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Describe your listening experience of we real cool

A Conversation With Gwendolyn Brooks The poetic voice extends to the public the visions of the passionate mind. Gwendolyn Brooks' voice in contemporary black poetry ranges from quiet sensitivity to fierce and angry protest, speaking from the perspective of a black woman in America. The tone of the title poem of this first book indicates the nature of Brooks' poetry more than describe your listening experience of we real cool changing career would at first seem to indicate.

Though issued over thirty years ago, the poem openly confronts problems such as abortion in both a frank and personal manner. When dealing with the inextricable web of the personal and the social, an exuberance of spirit and the drive to be and become stand foremost, and anger or tenderness occur as the reaction of this spirit to the situation the poet is confronting.

Four short stanzas of Black English convey a sense of motion in three word sentences set in stanzas of 7-6-65 words, depicting pride and defiance channeled in a course inevitably yielding a brief intense flaming life which extinguished early. The same drive toward being and becoming as is seen in her earlier work is evident, but this new focus provides the framework in which it can be even more effectively utilized by the poet.

Amid the traffic noises of Saturday night Bloomington she spoke of the direction of her poetry is taking at present, a direction which promises yet more vital and direct poetry. Having heard you read several times, the readings seem a lot different from the poems as they come off when I'm reading them from a book.

Does the idea of oral poetry seem more immediate or real to you than printed or written poetry? In fact, you might be surprised to know I have a visual appreciation for poetry myself. I'd rather ready anybody's work than listen to it. I can get something out of listening, but you can't pick up everything.

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But what I try to do in reciting is to give whoever is listening an impression of how I felt when I wrote the piece. I try to paint the poem on the air. Is there any use of mythology in your poems, any myths that you work from or play with in the poems? I never really investigated mythology. I'm sure though that there are African myths or their counterparts that much could be done with, but I have not tried that. How would you describe your process of composition, or a poem coming into being?

When I'm excited about something or moved by something, I take notes on it immediately so I won't forget or loose my inspiration.

Gary Snyder when he was here last fall said the same thing, that when he got an initial phrase or an idea, no matter when it was- if it was two in the morning- that he'd write it down Brooks: Does that seem like a familiar approach? I'm always taking notes, and then when I have time and can recapture the mood, I start as I was telling the students this afternoon forging a first draft, and that's what it is, real forging. And I try to use words that say what I want to say- not what one of our very famous European poets has said.

That does describe your listening experience of we real cool express what I have been doing; whatever I said to that effect was about those black poets in the late sixties, some of whom, not all but some of whom felt that black poetry shouldn't be written with an eye to posterity billions and trillions of years from now.

They felt, some of them, that if they wrote a poem that worked for black people today, it would have served its purpose, and if it died after the poem had done what the poet wanted it to feel- again not all- feel that they do want to be read thousands of years from now.

I'm afraid that I'm weak enough to think that it would be very nice if somebody could get some nourishment or healing or just plain rich pleasure out of poems I'm writing today. You broke black poetry down into three stages, a first stage that was a statement of condition, and then moving to a poetry of integration, and then the present poetry being more an assertive, positive, individualistic thing. I was describing my own three stages of creativity.

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One, I call my "express myself" stage, because I was writing about anything and everything in my environment just because I wanted to express myself- flailing about. And second, my "integration flavoring" stage when I wrote a lot of poems which I hoped would bring black people and white people and all people together, and they didn't seem to be doing that laughter in great numbers at any rate, and a third stage governed by that little credo that some of the Black poets had in the late sixties, "Black poetry is poetry written by blacks, about blacks, and to black," and then, I'm trying very seriously now to create for myself, develop for myself a kind of poem that will be immediately accessible and interesting, immediately interesting, to all manner of blacks, not just college students though they're included too.

That kind of poem will feature song, will besonglike, and yet still properly called poetry. Is that where you-? What about the future of black poetry in America, do you see any trends which you think are going to be developed?

Describe your listening experience of we real cool

I believe that events will dictate what turns black poetry takes next. A lot of black poetry is being written now that seems to be interior poetry, poetry that goes deeper into the interior to explore, but I believe that the writing concern will be coming back outdoors just as soon as some things become blatantly obvious.

A lot of stuff is happening now that I believe will involve us all, and the poets, their writing, will reflect what they're experiencing, just as it did in the late 60's.

Analysis of Poem We Real Cool by Gwendolyn Brooks

What would a few of these things be? Well, I'm sure your imagination can help you there- when you look at the headlines and you listen to television, and you hear our various leaders urging Carter to get over there and drop a few bombs laughter.

Everything getting more conservative. At least that's what's been happening so far and I don't expect the future to be much different. I do know that the people, the blacks on the African continent, don't seem inclined to lie down.

Gwendolyn Brooks

They're getting fiercer and fiercer, and more and more interested in protecting themselves. I don't expect that to have a reverse. If you just let your imagination so you'll see that we're in for some very lively poetry. Broadside Press, 1975] Ordering While we are striving to create online ordering capabilities, for now it's down to the good old mail ordering.

  1. Language clears space in that field, exposing the white surface rather than concealing it.
  2. Support your ideas with textual details and analyses.
  3. Did the pace change and, if so, how did it change your understanding of the poem? I try to paint the poem on the air.
  4. The speech is first person, but the studied aesthetics of the type does not emerge from the aesthetic values of the pool-playing dropouts who are supposedly speaking. Does that seem like a familiar approach?
  5. But what would an increased attention to visual design add to this reading? The poem is not too long to induce monotony.

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