Amiri Baraka Quotes

I am inside someone who hates me. I look out from his eyes.

There is no justice in America, but it is the fight for justice that sustains you

what is lost because it is most precious what is most precious because it is lost

A system that warehouses people is not the cure for social ills

The artist's role is to raise the consciousness of the people. To make them understand life, the world and themselves more completely. That's how I see it. Otherwise, I don't know why you do it.

& love is an evil word. Turn it backwards/see, see what I mean? An evol word.

from the slave ship to the citizenship we faced a lot of bullship

The word “art” is something the West has never understood. Art is supposed to be a part of a community. Like, scholars are supposed to be a part of a community… Art is to decorate people’s houses, their skin, their clothes, to make them expand their minds, and it’s supposed to be right in the community, where they can have it when they want it… It’s supposed to be as essential as a grocery store… that’s the only way art can function naturally.

You look like death eating a soda cracker.

Let there be no love poems written Until love can exist freely and Cleanly.

I am inside someone who hates me. I look out from his eyes. Smell what fouled tunes come in to his breath. Love his wretched women.

The artist's role is to raise the consciousness of the people.

It's so diffuse being alive. Suddenly one is aware that nobody really gives a damn.

can't be rockefeller ... must be the devil

The artist's role is to raise the consciousness of the people. To make them understand life, the world and themselves more completely.

The torture of being the unseen object, and the constantly observed subject.

We take unholy risks to prove we are what we cannot be. For instance, I am not even crazy.

Thought is more important than art. To revere art and have no understanding of the process that forces it into existence, is finally not even to understand what art is.

All cultures learn from each other. The problem is that if the Beatles tell me that they learned everything they know from Blind Willie, I want to know why Blind Willie is still running an elevator in Jackson, Mississippi.

Poems are bullshit unless they are teeth or trees or lemons piled on a step. Or black ladies dying of men leaving nickel hearts beating them down. Fuck poems and they are useful, wd they shoot come at you, love what you are, breathe like wrestlers, or shudder strangely after pissing. We want live words of the hip world live flesh & coursing blood. Hearts Brains Souls splintering fire. We want poems like fists beating niggers out of Jocks or dagger poems in the slimy bellies of the owner-jews. Black poems to smear on girdlemamma mulatto bitches whose brains are red jelly stuck between ‘lizabeth taylor’s toes. Stinking Whores! we want “poems that kill.

Preface to a Twenty Volume Suicide Note" for Kellie Jones, born 16 May 1959 Lately, I've become accustomed to the way The ground opens up and envelopes me Each time I go out to walk the dog. Or the broad edged silly music the wind Makes when I run for a bus... Things have come to that. And now, each night I count the stars. And each night I get the same number. And when they will not come to be counted, I count the holes they leave. Nobody sings anymore. And then last night I tiptoed up To my daughter's room and heard her Talking to someone, and when I opened The door, there was no one there... Only she on her knees, peeking into Her own clasped hands

To be sure, rock n' roll is usually a flagrant commercialization of rhythm & blues, but the music in many cases depends on materials that are so alien to the general middle-class, middle-brow American culture as to remain interesting. Many of the same kinds of cheap American dilutions that had disfigured popular swing have tended to disfigure the new music, but the source, the exciting and "vulgar" urban blues of the forties, is still sufficiently removed from the mainstream to be vital. For this reason, rock n' roll has not become as emotionally meaningless as commercial swing. It is sill raw enough to stand the dilution and in some cases, to even be made attractive by the very fact of its commercialization. Even its "alienation" remains conspicuous; it is often used to characterize white adolescents as "youthful offenders." (Rock n' roll also is popular with another "underprivileged" minority, e.g., Puerto Rican youths. There are now even quite popular rock n' roll songs, at least around New York, that have some of the lyrics in Spanish.) Rock n' roll is the blues form of the classes of Americans who lack the "sophistication" to be middle brows, or are too naïve to get in on the mainstream American taste; those who think that somehow Melachrino, Kostelanetz, etc., are too lifeless

Children of the Cosmos never say goodbye, only minor interruptions appear like small forevers. Only time when we must communicate with the vibrations of desperate souls, and then it’s morning again, and the sun steps out from hiding, and our world glistens. Spectrums flash and fade, streaks of purple and orange shot with soulasphere. Our voices ripple and prance, our bodies glow like stars and melt; transformed and reformed into compressed constellations that will continue to continue. Yet we are only children of the Cosmos.

