Original Poem：
i
u worry me whoever u are
i know u didnt want me to
come here but here i am just
d same; hi-jacking yr stagecoach,
hauling in yr pocket watches & mak
ing u hoof it all d way to
town. black bard, a robber w/ an
art: i left some curses in d cash
box so ull know its me
listen man, i cant help it if
yr thing is over, kaput,
finis
no matter how u slice it dick
u are done. a dead duck all out
of quacks. d nagging hiccup dat
goes on & on w/out a simple glass
of water for relief
ii
uve been teaching shakespeare for
20 years only to find d joke
on u
d eavesdropping rascal who got it
in d shins because he didnt know
enough to keep his feet behind d cur
tains: a sad-sacked head served on a
platter in titus andronicus or falstaff
too fat to make a go of it
anymore
iii
its not my fault dat yr tradition
was knocked off wop style & left in
d alley w/ pricks in its mouth. i
read abt it in d papers but it was no
skin off my nose
wasnt me who opened d gates & allowed
d rustlers to slip thru unnoticed. u
ought to do something abt yr security or
mend yr fences partner
dont look at me if all dese niggers
are ripping it up like deadwood dick;
doing art d way its never been done. mak
ing wurlitzer sorry he made d piano dat
will drive mozart to d tennis
courts
making smith-corona feel like d red
faced university dat has just delivered china
some 50 e-leben h bomb experts
i didnt deliver d blow dat drove d
abstract expressionists to my ladies
linoleum where dey sleep beneath tons of
wax & dogshit & d muddy feet of children or
because some badassed blackpainter done sent
french impressionism to d walls of highrise
lobbies where dey belong is not my fault
martha graham will never do d jerk
shes a sweet ol soul but her hips
cant roll; as stiff as d greek
statues she loves so much
iv
dese are d reasons u did me nasty
j alfred prufrock, d trick u pull
d in d bookstore today; stand in d
corner no peaches for a week, u lemon
u must blame me because yr wife is
ugly. 86-d by a thousand discriminating
saunas. dats why u did dat sneaky thing
i wont tell d townsfolk because u hv
to live here and im just passing thru
v
u got one thing right tho. i did say
dat everytime i read william faulkner i
go to sleep.
fitzgerald wdnt hv known a gangster if one
had snatched zelda & made her a moll tho
she wd hv been grateful i bet
bonnie of clyde wrote d saga of suicide
sal just as d feds were closing in. it is
worth more than d collected works of ts
elliot a trembling anglican whose address
is now d hell dat thrilld him so
last word from down there he was open
ing a publishing co dat will bore d
devil back to paradise
vi
& by d way did u hear abt grammar?
cut to ribbons in a photo finish by
stevie wonder, a blindboy who dances
on a heel. he just came out of d slang
& broke it down before millions.
it was bloody murder
vii
to make a long poem shorter—3 things
moleheaded lame w/4 or 5 eyes
- yr world is riding off into d sunset
- d chips are down & nobody will chance yr i.o.u.s.
- d last wish was a fluke so now u hv to re
turn to being a fish
p.s. d enchantment has worn off
dats why u didnt like my reading list—right?
it didnt include anyone on it dat u cd in
vite to a cocktail party & shoot a lot of
bull—right?
so u want to take it out on my hide—right?
well i got news for u professor nothing—i
am my own brand while u must be d fantasy of
a japanese cartoonist
a strangekind of dinosaurmouse
i can see it all now. d leaves
are running low. its d eve
of extinction & dere are no holes to
accept yr behind. u wander abt yr
long neck probing a tree. u think
its a tree but its really a trap. a
cry of victory goes up in d kitchen of
d world. a pest is dead. a prehis
toric pest at dat. a really funnytime
prehistoric pest whom we will lug into
a museum to show everyone how really funny
u are
yr fate wd make a good
scenario but d plot is between u &
charles darwin.
as i said, im passing thru, just sing
ing my song. get along little doggie &
jazz like dat. word has it dat a big gold
shipment is coming to californy. i by to
ride all night if im to meet my pardners
dey want me to help score d ambush
Analysis and Interpretation of the Poem
This poem is a bold, raw, and unconventional piece that challenges traditional literary and artistic norms. Written in a vernacular style with heavy slang and phonetic spellings, it captures a rebellious voice that confronts established cultural authorities and conventions. The speaker positions themselves as a disruptive "black bard" or "robber with an art," someone who invades the traditional stage and shakes up the status quo.
