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Analysis of gwendolyn brooks poems
Analysis of Gwendolyn Brooks as a poet
What is happening in the poem we real cool
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The same author Gwendolyn Brooks writes the poems “Fight First, Then Fiddle” and “We Real cool”. I am about to explain to you of how the author uses social issues through of the two poems I am referring to connect to her readers.
The poem “We Real Cool”, by Gwendolyn Brooks was a great piece. I chose this poem because I could relate to the choice of words the author had chosen to use. The choice of words the author had chosen led me to believe the teens that the author described in her poem had to be a part of an African American. I understood this by the cultural similarities that I have often shared. A lot of the time in my culture we have a tendency to shorten many words, which are identified as “slang”. I felt this poem was a powerful piece by the author’s choice of words that captured the cultural sound. The phrase that she used was “ We Real cool”. I felt that the author focused cultural references such as language to catch the attention of the youth within the African American communities. Brooks wrote “We would skip school, yeah we real cool.” identifying that it is a young crowd because they are skipping school and chanting “We Real Cool.” I figured the characters she is talking about are younger because as an adult you often do not refer to being “cool” and skipping school and going to play pool.
(The rhyme scheme in “We Real Cool” the words rhyme in the middle of the couplet rather than the end of the couplet. The stanza meter is very consistent and only one syllable is stressed throughout the couplets. The author has a four-line stanza; she uses key words that I have identified as cultural as if in the stanza she used "Sing sin. We Thin gin." which I have noticed my family usually drinks in and when you're in...
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...e a balance. In which is why I believe “fight first, then fiddle” was a great sonnet to compare the stanza “We Real Cool” to because I believe that in this poem Brooks is expressing that things can be beautiful, but you have to see the bad in order to see the good. Therefore, in correlation that some of the teens that Gwendolyn is describing in “We Real Cool” might need some of the bad things happened to them in order for them to grow since they have no positive role models to stop them from making the mistakes. Thus being the reason why I believe that “fight first, then fiddle” go hand in hand by the content and by the sound of both poems sound song like. I think this is also another cultural touch with getting people to connect because of the upbeat of the two poems. I believe the poems both share a consistent flow of pleasant then dark through these two poems.
The song does have good rhyme scheme, which is a very important poetic element. Zac Brown band writes, “Well I was raised up beneath the shade of a Georgia Pine / and that's home you know / sweet tea, pecan pie, and homemade wine, where the peaches grow…” (5-7). Every other line rhymes with the previous. This is a good poetic element to have, considering rhyme is commonly related to many great songs and poems. This does not make up for the lack of other poetic elements, and the simplicity of the writing. The differences between the two pieces is still very vass. The two pieces have two totally different objectives, which makes them have different writing styles. Claire Dederer writes “Song lyrics do a fine imitation of poetry, but they’re not quite the same thing. Lyrics are a vessel, designed to hold a singer’s voice. Poetry is its own solid object” (Bad Poem, Great Song). To some, the dilemma is cut and dry, songs just can’t be poetry.
Gwendolyn Brooks in “We Real Cool” develops an ironic, sarcastic tone through specific word choice. The poem begins with the phrase “We real cool” (Line 1) so immediately, the reader knows that these pool playing buddies define themselves as “cool”. In their minds, they are the epitomes of
In Fires in the Mirror, people from different communities in Crown Heights are interviewed on various subjects after the riot that erupted in 1991 between Jewish and Black groups, and in these interviews it is obvious that specific communities develop unique styles of language in order to unite all the members of their particular group. In several of the interviews a poetic form of language, rap, is used between members of the African American community to express feelings and emotions. Monique Matthews (Big Mo), an African American student interviewed in Fires says that she is trying to send out positive messages to the members of her community, and comments that the people who are sending out damaging messages “don’t understand the fundamentals of rap” (Smith 38). For example, in response to a supposed rap song by Big Daddy Kane called “Pimpin’ Ain’t Easy,” Big Mo writes, “Pimpin’ Ain’t Easy, But Whorin’ Ain’t Proper. Respect and Cherish the Original Mother” (Smith 37). With her rap, Big Mo is hoping to cause the men and women in her community to respect themselves and each other. Sonny Carson, another African American interviewed in Fires says that he is able to communicate with the young people in his community because he understands their rap culture. He says, “I understand their language…I speak their language. They don’t even engage in long dialogue anymore, just short words” (Smith 104). Carson’s ability to participate with the young people through rap allows him to have a better perspective on the tensions in Crown Heights. ...