Hunting is not those heads on the wall

I am a mean hungry sorehead. Do I have the capacity for grace?? To arise one smoking spring & find one's youth has taken off for greener parts.

but this also is part of my charm. A maudlin nostalgia that comes on like terrible thoughts about death.

Carmichael’s volkish black nationalism and creation of new values required, as the Black Muslims insisted, shedding a false enslaving identity for a true (i.e., authentic) one rooted in black Africa. This included shedding that most obvious sign of identity, one’s name. So just as Malcolm Little dropped his “slave name” for a simple X, representing his lack of identity in a white racist society, the boxer Cassius Clay reemerged as Muhammad Ali, the basketball star Lew Alcindor as Kareem Abdul Jabbar, and the beat poet LeRoi Jones as Imamu Amiri Baraka (ignoring for the moment that Islamic names reflected an identity imposed by an earlier slave-owning elite, the Arabs). Carmichael himself became Kwame Touré, after two African dictators of the sixties, Sekou Touré of Guinea and Du Bois’s failed Pan-African savior, Kwame Nkrumah.

James Baldwin, The Fire Next Time (New York: Dial, 1963); Richard Wright, Native Son (New York: Harper, 1940); Amiri Baraka (LeRoi Jones), Dutchman and the Slave: Two Plays (New York: William Morrow, 1964); and Sam Greeley, The Spook Who Sat by the Door (New York: Baron, 1969).

Within the emerging African American literary tradition, the exploration of blues forms and themes was begun by Langston Hughes, Sterling Brown, Zora Neal Hurston, and other writers in the Harlem Renaissance and the New Negro movement. Blues as criticism arose during and after the Great Depression from authors such as Richard Wright, Ralph Ellison, and Albert Murray, and during the Black Arts Movement of the 1960s important contributions were made by Amiri Baraka, Larry Neal and others. In the present period, many African American scholars working in the disciplines and fields of music, history, folklore, drama, poetry, art, literary criticism, cultural studies, theology, anthropology, etcetera have acknowledged the blues as a hearth of African American consciousness. As stated earlier, the social sciences remain a barrier not breached.

In the spring of 1970, he had enrolled in “The Black Aesthetic,” a class taught by legendary Baruch College literary scholar Addison Gayle Jr. For the first time, Larry read James Baldwin’s The Fire Next Time, Richard Wright’s Native Son, Amiri Baraka’s wrenching plays, and the banned revolutionary manifesto The Spook Who Sat by the Door by Sam Greenlee. It was an awakening.

When we are inspired by a poem or novel, our human impulse is to share it so that, as Lewis Hyde writes, it leaves a trail of “interconnected relationships in its wake.” But in the market economy, art is a commodity removed from circulation and kept. If the work of art circulates, it circulates for profit, which has been grossly reaped by white authorship. Speaking on this subject, Amiri Baraka offers an invaluable quote: “All cultures learn from each other. The problem is that if the Beatles tell me that they learned everything they know from Blind Willie, I want to know why Blind Willie is still running an elevator in Jackson, Mississippi.” We must make right this unequal distribution but we must do so without forgetting the immeasurable value of cultural exchange in what Hyde calls the gift economy. In reacting against the market economy, we have internalized market logic where culture is hoarded as if it’s a product that will depreciate in value if shared with others; where instead of decolonizing English, we are carving up English into hostile nation-states. The soul of innovation thrives on cross-cultural inspiration. If we are restricted to our lanes, culture will die.

