By Ezekiel Mphahlele
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Extra info for Voices in the Whirlwind and other Essays
Sample text
We are faced with the act of protest, he adds: a gun, a picket sign, would be more useful: I mean there is no point in this being poetry especially. No poetic point has been made. . " . . But let there be no misunderstanding. " Poems have got, literally, to be about something. And the weights of love, murder, history, economics, etc. have got to drag whoever's writing in a personally sanctified direction or there will be no poems at all. But it is not the direction that's interesting or makes literature or art, but the replaying of it by the poet.
LeRoi Jones is concerned that, as a lecturer substituting a dead one, he has nothing to offer the poor. Whatever he will reveal in his lectures must be ugly, or else fanciful ideas. But if the poor, whom "cold air batters," whose "minds turn open like sores," need life, they should at least be fed. It is only out of vanity that he has become a poet and a lecturer. All he can boast is "a simple muttering elegance": And I am frightened that the flame of my sickness will burn off my face. And leave the bones, my stewed black skull, an empty cage of failure.
From Lucille Clifton, Good Times (New York: Random House, 1969), p. 5. Copyright © 1969 by Lucille Clifton. Reprinted by permission of Random House, Inc. 45. From Audre Lorde, The First Cities (New York: Poets Press, 1968), p. 8. Reprinted by permission of the author. Voices in the Whirlwind Whatever the key, whatever the diction, there is always the problem of maintaining a delicate balance between the state of mind you want to express as an experience on the one hand and the mysteriously felt sense of urgency and need to speak to someone or to some people on the other.