The poem is structured in seven parts, each delivering a mix of critique, satire, and personal declaration. The speaker mocks the old literary and artistic traditions—Shakespeare, Faulkner, T.S. Eliot—and the academic gatekeepers who uphold them. They accuse these traditions of being outdated ("your thing is over, kaput, finis") and criticize the rigidity and exclusivity of cultural institutions.
There is also a strong undercurrent of racial and cultural commentary. The poem references African American artists and cultural figures, highlighting how new forms of art and expression disrupt and redefine the artistic landscape. The speaker embraces this transformation unapologetically, suggesting that the old guard is out of touch and unable to adapt.
The tone is confrontational yet playful, mixing humor with serious critique. The poem uses vivid imagery and metaphor—such as "hauling in your pocket watches," "making you hoof it all the way to town," and "a cry of victory goes up in the kitchen of the world"—to illustrate the upheaval and change in the cultural world.
Background and Author Introduction
This poem reflects the voice of an artist deeply engaged in cultural critique and transformation. The style suggests influence from African American vernacular poetry and the Beat generation's rebellious spirit. The author likely comes from a background that challenges mainstream literary traditions and embraces a fusion of street culture, jazz, and avant-garde art.
The poem’s references to Shakespeare, Faulkner, and T.S. Eliot indicate an intimate knowledge of Western literary canon, but the speaker rejects the reverence typically afforded to these figures. Instead, they celebrate innovation and the breaking of old molds, aligning with movements such as the Harlem Renaissance, the Black Arts Movement, or contemporary spoken word poetry.
Reflections and Insights
Reading this poem invites reflection on the nature of tradition versus innovation in art and literature. It challenges readers to consider whose voices are heard and valued in cultural spaces and how new forms of expression can revitalize or threaten established norms.
The poem’s raw language and unconventional form may be difficult for some readers but serve to emphasize the urgency and authenticity of the speaker’s message. It also highlights the power of language as a tool for social and cultural change.
Educational Value and Learning Points
Students and children can learn several important lessons from this poem:
- Cultural Critique: Understanding how art can question and challenge societal norms.
- Language and Voice: Appreciating the use of vernacular and non-standard English as a legitimate and powerful form of expression.
- Literary References: Exposure to classic authors like Shakespeare, Faulkner, and Eliot, and how contemporary artists respond to them.
- Historical Context: Insight into African American cultural movements and their impact on art and literature.
- Creative Expression: Encouragement to experiment with form, style, and voice in their own writing.
Practical Applications in Life and Learning
- Critical Thinking: Encourages questioning authority and tradition in academic and social settings.
- Cultural Awareness: Promotes understanding of diverse artistic voices and histories.
- Creative Writing: Inspires students to use their own voice and dialect in poetry and prose.
- Artistic Innovation: Demonstrates the value of breaking rules to create new art forms.
Reading Comprehension Questions
- What is the speaker’s attitude toward traditional literary figures like Shakespeare and Faulkner?
- How does the poem use language to convey its rebellious tone?
- What role does cultural identity play in the poem?
- Why does the speaker describe themselves as a "black bard" and a "robber with an art"?
- What is the significance of the poem’s references to jazz, slang, and modern art movements?
- How does the poem challenge the reader’s perception of grammar and language rules?
- What message does the poem convey about the future of art and tradition?
Answer Key
- The speaker is critical and dismissive of traditional literary figures, suggesting their relevance and influence are over.
- The poem uses slang, phonetic spelling, and informal language to create a raw, confrontational, and rebellious tone.
- Cultural identity is central; the speaker embraces African American artistic innovation as a force that disrupts old traditions.
- The speaker claims the role of an outsider artist who disrupts and challenges the established cultural order.
- References to jazz and modern art symbolize innovation, improvisation, and breaking from tradition.
- The poem mocks strict grammar rules, showing language as fluid and evolving, especially in cultural expression.
- It suggests that traditional art forms are fading and being replaced by new, dynamic, and diverse expressions.