Gwendolyn Brooks was born on June 7, 1917 in Topeka, Kansas, to KeziahWims Brooks and David Anderson Brooks. Brooks’ family didn’t have much income. Her father David Brooks was a janitor. Keziah Brooks, Gwendolyn’s mother was a school teacher. Soon after Gwendolyn was born her family moved away from Kansas. The Brooks family relocated to Chicago, Illinois, where Brooks remained the rest of her life. Brooks, as a child, loved to read. She was encouraged by her family and friends to do so. She spent most of her childhood immersed in her writing. Gwendolyn became a published poet at an early age. At age 13, Brooks’ poem Eventide was published. Her poem appeared in “American Childhood.” Brooks’ poems were frequently published in the Chicago Defender. At age 16, Brooks had written over seventy poems (J.Williams 28).In Brooks’ early years of writing she spoke on a lot. She talked about racial discrimination and praised African American heroes. Also, Brooks satirized both blacks and whites (A.williams1). In 1993, Gwendolyn meet poet James Weldon Johnson and writer Langston Hughes. The two influenced Brooks’ writing tremendously. The influence lead her to write over seventy poems (Bloom 12).
The life and art of the black American poet, Gwendolyn Brooks, began on June 7, 1917 when she was born in Topeka, Kansas. She was the first child of Keziah Corine Wims and David Anderson Brooks. When she was four, her family moved to their permanent residence on Champlin Avenue in Chicago. Her deep interest in poetry consumed much of her early life. For instance, Brooks began rhyming at the age of seven. When she was thirteen, she had her first poem, 'Eventide', published in American Childhood Magazine. Her first experience of high school came from the primary white high school in the city, Hyde Park High School. Thereafter, she transferred to an all-black high school and then to the integrated Englewood High School. By 1934, Brooks had become a member of the staff of the Chicago Defender and had published almost one hundred of her poems in a weekly poetry column. In 1936, she graduated from Wilson Junior College.
Both authors use figurative language to help develop sensory details. In the poem It states, “And I sunned it with my smiles, And with soft deceitful wiles.” As the author explains how the character is feeling, the reader can create a specific image in there head based on the details that is given throughout the poem. Specifically this piece of evidence shows the narrator growing more angry and having more rage. In the short story ” it states, “We are below the river's bed. The drops of moisture trickle among bones.” From this piece of text evidence the reader can sense the cold dark emotion that is trying to be formed. Also this excerpt shows the conflict that is about to become and the revenge that is about to take place. By the story and the poem using sensory details, they both share many comparisons.
Nonetheless, much that Brooks writes about the necessity to fight before fiddling indicates the she does not support this idea, at least not fully. For example, Brooks describes making beautiful music as being "remote / A while" from "malice and murdering." In addition to the negative way Brooks describes war in this line, ...
