Gwendolyn Brooks’ poem “of De Witt Williams on his way to Lincoln Cemetery” takes place during a time of explicit racial discrimination; the African-American community lives in poverty and violence – whether that be a result of participation in dangerous gangs, police brutality, protests, etc. Brooks’ poem comments on the journey of a dead black boy in a casket being driven to the cemetery. As his casket passes through town, the speaker depicts the “Pool Hall” and “Dance Halls” where he enjoyed simple pleasures such as mingling with women and having a drink of “liquid joy.” 

As this poem serves more as a commentary and/or an illustration, Brooks’ poem “The Boy Died in My Alley” functions as a call to action. Brooks tells the aftermath of a shooting, that takes place by her home, of a young black boy. As the police comes over to receive details of the occurrence, the audience learns of the speaker’s sense of responsibility for the boy’s death and the guilt that surrounds her. Though she did not know him personally, she knew of the many boys who end up dead in her neighborhood; she hears the constant gunfire and shouts, yet she never takes action. Brooks writes this poem to not only shed light on these events but to influence others to take responsibility. 

Though both poems display Brooks’ masterful artistic skill, I prefer the poem “The Boy Died in My Alley.” Brooks provides purpose for her poem, asking her audience to step up. In addition, she opens up and expresses her own feelings on the matter; she closes the poem communicating that “The red floor of my alley/is a special speech to me.” She utilizes powerful diction that holds more weight when she discloses the boys cries for his family, as it echoes through the “wind” and “heaven.”

The Harlem Renaissance symbolized a time when African American expression rose and proliferated; poets, artists, and writers began to create more material and unique works of art and literature. I believe one facet that made this epoch so prominent was the fact that most of these African American influencers conveyed their community, heritage, and lifestyles honestly, with integrity and without shame. I agree with Langston Hughes on how the African American community should have been represented – faithfully, instead of molded to fit a criterion, because “no great poet has ever been afraid of being himself” (The Negro Artist and the Racial Mountain, Hughes).

According to Hughes, African American writers and artists should not play into stereotypes established by Whites nor attempt to portray an elevated Black community through their work. Instead, the beauty and ugliness should be illustrated, like any human being or culture represent. Hughes believes that some African American poets must surpass a “mountain,” which denotes the desire to deny racial individuality and fit “into the mold of American standardization” (The Negro Artist and the Racial Mountain, Hughes). For example, throughout his poem, he writes soulfully and emphasizes the sounds of jazz; “He made that poor piano moan with melody./ O Blues!” (The Weary Blues, Hughes). Hughes depicts a worn black jazz musician feeling troubled and melancholy yet still playing beautiful music, corresponding to the musician’s emotions.

On the other hand, Black poet Countee Cullen draws little connection from African tradition or culture for his writings and, instead, seems to prefer sourcing his inspiration from White poets such as Robert Frost or John Keats. He alludes to Greek mythology throughout some of his work, mentioning how “tortured Tantalus/ Is baited by the fickle fruit” and how Sisyphus is doomed “To struggle up a never-ending stair” (Yet Do I Marvel, Cullen). 

Though no error lives in poetry stemming from either American or African culture, I admire most how Hughes encapsulates African American reality through African American perspective. Not only does he inspire others with his literature, but he adds valuable art to a powerful, changing era in the most transparent way possible.

In chapter X of Narrative of the Life of Fredrick Douglass, An American Slave, Written by Himself, Douglass openly criticizes the hypocrisy of slaveholders using their supposed faith to justify the cruel practice of slavery; instead of modifying their behaviors to align with Christianity, enslavers modify their faith to legitimize their actions. As Douglass persistently highlights his frustration on the matter with a pessimistic tone, he latter alleviates the negativity and transitions into a more uplifting segment.

As the author portrays Mr. Freeland and his new laboring conditions, he tells of how he manages to spark “a strong desire to learn how to read” in some of the black laborers, which results in his creation of a “Sabbath school” where he teaches his “loved fellow-slaves how to read” (1044). Douglass’ optimism and cheerfulness begin to resurface while he accounts of the joy he acquires through his teachings. He no longer feels helpless, but feels further inspired by the bravery of his companions and students, providing a sense of hope in his spirit; Douglass feels blessed and “delight of [his] soul to be doing something that looked like bettering the condition of [his] race” (1045). 

