telephone rang; And how we finally went in to Sunday dinner, That is to say, went across the front room floor to the ink-spotted table in the southwest corner To Sunday dinner, which was always chicken and noodles Or chicken and rice And salad and rye bread and tea And chocolate chip cookies— I say, when you have forgotten that, When you have forgotten my little presentiment That the war would be over before they got to you; And how we finally undressed and whipped out the light and flowed into bed, And lay loose-limbed for a moment in the week-end Bright bedclothes, Then gently folded into each other— When you have, I say, forgotten all that, Then you may tell, Then I may believe You have forgotten me well.

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.

Mrs. Coley’s three-flat brick Isn’t here any more. All done with seeing her fat little form Burst out of the basement door; And with seeing her African son-in-law (Rightful heir to the throne) With his great white strong cold squares of teeth And his little eyes of stone; And with seeing the squat fat daughter Letting in the men When majesty has gone for the day— And letting them out again.

And if sun comes How shall we greet him? Shall we not dread him, Shall we not fear him After so lengthy a Session with shade? Though we have wept for him, Though we have prayed All through the night-years— What if we wake one shimmering morning to Hear the fierce hammering Of his firm knuckles Hard on the door? Shall we not shudder?— Shall we not flee Into the shelter, the dear thick shelter Of the familiar Propitious haze? Sweet is it, sweet is it To sleep in the coolness Of snug unawareness. The dark hangs heavily Over the eyes.

Phoenix “In Egyptian mythology, a bird which lived for five hundred years and then consumed itself in fire, rising renewed from the ashes.” —webster The earth is a beautiful place. Watermirrors and things to be reflected. Goldenrod across the little lagoon. The Black Philosopher says “Our chains are in the keep of the Keeper in a labeled cabinet on the second shelf by the cookies, sonatas, the arabesques. . . . There’s a rattle, sometimes. You do not hear it who mind only cookies and crunch them. You do not hear the remarkable music—‘A Death Song For You Before You Die.’ If you could hear it you would make music too. The black blues.” West Madison Street. In “Jessie’s Kitchen” nobody’s eating Jessie’s Perfect Food. Crazy flowers cry up across the sky, spreading and hissing This is it.

Kathleen Eileen Already I am no longer looked at with lechery or love. My daughters and sons have put me away with marbles and dolls, Are gone from the house. My husband and lovers are pleasant or somewhat polite And night is night. It is a real chill out, The genuine thing. I am not deceived, I do not think it is still summer Because sun stays and birds continue to sing. It is summer-gone that I see, it is summer-gone. The sweet flowers indrying and dying down, The grasses forgetting their blaze and consenting to brown. It is a real chill out. The fall crisp comes. I am aware there is winter to heed. There is no warm house That is fitted with my need. I am cold in this cold house this house Whose washed echoes are tremulous down lost halls. I am a woman, and dusty, standing among new affairs. I am a woman who hurries through her prayers. Tin intimations of a quiet core to be my Desert and my dear relief Come: there shall be such islanding from grief, And small communion with the master shore. Twang they. And I incline this ear to tin, Consult a dual dilemma. Whether to dry In humming pallor or to leap and die. Somebody muffed it? Somebody wanted to joke.

