who goes there? who is this young man born lonely?
who walks there? who goes toward death
whistling through the water
without his chorus? without his posse? without his song?
it is autumn now
in me autumn grieves
in this carved gold of shifting faces
my eyes confess to the fatigue of living.
Nondum amabam, et amare amabam, quaerebam quid amarem, amans amare.— Confess. St. August. Earth, ocean, air, belovèd brotherhood! If our great Mother has imbued my soul With aught of natural piety to feel Your love, and recompense the boon with mine;
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
The night is covered with signs. The body and face of man, with signs, and his journeys. Where the rock is split and speaks to the water; the flame speaks to the cloud; the red splatter, abstraction, on the door speaks to the angel and the constellations. The grains of sand on the sea-floor speak at last to the noon. And the loud hammering of the land behind
xxiv What is far hence led to the den of making: Moves unlike wildfire | not so simple-happy Ploughman hammers ploughshare his durum dentem Digging the Georgics
Vision loads landscape | lauds Idoto Mater Bearing up sacrally so graced with bodies Voids the challenge how far from Igboland great- Stallioned Argos
Vehemencies minus the ripe arraignment Clapper this art taken to heart the fiction What are those harsh cryings astrew the marshes Weep not to hear them
A tattering of rain and then the reign Of pour and pouring-down and down, Where in the westward gathered the filming gown Of grey and clouding weakness, and, in the mane Of the light’s glory and the day’s splendor, gold and vain, Vivid, more and more vivid, scarlet, lucid and more luminous, Then came a splatter, a prattle, a blowing rain!
I. Runs falls rises stumbles on from darkness into darkness and the darkness thicketed with shapes of terror and the hunters pursuing and the hounds pursuing and the night cold and the night long and the river to cross and the jack-muh-lanterns beckoning beckoning and blackness ahead and when shall I reach that somewhere morning and keep on going and never turn back and keep on going
In speaking of ‘aspiration,’ From the recesses of a pen more dolorous than blackness itself, Were you presenting us with one more form of imperturbable French drollery, Or was it self directed banter? Habitual ennui Took from you, your invisible, hot helmet of anaemia—
I saw you in green velvet, wide full sleeves seated in front of a fireplace, our house made somehow more gracious, and you said “There are stars in your hair”— it was truth I brought down with me
to this sullen and dingy place that we must make golden make precious and mythical somehow, it is our nature, and it is truth, that we came here, I told you,
In a stable of boats I lie still, From all sleeping children hidden. The leap of a fish from its shadow Makes the whole lake instantly tremble. With my foot on the water, I feel The moon outside
Take on the utmost of its power. I rise and go out through the boats.
Tonite I walked out of my red apartment door on East tenth street’s dusk— Walked out of my home ten years, walked out in my honking neighborhood Tonite at seven walked out past garbage cans chained to concrete anchors Walked under black painted fire escapes, giant castiron plate covering a hole in ground —Crossed the street, traffic lite red, thirteen bus roaring by liquor store, past corner pharmacy iron grated, past Coca Cola & Mylai posters fading scraped on brick Past Chinese Laundry wood door’d, & broken cement stoop steps For Rent hall painted green & purple Puerto Rican style
My mother had two faces and a frying pot where she cooked up her daughters into girls before she fixed our dinner. My mother had two faces and a broken pot where she hid out a perfect daughter who was not me
Every city in America is approached through a work of art, usually a bridge but sometimes a road that curves underneath or drops down from the sky. Pittsburgh has a tunnel—
you don’t know it—that takes you through the rivers and under the burning hills. I went there to cry in the woods or carry my heavy bicycle through fire and flood. Some have little parks—
From the high terrace porch I watch the dawn. No light appears, though dark has mostly gone, Sunk from the cold and monstrous stone. The hills Lie naked but not light. The darkness spills Down the remoter gulleys; pooled, will stay Too low to melt, not yet alive with day. Below the windows, the lawn, matted deep Under its close-cropped tips with dewy sleep,
from the cliff's edge, kicking her feet in panic and despair as the circle of light contracts and blackness takes the screen. And that is how we leave her, hanging—though we know she will be rescued, only to descend into fresh harm, the story flowing on, disaster and reprieve—systole, diastole—split
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