In Gwendolyn Brooks' We Real Cool, a scene is depicted of seven young adults playing pool during the time of day during which people of their age would typically be in school. The narrative voice of the poem is of one of these pool players, stating their usual activities as opposed to attending school, such as “lurking late” or “thinning gin,” ending with a fatalistic note that he, as well as the other pool players, will “die soon.” The statement of “dying soon,” as it's written by Brooks, can be superficially interpreted as her overall distaste of these young adults' actions, when in fact, the poem addresses institutional racism and it's effect on these youth because of how “they thought they were not cherished by the society.” (HoCoPoLitSo) …show more content…
Using particular literary devices such as tone, cadence, and enjambment, Brooks' provides a depiction of the repercussions of institutional racism, as well as an analysis of the pool players' feelings and their uncertainty regarding their identity due to it. In order to properly comprehend how the usage of literary devices in We Real Cool depict the fatalism and uncertainty of identity in the pool players, the effect of institutional racism on the pool players in question must be understood. The poem was written after Brooks walked through her neighborhood in Chicago, and saw young adults in a pool hall, and instead of asking “why they weren't in school,” she “wondered how they felt about themselves.” (Reese) Brooks wanted to convey their feeling of a lack of validity, and the aforementioned thought that they were not cherished by society. Though the ethnicity of these pool players is never explicitly stated, there is direct inclusion of African American culture, in such instances as the line “We Jazz June.” Jazz, as a music genre, is fundamental in African American culture; it was created in African American culture, as well as revolutionized by African American artists throughout history; the reference of jazz is a direct reference to African American culture itself. Brooks' has explained that she used the word “June” to represent establishment. Brooks believed that the month of June is a wonderful, purely benevolent entity. However, the historical connotations of the poem, being written during the beginning of the Civil Rights movement in 1960, meant that the societal connotations of the era certainly could lead these young adults to believe that they were not cherished. As the Civil Rights movement was just beginning, this reiteration of racism and prejudice towards African Americans was already institutionalized for centuries, forcing African Americans such as the pool players to unfortunately adopt a feeling of fatalism and lack of knowledge of the strength that their identity had, of which Brooks had said, “I want blacks to be proud of where they come from. They have a lot to be proud of.” (HoCoPoLitSo) This institutionalization of racism gave these youth the fatalistic outlook that they exhibited in the poem, of which this institution still exists to this day, due to the societal and economic repercussions of slavery as well as the institutionalized racism of the past. Brooks describes the pool players decision to drop out of school as a form of rebellion against the establishment, or to be “jazzing June.” However, Brooks suggests that instead, they could be a part of the establishment themselves, and take pride in their identity. Overall, though Brooks was understanding, by saying that they were “jazzing June,” a symbolic representation of a benevolent establishment, she essentially wanted these young adults to embrace the strength in their identity, rather than “rebel” and further adhere to institutional racism. The particular usage of certain literary devices in We Real Cool further support Brooks' underlying analysis of the effect of institutionalized racism on the pool players, such as the use of tone. The tone in We Real Cool has the ability to be misconstrued as bitter, when instead it adheres to the overall fatalistic tone of the pool players. This fatalistic tone used by the pool player exemplifies the uncertainty of identity that Brooks wants to convey. The narrator uses very basic, one syllable words and instances of alliteration to describe their usual activities, which all pertain to a negative, fatalistic lifestyle; by “lurking late,” “singing sin,” and “thinning gin,” it gives the impression that the narrator is less than worried about their long-term health or future, to say the least. It shows how pessimistic and dilapidated the narrator's state of mind is, due to the societal aspect of institutional racism telling them that they are not cherished. The usage of simplistic word choice may be showcasing the lack of education the youth have as a result of dropping out of school, and possibly as symbolic of the lack of knowledge of the strength in their identity as well. Essentially, though a superficial analysis would represent a bitter perspective from Brooks, not only does the inclusion of this fatalistic tone add to the overall theme of an underlying understanding of identity in the poem itself, but it supports the idea that Brooks sees these young adults as uncertain rather than in a wholly negative point of view. Cadence plays an immense role in the appropriate reading of this poem. Brooks has stated multiple times that the “we” repeated throughout the poem is supposed to be recited in a hushed manner. The reason for this hushing of “we” is to support the lack of certainty that these young adults have in their identity; each instance “we” is recited, it gives a quiet, hushed reiteration of the uncertainty that Brooks is attempting to exhibit through the narrative of the pool player. When coupled with the enjambment of the poem's narrative, the rhythmic flow of the recitation of the poem begins to have a sound that can be construed as reminiscent of jazz; the simplistic, three-syllable beat of the three-syllable lines give a sound that can only be replicated by Brooks' way of reciting it. In We Real Cool, the narrative of the pool player should not be taken superficially.