If the work of art circulates, it circulates for profit, which has been grossly reaped by white authorship. Speaking on this subject, Amiri Baraka offers an invaluable quote: “All cultures learn from each other. The problem is that if the Beatles tell me that they learned everything they know from Blind Willie, I want to know why Blind Willie is still running an elevator in Jackson, Mississippi.

What it comes to is seriousness! Nothing comes to anything unless you’re serious about it. Man, that’s the only things I dig … serious people doing serious things … otherwise, there’s not much to it.

All the lovely things I've known have disappeared. I have all my pubic hair & am lonely. There is probably no such place as Battle Creek, Michigan!

Amiri Baraka’s resonant phrase, the “changing same,

কারা গড়েছে সবকিছু কারা সবচেয়ে চতুর কারা সবচেয়ে বড়ো কারা সবচেয়ে ধনী কারা বলে তোমরা কুৎসিত আর তাদের দেখতে সবচেয়ে সুন্দর কারা শিল্পের সংজ্ঞা বানায় কারা বিজ্ঞানের সংজ্ঞা বানায় কারা বোমা তৈরি করেছে কারা বন্দুক তৈরি করেছে কারা ক্রীতদাস কিনেছে, আর তাদের বেচেছে কারা তাদের নাম দিয়েছে কে বলেছে ডাহমার পাগল ছিল না কারা ? কারা ? কারা ?

If people believe the government is giving them AIDS and blowing up levees, and that white-owned companies are trying to sterilize them, they would be lacking in normal human emotions if they did not—to put it bluntly—hate the people they believed responsible. Indeed, vigorous expressions of hatred go back to at least the time of W.E.B. Du Bois, who once wrote, “It takes extraordinary training, gift and opportunity to make the average white man anything but an overbearing hog, but the most ordinary Negro is an instinctive gentleman.” On another occasion he expressed himself in verse: 'I hate them, Oh! I hate them well, I hate them, Christ! As I hate hell! If I were God, I’d sound their knell This day!' Such sentiments are still common. Amiri Baraka, originally known as LeRoi Jones, is one of America’s most famous and well-regarded black poets, but his work is brimming with anti-white vitriol. These lines are from “Black Dada Nihilismus:” 'Come up, black dada nihilismus. Rape the white girls. Rape their fathers. Cut the mothers’ throats.' Here are more of his lines: 'You cant steal nothin from a white man, he’s already stole it he owes you anything you want, even his life. All the stores will open up if you will say the magic words. The magic words are: Up against the wall motherfucker this is a stick up!' In “Leroy” he wrote: “When I die, the consciousness I carry I will to black people. May they pick me apart and take the useful parts, the sweet meat of my feelings. And leave the bitter bullshit rotten white parts alone.” When he was asked by a white woman what white people could do to help the race problem, he replied, “You can help by dying. You are a cancer. You can help the world’s people with your death.” In July, 2002, Mr. Baraka was appointed poet laureate of New Jersey. The celebrated black author James Baldwin once said: “[T]here is, I should think, no Negro living in America who has not felt, briefly or for long periods, . . . simple, naked and unanswerable hatred; who has not wanted to smash any white face he may encounter in a day, to violate, out of motives of the cruelest vengeance, their women, to break the bodies of all white people and bring them low.” Toni Morrison is a highly-regarded black author who has won the Nobel Prize. “With very few exceptions,” she has written, “I feel that White people will betray me; that in the final analysis they’ll give me up.” Author Randall Robinson concluded after years of activism that “in the autumn of my life, I am left regarding white people, before knowing them individually, with irreducible mistrust and dull dislike.” He wrote that it gave him pleasure when his dying father slapped a white nurse, telling her not “to put her white hands on him.” Leonard Jeffries is the chairman of the African-American studies department of the City College of New York and is famous for his hatred of whites. Once in answer to the question, “What kind of world do you want to leave to your children?” he replied, “A world in which there aren’t any white people.

The artist's role is to raise the consciousness of the people. To make them understand life, the world and themselves completely. That's how I see it. Otherwise, I don't know why you do it.