Though sometimes questioning the existence of a higher power, as he directly reads the Bible and rejects the translations of Christian ideals through “corrupt” preachers, Douglass most likely establishes the true concept of Christianity; however, teaching his companions how to read through the Bible gives him pleasure specifically because of the relationships that manifest and the trust he creates with his companions instead of the religious aspect itself. He finds his hope in the other slaves and through the action of spreading knowledge. Education and fellowship reignite his aspiration. Douglass expresses love for his fellow-slaves and confides in them more than ever before with anyone else. He reveals how they all became a single unit working together and claim they “were one” (1045). 

As I read “The Birth-Mark,” I attempted to understand Baym’s suggestion of Hawthornes’ feministic tone. In doing so, I agree with her argument that Hawthorne alludes to the extensive strains women endure from domineering men. Throughout the story, Aylmer displays his unflattering qualities of egocentrism and ideologies of perfectionism. He transforms Georgiana’s diminutive birthmark into a symbol of imperfection that forces him to shutter, though other bachelors dream of “the privilege of pressing [their] lips” upon her marked cheek (695).

Originally, Georgiana’s birthmark holds no weight in her thoughts, but her husband’s unsettling reactions and perpetual nonacceptance lead her to abhor the mark more than he does. Supporting Baym’s argument, Hawthorne alludes to the idea that, at times, men (whether intentional or not) result in women feeling inferior, unworthy, or flawed due to man’s unrealistic vision of female visage. Though Hawthorne describes Georgiana’s spirit as exhibiting “no taint of imperfection,” she still undergoes her husband’s disapproval and rejection because he lacks the ability to see past the superficial and embrace her kind, servile, loving nature (704). 

In addition, as Aylmer experiments with his wife in his laboratory, Hawthorne reveals how men tend to objectify women. There lies a connection between Aylmer’s name and “alchemist” as the story mentions (700); the same way an alchemist attempts to make gold out of base metal, Aylmer attempts to make his wife faultless. Consenting to Aylmer’s experiment, Georgiana risks her life in order to bring her husband satisfaction, which in turn leads to her ultimate demise. 

Throughout the story, Hawthorne makes Aylmer’s controlling characteristics evident. As a man of science, Aylmer wishes to control nature and change what earth creates. Aside from his experiments, he wishes to control the appearance of his wife, as well. In agreement with Baym, Hawthorne emphasizes man’s impulse to subjugate women and sheds light on the struggles women continue to sustain. 

As Emerson attempts to experience true solitude successfully, he reveals that he must free himself from materialistic possessions and from his external society. In doing so, he basks in the outdoors and marvels at all the beauty the earth has to offer. He admires the perfection of the stars that take shelter above in our vast universe; the visions of the skies at night are a reminder of the everlasting divinity. He mentions that, in order to embrace nature, one must encompass the heart of a child and let the sun’s rays travel “into the eye” instead of on the surface (555). He introduces the concept of becoming “a transparent eye-ball” in nature, representing his possession of absorbent qualities and being able to take in nature’s offerings through all of his senses (556). The idea of the “self” disappears and the ego is set aside, allowing him to experience oneness with God.

Of Emerson’s ideas, one that I find interesting is how nature has the ability to bring out the youth of an individual. He writes how nature can take away the years of a person, unveiling  childlike tendencies and eluding to a time of innocence and purity. I also enjoy how he draws a connection between a deep embrace of nature and God. 

From my own love of nature, I have enjoyed many hikes with friends and family throughout the years. I have traveled through rocky trails, climbed up mountains, and have swam in fresh, clear-watered lagoons in other countries. I definitely relate to Emerson in the sense of the exhilaration and peace I feel when in the outdoors. In addition, being a firm believer in my faith, I can appreciate the relationships he draws between nature and God, which I can agree with at some level. Similar to Emerson, I occasionally set aside some of my ties from our industrious society when I go biking or climbing, and I can agree that these are some of my best moments.

This is an example post, originally published as part of Blogging University. Enroll in one of our ten programs, and start your blog right.

You’re going to publish a post today. Don’t worry about how your blog looks. Don’t worry if you haven’t given it a name yet, or you’re feeling overwhelmed. Just click the “New Post” button, and tell us why you’re here.

Why do this?

• