Far from the sea far from the sea of Breton fishermen the white clouds scudding over Lowell and the white birches the bare white birches along the blear night roads
America I’ve given you all and now I’m nothing. America two dollars and twentyseven cents January 17, 1956. I can’t stand my own mind. America when will we end the human war? Go fuck yourself with your atom bomb. I don’t feel good don’t bother me. I won’t write my poem till I’m in my right mind. America when will you be angelic?
A lot of water has passed under the bridge since 1963. Then, my concernwas particularly for my own people and this version was written especially for them. I am happy that it has done and is doing its job. However, I want it to be known, that I am not a proponent of the concept of cultural nationalism. I dearly love and am proud of my good, serious, sincere black people, yet at the same time, my concern is with all people of goodwill no matter the color. I make no mystique of blackness. I am a humanist. Indeed, I am auniversalist. This truth, I know. The liberation of black people in the United States is tightly linked with the liberation of black people in the far flungdiaspora. Further, and more important, the liberation of black and oppressed people all over the world, is linked with the struggles of the workers of the world of every nationality and color against the common oppressors, overlords, and exploiters of their labor.
Thus it was only natural that I should write "What Shall We Tell Our Children?" in 1973. I have tried to tell them the facts of life and the truth as I see it:
I hope I have succeeded.
What shall we tell our children who are black?
What shall we tell our children who are white?
What shall we tell children of every race and hue?
For all children are the children of all of us
It is patent to the eye that cannot face the sun The smug philosophers lie who say the world is one; World is other and other, world is here and there, Parmenides would smother life for lack of air Precluding birth and death; his crystal never breaks— No movement and no breath, no progress nor mistakes, Nothing begins or ends, no one loves or fights, All your foes are friends and all your days are nights
Beat! beat! drums!—blow! bugles! blow! Through the windows—through doors—burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying, Leave not the bridegroom quiet—no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field or gathering his grain, So fierce you whirr and pound you drums—so shrill you bugles blow.
Amongst dogs are listeners and singers. My big dog sang with me so purely, puckering her ruffled lips into an O, beginning with small, swallowing sounds like Coltrane musing, then rising to power and resonance, gulping air to continue— her passion and sense of flawless form— singing not with me, but for the art of dogs.
1 Flood-tide below me! I see you face to face! Clouds of the west—sun there half an hour high—I see you also face to face.
Crowds of men and women attired in the usual costumes, how curious you are to me! On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose, And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.
2 The impalpable sustenance of me from all things at all hours of the day, The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme, The similitudes of the past and those of the future, The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river, The current rushing so swiftly and swimming with me far away, The others that are to follow me, the ties between me and them,
I Love, though for this you riddle me with darts, And drag me at your chariot till I die, — Oh, heavy prince! Oh, panderer of hearts! — Yet hear me tell how in their throats they lie Who shout you mighty: thick about my hair, Day in, day out, your ominous arrows purr, Who still am free, unto no querulous care
Alone with our madness and favorite flower We see that there really is nothing left to write about. Or rather, it is necessary to write about the same old things In the same way, repeating the same things over and over For love to continue and be gradually different.
Beehives and ants have to be re-examined eternally And the color of the day put in Hundreds of times and varied from summer to winter
As simply as a self-effacing bar of soap escaping by indiscernible degrees in the wash water is how a man may change and still hour by hour continue in his job. There in the mirror he appears to be on fire but here at the office he is dust. So long as there remains a little moisture in the stains, he stands easily on the pavement
Black reapers with the sound of steel on stones Are sharpening scythes. I see them place the hones In their hip-pockets as a thing that’s done, And start their silent swinging, one by one. Black horses drive a mower through the weeds, And there, a field rat, startled, squealing bleeds. His belly close to ground. I see the blade, Blood-stained, continue cutting weeds and shade.
Coldly, sadly descends The autumn-evening. The field Strewn with its dank yellow drifts Of wither'd leaves, and the elms, Fade into dimness apace, Silent;—hardly a shout From a few boys late at their play! The lights come out in the street,
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