![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
Powerful words: the personal is political
It will probably come as no surprise to you that, being me, the thing I want to talk about is literally the body politic, and the body as political: the ways in which we have meanings ascribed to our existence.
Words have cadence, assonance, resonance. Devices used in rhetoric are used in poetry, and vice versa; we construct our realities out of words; and labels, even when they're incorrect, are stars to steer by. Cicero wasn't a poet, but he talked like one; oral histories take, often, the form of epic poems or of songs; musical and linguistic memory interact in strange ways. Poetry has power.
Half-Caste is a poem I was introduced to during GCSE English Literature. Like a lot of them, it's stuck with me
Last week, I finished reading Derek Walcott's Omeros - and oh, but in addition to its lyricism and beauty, its portrait of life, it is bitingly political: from the slave trade, via nineteenth-century wars over the island and a retired British Major in the twentieth, to the ways in which tourism can act as colonialism; through its exploration of Walcott's complicated relationship and personal resonance with Homer; set against the resonances of history, and the claims that the Odyssey is a universal story.
There is Bao Phi's Yellow-Brown Babies For The Revolution. There are slogans to chant: nothing about us without us; we're here, we're queer, get over it. There is every punk song ever (and there's a reason we call them rock anthems).
Poetry has power.
This is in part because we let it. I am increasingly convinced that in poetry - and not quite, in any other medium, at least not to the same extent - it is permitted to be angry, to express hard emotions explicitly. Poems get described as evocative and, yes, powerful - rather than histrionic or overwrought.
So many of us are used to having meanings ascribed to us in ways that align neatly with censorship/dismissal: too loud, too angry, too emotional, too irrational; we take up too much space, we're inconvenient; or we're erased wholesale, because others' perceptions of us is given primacy over our own realities, and over listening to us.
Poetry isn't a simple way to take power back - because after all it's art, and that is oh-so-readily reframed as frivolous; because in so many ways it's very much part of the Academy - but nonetheless it's a way we can tell our own stories.
Listen & read
Half-Caste
Excuse me
standing on one leg
I’m half-caste
Explain yuself
wha yu mean
when yu say half-caste
yu mean when picasso
mix red an green
is a half-caste canvas/
explain yuself
wha yu mean
when yu say half-caste
yu mean when light an shadow
mix in de sky
is a half-caste weather/
well in dat case
england weather
nearly always half-caste
in fact some o dem cloud
half-caste till dem overcast
so spiteful dem dont want de sun pass
ah rass/
explain yuself
wha yu mean
when yu say half-caste
yu mean tchaikovsky
sit down at dah piano
an mix a black key
wid a white key
is a half-caste symphony/
Explain yuself
wha yu mean
Ah listening to yu wid de keen
half of mih ear
Ah looking at yu wid de keen
half of mih eye
and when I’m introduced to yu
I’m sure you’ll understand
why I offer yu half-a-hand
an when I sleep at night
I close half-a-eye
consequently when I dream
I dream half-a-dream
an when moon begin to glow
I half-caste human being
cast half-a-shadow
but yu come back tomorrow
wid de whole of yu eye
an de whole of yu ear
and de whole of yu mind
an I will tell yu
de other half
of my story
-- John Agard
Words have cadence, assonance, resonance. Devices used in rhetoric are used in poetry, and vice versa; we construct our realities out of words; and labels, even when they're incorrect, are stars to steer by. Cicero wasn't a poet, but he talked like one; oral histories take, often, the form of epic poems or of songs; musical and linguistic memory interact in strange ways. Poetry has power.
Half-Caste is a poem I was introduced to during GCSE English Literature. Like a lot of them, it's stuck with me
Last week, I finished reading Derek Walcott's Omeros - and oh, but in addition to its lyricism and beauty, its portrait of life, it is bitingly political: from the slave trade, via nineteenth-century wars over the island and a retired British Major in the twentieth, to the ways in which tourism can act as colonialism; through its exploration of Walcott's complicated relationship and personal resonance with Homer; set against the resonances of history, and the claims that the Odyssey is a universal story.