While it can be misconstrued to have an overall bitter, somber tone towards these young adults, empathy and understanding of societal connotations is essential. While Brooks does not particularly condone the pool players dropping out of school and hanging out in a pool hall, it is due to their looming uncertainty of identity, rather than stereotypical youthful rebellion. We Real Cool inherently addresses institutional racism by the societal repression inflicted on these young adults; in the historical connotations of the era in which this poem was written, African Americans were not treated equally in the least. This institutionalization of racism embedded the idea that the pool players thought they were not “cherished by society,” as put by Brooks. The fatalism exhibited by the pool players was portrayed throughout the poem in ways such as the hushed pronunciation of the repeated “we,” to the jazz-like musical element of the correct recitation of the poem itself. Even in the way We Real Cool is recitation, it addresses identity through its jazzy, rhythmic recitation, and its hushed pronunciation of “we.” While this poem was written in 1960, the repercussions of this institutionalized racism echoes from the past to current day, and inherently, this poem still depicts an accurate representation of the result of institutionalized racism on youth. Its overall message is to embrace identity, and not to fall into a futile attempt to rebel against “June,” or the establishment, which only repeats the cycle of institutionalized
racism.
...from the dullness of schoolwork to many possibilities. The next lines poke fun at the value of education and celebrate their street learning. ?Lurk late,? ?Strike straight,? ?Sing sin,? and ?Thin gin,? contradict any possibility for mental growth. Symbolism comes in the picture in the next line, ?We Jazz June,? which has many meanings. The word ?Jazz? signifies sexual intercourse. Then the word ?June? becomes a female. The tone of the poem dramatically changes when the reader learns the dropouts die soon. The group end in the last line, ?Die soon,? the final consequence of trying to be cool. Seemingly having fun in the beginning being cool, they are now completely powerless because they are dead. The poem really gives an obvious picture of what young African-American males are driven to do under the impression of trying to be cool. Since their minds are headed straight to corruption, they have no clue because they are having so much fun being cool. Leaving school, staying out late, singing sin, drinking alcohol, and having sex apparently are the only things that are important to them. With this mentality, more and more inner city males while continue hastening toward their death.
In “Queens, 1963”, the speaker narrates to her audience her observations that she has collected from living in her neighborhood located in Queens, New York in the midst of the Civil Rights Movement. The narrator is a thirteen-year-old female immigrant who moved from the Dominican Republic to America with her family. As she reflects on her past year of living in America, she reveals a superb understanding of the reasons why the people in her neighborhood act the way they do towards other neighbors. In “Queens, 1963” by Julia Alvarez, the poet utilizes diction, figurative language, and irony to effectively display to the readers that segregation is a strong part of the American melting pot.
The award-winning book of poems, Brown Girl Dreaming, by Jacqueline Woodson, is an eye-opening story. Told in first person with memories from the author’s own life, it depicts the differences between South Carolina and New York City in the 1960s as understood by a child. The book begins in Ohio, but soon progresses to South Carolina where the author spends a considerable amount of her childhood. She and her older siblings, Hope and Odella (Dell), spend much of their pupilage with their grandparents and absorb the southern way of life before their mother (and new baby brother) whisk them away to New York, where there were more opportunities for people of color in the ‘60s. The conflict here is really more of an internal one, where Jacqueline struggles with the fact that it’s dangerous to be a part of the change, but she can’t subdue the fact that she wants to. She also wrestles with the issue of where she belongs, “The city is settling around me….(but) my eyes fill up with the missing of everything and everyone I’ve ever known” (Woodson 184). The conflict is never explicitly resolved, but the author makes it clear towards the end
Throughout history, the youth of the generation challenges the status quo. At the zenith of physical vigor and sensitivity, we expose ourselves to influences of a broader world. Subtlety is lost, acute distinctions of what was black and white suddenly become the different shades of gray. Our appetite for curiosity shape our worldview. Life becomes visceral, and truth is revealed rather than logically proven. In the graphic novel, March by John Lewis, he tells the story of his youth as he reflects on the past. His generation refused to accept the narrow confines of the social norm and sought to break free. Their nonviolent protests was not only an act of resistance but that of also self-expression. The societal dogma of segregation and institutional racism would finally come to surface during the early years of his youth. We can gain further insight of this historical time from the following passages.