...t social injustices (Weidt 53). Because of her quest for freedom, she gave way to writers such as Gwendolyn Brooks and Countee Cullen. Countee Cullen wrote "Heritage," which mixes themes of freedom, Africa, and religion. It can be said, then, that he gave way to writers such as Gwendolyn Brooks wrote "Negro Hero," which is about the status of the African American during the 1940s. Clearly, these poets followed the first steps taken by Phillis Wheatley towards speaking out against social issues, and today's poetry is a result of the continuation to speak out against them
The poem Sadie and Maud was written by Gwendolyn Brooks and is included in her first volume of poetry known as A Street in Bronzeville. Gwendolyn was born in Topeka, Kansas in 1917, but moved to Chicago at a young age. Her first poem was published when she was thirteen years old, and it was called Eventide. By the time Gwendolyn was seventeen, she was publishing poems for the Chicago Defender, a newspaper for the black population. After attending junior college, Gwendolyn began writing the poems that were included in her first collection, A Street in Bronzeville”, which was published in 1945. These poems focused on portraying the black urban poor. In the 1940s, when these
Sociologists often employ intersectionality theory to describe and explain facets of human interactions. This particular methodology operates on the notion that sociologically defining characteristics, such as that of race, gender, and class, are not independent of one another but function simultaneously to determine our individual social experiences. This is evident in poetry as well. The combination of one poet’s work that expresses issues on class with another poet’s work that voices issues on race, and so forth, can be analyzed through a literary lens, and collectively embody the sociological intersectionality theory.
"We Real Cool" is a short, yet powerful poem by Gwendolyn Brooks that sends a life learning message to its reader. The message Brooks is trying to send is that dropping out of school and roaming the streets is in fact not "cool" but in actuality a dead end street.
... overall themes, and the use of flashbacks. Both of the boys in these two poems reminisce on a past experience that they remember with their fathers. With both poems possessing strong sentimental tones, readers are shown how much of an impact a father can have on a child’s life. Clearly the two main characters experience very different past relationships with their fathers, but in the end they both come to realize the importance of having a father figure in their lives and how their experiences have impacted their futures.
Black culture is the epitome of what defines America’s understanding of cool. It is difficult to define what it means to be cool without stating the influence or impact of the culture. The idea of cool developed as a social attitude implemented by black men during slavery which they used as a defense mechanism in order to cope with exploitation and injustice. It is now spread by hip hop culture which has integrated itself into mainstream society. As a result, black culture continues to play a vital role in America due to its innovative and creature nature.
In the words of rapper Busta Rhymes, “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape” Hip-hop is a culture that emerged from the Bronx, New York, during the early 1970s. Hip-Hop was a result of African American and Latino youth redirecting their hardships brought by marginalization from society to creativity in the forms of MCing, DJing, aerosol art, and breakdancing. Hip-hop serves as a vehicle for empowerment while transcending borders, skin color, and age. However, the paper will focus on hip-hop from the Chican@-Latin@ population in the United States. In the face of oppression, the Chican@-Latin@ population utilized hip hop music as a means to voice the community’s various issues, desires, and in the process empower its people.
Hip hop has permeated popular culture in an unprecedented fashion. Because of its crossover appeal, it is a great unifier of diverse populations. Although created by black youth on the streets, hip hop's influence has become well received by a number of different races in this country. A large number of the rap and hip hop audience is non-black. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Because it has become the fastest growing music genre in the U.S., companies and corporate giants have used its appeal to capitalize on it. Although critics of rap music and hip hop seem to be fixated on the messages of sex, violence, and harsh language, this genre offers a new paradigm of what can be (Lewis, 1998.) The potential of this art form to mend ethnic relations is substantial. Hip hop has challenged the system in ways that have unified individuals across a rich ethnic spectrum. This art form was once considered a fad has kept going strong for more than three decades. Generations consisting of Blacks, Whites, Latinos, and Asians have grown up immersed in hip-hop. Hip hop represents a realignment of America?s cultural aesthetics. Rap songs deliver a message, again and again, to keep it real. It has influenced young people of all races to search for excitement, artistic fulfillment, and a sense of identity by exploring the black underclass (Foreman, 2002). Though it is music, many people do not realize that it is much more than that. Hip hop is a form of art and culture, style, and language, and extension of commerce, and for many, a natural means of living. The purpose of this paper is to examine hip hop and its effect on American culture. Different aspects of hip hop will also be examined to shed some light that helps readers to what hip hop actually is. In order to see hip hop as a cultural influence we need to take a look at its history.