There is Bao Phi's Yellow-Brown Babies For The Revolution. There are slogans to chant: nothing about us without us; we're here, we're queer, get over it. There is every punk song ever (and there's a reason we call them rock anthems).
Poetry has power.
This is in part because we let it. I am increasingly convinced that in poetry - and not quite, in any other medium, at least not to the same extent - it is permitted to be angry, to express hard emotions explicitly. Poems get described as evocative and, yes, powerful - rather than histrionic or overwrought.
So many of us are used to having meanings ascribed to us in ways that align neatly with censorship/dismissal: too loud, too angry, too emotional, too irrational; we take up too much space, we're inconvenient; or we're erased wholesale, because others' perceptions of us is given primacy over our own realities, and over listening to us.
Poetry isn't a simple way to take power back - because after all it's art, and that is oh-so-readily reframed as frivolous; because in so many ways it's very much part of the Academy - but nonetheless it's a way we can tell our own stories.
this is the last song on earth,
this is the last song on earth
there is nothing else,
there is nothing else
so fill your lungs
and sing
-- Bao Phi
Listen & read
- One of my favourite things is the extent to which the epic poems that form part of the oral history of Hawai'i can be matched up with the geological record.
- John Agard performing Half-Caste at the Southbank Centre
- An extract from Omeros at the Poetry Foundation
- The Indelicates, Class (... a school of gothic arches/and a college of them too/and a Parliament that looks and feels the same/a comfort for the blessed/a horror for the rest/and each and every one of us to blame...)
- Freshlyground, Doo Be Doo (did you hear the news on the radio today?/People have agreed to give their love away/I can't wait to be there in line!/Politicians have agreed to honour and obey/they'll come down and listen to what the people say/I can't wait to be there in line, no no!)
- Ani DiFranco, Birmingham (I was once escorted through the doors of a clinic/by a man in a bullet-proof vest, and no bombs went off that day/so I am still here to say: Birmingham, I'm wishing you all of my best on this election day...)
- Tangentially related: Memorising Music, a blog that explores what it says on the tin.
no subject
I think there's a gendered aspect to this, though. I'm thinking of Plath and especially of Sexton, who were told their poetry was too emotional, too hysterical.
--
Have you read Return to My Native Land by Césaire? (Excerpts at the link.) I found myself thinking of it while reading Half-Caste. It's very much about the body politic.
--
Wonderful post. There's so much to talk about based on what you posted here. We could go on for a week on this alone and never run out of poets.
no subject
Cesaire I have also not read; that can go on my reading list too. (I have recently moved to London, and even more recently joined the National Art Council's poetry library, so - yes. Lots of poetry.)
If you all do keep talking for a week, I'd love to read and participate, heh. And thank you so, so much for the engagement and the praise.
no subject
I often think of how poetry has been a safe place for me to become reconnected to my feelings, to explore the many emotions I dissociated because to feel was dangerous and taboo.
Poetry and music have helped me communicate my feelings and thoughts to others when I was having trouble finding my own words.
no subject
And also: this scribble of mine; & seek & ye shall find.
Thank you lots :-)
no subject
John Agard's poem stuck with me too since GCSE, hearing his recording was one of the first times I remember being wowed by hearing poetry. Come to think of it, a lot of poems on that GCSE syllabus were weighted with politics... Sujata Bhatt's work, for example.
no subject
Yes, so much of it was political - the Plath, too; we read Chinua Achebe as a set text; and then there was Carol Ann Duffy, who while not political in quite the same way was the first person I'd read anything by who made me identify immediately, and hard, with the idea that I'm an abuse survivor. I genuinely think the GCSE poetry selection is astonishingly good - it was the point at which I fell proper in love with the form.
(Oh, and then the glorious glorious unseen poem on my paper - it was about prison, and it was a sonnet.)
no subject
We read "Yellow-Brown Babies For the Revolution" in one of my college courses and it always stuck with me. Happy to see it posted here so I could enjoy it again.
no subject
no subject
no subject
no subject
I do a lot of poetry slam stuff, and I could just picture the exact moments where an audience would go "Ooooh" and like, know that there had been an epic burn but the burn was against systems of oppression.
Good times!
no subject
no subject