She begins her book by giving a scenario of a high school cafeteria in which there is and “identifiable group of Black students sitting together” (para. 1) this scenario is a situation that is witnessed in almost every cafeteria of racially diverse schools across the country. Tatum’s use of the word “we” introduces a conversational and personable tone; this allows the reader to feel more involved in her writing. In addition to Tatum’s tone, she also uses emotionally charged words and repetition to also add to the effectiveness of her book. For example, her use of the words “stereotype” and “segregation”, which both have negative connotations, force the reader to think about the depth of the
In “We Real Cool,” by Gwendolyn Brooks, one can almost visualize a cool cat snapping his fingers to the beat, while she is reading this hip poem. Her powerful poem uses only a few descriptive words to conjure up a gang of rebellious teens. Brooks employs a modern approach to the English language and her choice of slang creates a powerful jazz mood. All of the lines are very short and the sound on each stop really pops. Brooks uses a few rhymes to craft an effective sound and image of the life she perceives. With these devices she manages to take full control of her rhyme and cultivates a morally inspiring poem.
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.
The same consistent, expressive voice introduces Ms. Angelou's effective strategy of comparison and contrast. By comparing what the black schools don't have, such as 'lawn, nor hedges, nor tennis courts, nor climbing ivy,' reveals not only a clear illustration of what luxuries the white schools in the forties had but also how unjust the system was. The adults at the graduation focus on the differences that were previously left unspoken. The black principal's voice fades as he describes "the friendship of kindly people to those less fortunate then themselves" and the white commencement speaker implies that" the white kids would have a chance to become Galileo's.... and our boys would try to be Jesse Owenes..." The author's emotions vary from the first proclamation that "I was the person of the moment" to the agonizing thoughts that it "was awful to be a Negro and have no control over my life" to the moment of epiphany: "we are on top again."
...tudents, American slaves, and 1890’s immigrant children, in similar ways. Sport is often vital to the autonomy, freedom, and pride of its participants especially in regards to the Native American students at boarding schools. Even though individuals may have thought that the schools were exploiting the talents of the Native American students, which they may have been, no one considered how the students actually viewed sport at the time. There often needs to be less preoccupation with political correctness and more focus on how certain actions actually affect the ones involved. Even if the schools were exploiting the students by sport, sports should never even been taken away from the Native American students of boarding skills due to the fact that it was sport that often was allowing them to develop; not only as a Native American, but as an individual as well.
Gwendolyn Brooks is the female poet who has been most responsive to changes in the black community, particularly in the community’s vision of itself. The first African American to be awarded a Pulitzer Prize; she was considered one of America’s most distinguished poets well before the age of fifty. Known for her technical artistry, she has succeeded in forms as disparate as Italian terza rima and the blues. She has been praised for her wisdom and insight into the African Experience in America. Her works reflect both the paradises and the hells of the black people of the world. Her writing is objective, but her characters speak for themselves. Although the idiom is local, the message is universal. Brooks uses ordinary speech, only words that will strengthen, and richness of sound to create effective poetry.
...ites a short 33-line poem that simply shows the barriers between races in the time period when racism was still openly practiced through segregation and discrimination. The poem captures the African American tenant’s frustrations towards the landlord as well as the racism shown by the landlord. The poem is a great illustration of the time period, and it shows how relevant discrimination was in everyday life in the nineteen-forties. It is important for the author to use the selected literary devices to help better illustrate his point. Each literary device in the poem helps exemplify the author’s intent: to increase awareness of the racism in the society in the time period.
The Cool Pose is described as the new ways African America males are learning how to cope with hardships involving race and discrimination. This reading explains how African-American men are learning that one can gain success through the use of violence, impatience, and hostility towards other individuals. The way they walk, talk, and express themselves, allow society to favor the young, impoverished black male. Not only does the cool pose bring them a certain sense of success, but also it brands a sense of individuality on the African-American members can identify with. The cool behavior also is a way for these males to hide their inner feelings based on their daily struggles.
“We Real Cool” poem proves you can give a lot of personality and insight to a group of characters in eight lines. With the lines “We real cool, We Left school (Lines 1-2)” it tells us that these kids left school to chase after their perception of cool. The poet reveals the fact that these boys are also uneducated, rebellious and arrogant. This poem will be the prime example of quality.
What is “cool?” Does it have to do with temperature or someone’s personality? Is it a slang word or a proper English word? And most importantly, how is it decided that something or someone is cool? Cool is a word that can have many different meanings, can be used as slang or proper English, and can be subjective when it comes to using it. I use the word in a couple of ways, but not all are in the Oxford English Dictionary, likewise, the Dictionary recognizes meanings of cool that I did not even know.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.