Inamoratas, with an approbation, Bestowed his title. Blessed his inclination. He wakes, unwinds, elaborately: a cat Tawny, reluctant, royal. He is fat And fine this morning. Definite. Reimbursed. He waits a moment, he designs his reign, That no performance may be plain or vain. Then rises in a clear delirium. He sheds, with his pajamas, shabby days. And his desertedness, his intricate fear, the Postponed resentments and the prim precautions. Now, at his bath, would you deny him lavender Or take away the power of his pine? What smelly substitute, heady as wine, Would you provide? life must be aromatic. There must be scent, somehow there must be some. Would you have flowers in his life? suggest Asters? a Really Good geranium? A white carnation? would you prescribe a Show With the cold lilies, formal chrysanthemum Magnificence, poinsettias, and emphatic Red of prize roses? might his happiest Alternative (you muse) be, after all, A bit of gentle garden in the best Of taste and straight tradition? Maybe so. But you forget, or did you ever know, His heritage of cabbage and pigtails, Old intimacy with alleys, garbage pails, Down in the deep (but always beautiful) South Where roses blush their blithest (it is said) And sweet magnolias put Chanel to shame. No! He has not a flower to his name. Except a feather one, for his lapel. Apart from that, if he should think of flowers It is in terms of dandelions or death. Ah, there is little hope. You might as well— Unless you care to set the world a-boil And do a lot of equalizing things, Remove a little ermine, say, from kings, Shake hands with paupers and appoint them men, For instance—certainly you might as well Leave him his lotion, lavender and oil. Let us proceed. Let us inspect, together With his meticulous and serious love, The innards of this closet. Which is a vault Whose glory is not diamonds, not pearls, Not silver plate with just enough dull shine. But wonder-suits in yellow and in wine, Sarcastic green and zebra-striped cobalt. With shoulder padding that is wide And cocky and determined as his pride; Ballooning pants that taper off to ends Scheduled to choke precisely. Here are hats Like bright umbrellas; and hysterical ties Like narrow banners for some gathering war. People are so in need, in need of help. People want so much that they do not know. Below the tinkling trade of little coins The gold impulse not possible to show Or spend. Promise piled over and betrayed. These kneaded limbs receive the kiss of silk. Then they receive the brave and beautiful Embrace of some of that equivocal wool. He looks into his mirror, loves himself— The neat curve here; the angularity That is appropriate at just its place; The technique of a variegated grace. Here is all his sculpture and his art And all his architectural design. Perhaps you would prefer to this a fine Value of marble, complicated stone. Would have him think with horror of baroque, Rococo. You forget and you forget. He dances down the hotel steps that keep Remnants of last night’s high life and distress. As spat-out purchased kisses and spilled beer. He swallows sunshine with a secret yelp. Passes to coffee and a roll or two. Has breakfasted. Out. Sounds about him smear, Become a unit. He hears and does not hear The alarm clock meddling in somebody’s sleep; Children’s governed Sunday happiness; The dry tone of a plane; a woman’s oath; Consumption’s spiritless expectoration; An indignant robin’s resolute donation Pinching a track through apathy and din; Restaurant vendors weeping; and the L That comes on like a slightly horrible thought. Pictures, too, as usual, are blurred. He sees and does not see the broken windows Hiding their shame with newsprint; little girl With ribbons decking wornness, little boy Wearing the trousers with the decentest patch, To honor Sunday; women on their way From “service,” temperate holiness arranged Ably on asking faces; men estranged From music and from wonder and from joy But far familiar with the guiding awe Of foodlessness. He loiters. Restaurant vendors Weep, or out of them rolls a restless glee. The Lonesome Blues, the Long-lost Blues, I Want A Big Fat Mama. Down these sore avenues Comes no Saint-Saëns, no piquant elusive Grieg, And not Tschaikovsky’s wayward eloquence And not the shapely tender drift of Brahms. But could he love them? Since a man must bring To music what his mother spanked him for When he was two: bits of forgotten hate, Devotion: whether or not his mattress hurts: The little dream his father humored: the thing His sister did for money: what he ate For breakfast—and for dinner twenty years Ago last autumn: all his skipped desserts. The pasts of his ancestors lean against Him. Crowd him. Fog out his identity. Hundreds of hungers mingle with his own, Hundreds of voices advise so dexterously He quite considers his reactions his, Judges he walks most powerfully alone, That everything is—simply what it is. But movie-time approaches, time to boo The hero’s kiss, and boo the heroine Whose ivory and yellow it is sin For his eye to eat of. The Mickey Mouse, However, is for everyone in the house. Squires his lady to dinner at Joe’s Eats. His lady alters as to leg and eye, Thickness and height, such minor points as these, From Sunday to Sunday. But no matter what Her name or body positively she’s In Queen Lace stockings with ambitious heels That strain to kiss the calves, and vivid shoes Frontless and backless, Chinese fingernails, Earrings, three layers of lipstick, intense hat Dripping with the most voluble of veils. Her affable extremes are like sweet bombs About him, whom no middle grace or good Could gratify. He had no education In quiet arts of compromise. He would Not understand your counsels on control, nor Thank you for your late trouble. At Joe’s Eats You get your fish or chicken on meat platters. With coleslaw, macaroni, candied sweets, Coffee and apple pie. You go out full. (The end is—isn’t it?—all that really matters.) And even and intrepid come The tender boots of night to home. Her body is like new brown bread Under the Woolworth mignonette. Her body is a honey bowl Whose waiting honey is deep and hot, Her body is like summer earth, Receptive, soft, and absolute ...

I’ve stayed in the front yard all my life. I want a peek at the back Where it’s rough and untended and hungry weed grows. A girl gets sick of a rose. I want to go in the back yard now And maybe down the alley, To where the charity children play. I want a good time today. They do some wonderful things. They have some wonderful fun. My mother sneers, but I say it’s fine How they don’t have to go in at quarter to nine. My mother, she tells me that Johnnie Mae Will grow up to be a bad woman. That George’ll be taken to Jail soon or late (On account of last winter he sold our back gate). But I say it’s fine. Honest, I do. And I’d like to be a bad woman, too, And wear the brave stockings of night-black lace And strut down the streets with paint on my face.

“The fact that we are black is our ultimate reality.” —Ron Karenga And several strengths from drowsiness campaigned but spoke in Single Sermon on the warpland. And went about the warpland saying No. “My people, black and black, revile the River. Say that the River turns, and turn the River. Say that our Something in doublepod contains seeds for the coming hell and health together. Prepare to meet (sisters, brothers) the brash and terrible weather; the pains; the bruising; the collapse of bestials, idols. But then oh then!—the stuffing of the hulls! the seasoning of the perilously sweet! the health! The heralding of the clear obscure! Build now your Church, my brothers, sisters. Build never with brick or Corten nor with granite. Build with lithe love. With love like lion-eyes. with love like morningrise. with love like black, our black— luminously indiscreet; complete; continuous.”