Harlem Poem Quotes

Harlem What happens to a dream deferred? Does it dry up like a raisin in the sun? Or fester like a sore-- And then run? Does it stink like rotten meat? Or crust and sugar over-- like a syrupy sweet? Maybe it just sags like a heavy load. Or does it explode?

History, too, has a penchant for giving birth to itself over and over again, and those whom it appoints agents of change and progress do not always accept their destinies willingly.

In order to have a happy ending, in order to be triumphant, in order to be heroic, you have to tell your own story. The women's movement knows that; black people know that; brown people know that; yellow people know that. You have to be able to tell your own story in order to show that you are worthy--that you belong.

Cause I can love a poem up out of you-like my middle name is Harlem..and my fingerprints are permanent-you ain't gone wash me off darlin

who coughed on the sixth floor of Harlem crowned with flame under the tubercular sky surrounded by orange crates of theology,

EVERYTHING ROUND AIN'T A BALL

In Harlem the government pushes heroin to keep the blacks down and doctors by the thousands give barbiturates and tranquilizers to all the housewives: keep the natives quiet. when the drugs don't work anymore, they put the blacks in jail and us in here. Don't make noise. I read a poem once, it had a line, something like 'You keep stiller when every time you move something jangles'.

I always thought that would be really neat if black people ever got control of the United States we would, of course, tear down some of the statues because we just don't like them...like all of Richmond would probably not have a statue standing.

It is difficult to be an artist, because what you can see needs to be done and what you can achieve are generally two very opposite things. The two are like yin and yang, north and south, positive and negative. What you see is just totally opposite of what the reality can be, and that's unfortunate. But there are things we can do. Writers can either repave--we fill in some of the cracks in the road that are already there--or we start to knock down some of the weeds to make a clearing in the wilderness.

I think that, in reality, there is something wrong with human beings, and unless we are willing to face the fact that something is really wrong with human beings, unless we are willing to face the fact that somewhere in our imaginations we are evil, vicious people, it is not going to work.

This country is a land mass that could be called anything, and for people to act like this is some kind of sacred territory is an insanity. It's just a bunch of people trying to live together, and if we're not going to be part of a dream of equality--a part of a dream of that which is the best of us, the idea that people help one another--if we're not going to do that, then this land mass doesn't any more deserve to be revered than anything else.

The news of [James Baldwin's] death reached me in Trinidad around midnight. I was lecturing in the country about African-American literature and liberation, longevity and love, commitment and courage. I could not sleep. I got up and walked out of my hotel room into a night filled with stars. And I sat down in the park and talked to him. About the world. About his work. How grateful we all are that he walked on the earth, that he breathed, that he preached, that he came toward us baptizing us with his holy words. And some of us were saved because of him. Harlem man. Genius. Piercing us with his eyes and his pen. How to write of this beautiful big-eyed man who took on the country with his words? How to make anyone understand his beauty in a country that hates Blacks?

It is interesting that a guy like W.E.B. Du Bois, who actually did very little, I should imagine, with his hands, wrote about "I am the smoke king." Without the labor, both free and slave, of African Americans this country would still be a wilderness.

I do wonder sometimes, I do wonder what it is about the human mind that goes to pain and degradation. I do wonder what it is. We talk about original sin. We talk about ignorance. We talk about people not having had a chance. We talk about poverty--a bunch of things--but there is something not quite right about the human species, because, given half a chance, we'd be eating one another.

Mississippi recently, and recently being 1994, finally ratified the Thirteenth Amendment and agreed that the Civil War was over and black people are free. I'm talking 1994. So you know it is kind of time that people got caught up. It's a shame that we are still looking at a world that can use those kinds of concepts, that can think some people have no right to be free. Everybody owns themselves. It's all we've got. We have every right to be us. We have every right to satisfy our own needs with the life that we were given. I have no idea, no concept, of why people could ever thing that they could own other people.

Ntozake Shange tells us it's not so good to be born a girl. She does not object to being born a girl. She objects to what it means when you are born a girl. She objects to the way that girls are treated. She objects to the way that our dreams are stifled. She objects to the way that we are not taken seriously, we are there as some sort of plaything,

All art is the product of the entirety of an artist’s life, whether that art is biographical or confessional or neither.

David Henderson’s 1970 poem “Keep on Pushing,” also analyzed the geographies of urban warfare in the Summer of 1964’s Harlem Riots. Henderson warned of the crude mathematics of wide avenues that can swallow protest pickets, easily dismantle popular barricades, and muster five hundred cops in fifteen minutes, but he also suggests how, “For Harlem/ reinforcements come from the Bronx / just over the three-borough Bridge. / a shot   a cry   a rumor / can muster five hundred Negroes / from idle and strategic street corners / bars  stoops   hallways   windows.

It’s a book. Iz would give me a book. I trace the aged leather, the letters pressed into the weathered cover. Montage of a Dream Deferred by Langston Hughes. I flip open the front cover, and my blood stands still in my veins when I note the date—1951—and the famous poet’s autograph. A signed first edition. I turn to the spot slotted by an index card, a crisp contrast to the worn, fragile pages. The poem is “Harlem,” and the familiar refrain asking what happens to a dream deferred stings tears in my eyes. I can’t ever read this poem without remembering the day my cousin died in the front yard. There are some moments in life that will always haunt us, no matter how many joys follow, and that day is one of those. I’ll never forget reciting this poem in my bedroom closet to keep Jade calm while one of her brothers shot the other. Iz couldn’t know its personal significance to me, but as I read the card, I understand why he chose it. GRIP, Our brothers live so long with dreams deferred, they forget how to imagine another life. For many of them, all they know is frustration, then rage, and for too many, the violence of finally exploding. You symbolize hope, and I know you take that responsibility seriously. I hope you know I believe that, and that nothing I’ve said led you to think otherwise. Bristol’s right—our biases are our weaknesses. Few are as patient as she is to give people time to become wiser. Thank her for me, for giving me time and for encouraging you to work with me. Together, I think we will restore the dreams of many. Merry Christmas, Iz