The Islands of Africa

He looked down at his withering body and saw a hair
near his navel, swaying.

And now he saw his other hairs rise up.

He felt a hectic current in his veins.
Looking within, he saw the bubbling of his blood.

He cursed his fever, saying:
“It is the chemistry of prayer.
It increases in frequency,

Out of this roar of innumerable demons

hot cinema tarzan sweat
rolling moth ball eyes yellow teeth
cries of claws slashes clanks

a faint high pallor

dust

oceans rolling over the dry sand of the savanna

your houses homes warm still with the buffalo milk

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The lean hands of wagon men
put out pointing fingers here,
picked this crossway, put it on a map,
set up their sawbucks, fixed their shotguns,
found a hitching place for the pony express,
made a hitching place for the iron horse,
the one-eyed horse with the fire-spit head,

The farmhouses north of Driggs,
silos for miles along the road saying
BUTLER or SIOUX. The light saying
rain coming on, the wind not up yet,
animals waiting as the front hits
everything on the high fiats, hailstones
bouncing like rabbits under the sage.
Nothing running off. Creeks clear.

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Who will honor the city without a name
If so many are dead and others pan gold
Or sell arms in faraway countries?

What shepherd's horn swathed in the bark of birch
Will sound in the Ponary Hills the memory of the absent—
Vagabonds, Pathfinders, brethren of a dissolved lodge?

This spring, in a desert, beyond a campsite flagpole,

A group of young men in Jacksonville, Florida, arranged to celebrate Lincoln’s birthday in 1900. My brother, J. Rosamond Johnson, and I decided to write a song to be sung at the exercises. I wrote the words and he wrote the music. Our New York publisher, Edward B. Marks, made mimeographed copies for us, and the song was taught to and sung by a chorus of five hundred colored school children.
Shortly afterwards my brother and I moved away from Jacksonville to New York, and the song passed out of our minds. But the school children of Jacksonville kept singing it; they went off to other schools and sang it; they became teachers and taught it to other children. Within twenty years it was being sung over the South and in some other parts of the country. Today the song, popularly known as the Negro National Hymn, is quite generally used.
The lines of this song repay me in an elation, almost of exquisite anguish, whenever I hear them sung by Negro children. Lift every voice and sing
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise

I
However the image enters
its force remains within
my eyes
rockstrewn caves where dragonfish evolve
wild for life, relentless and acquisitive
learning to survive

Kneel down, fair Love, and fill thyself with tears,
Girdle thyself with sighing for a girth
Upon the sides of mirth,
Cover thy lips and eyelids, let thine ears
Be filled with rumour of people sorrowing;
Make thee soft raiment out of woven sighs
Upon the flesh to cleave,
Set pains therein and many a grievous thing,
And many sorrows after each his wise
For armlet and for gorget and for sleeve.

O Love's lute heard about the lands of death,
Left hanged upon the trees that were therein;
O Love and Time and Sin,
Three singing mouths that mourn now underbreath,

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Nose only above water;
an hour in the ice melt;
paw in a beaver trap,
northern leaping through—
the outlet sieving, setter-
retriever staked to her trip,
The stake of her young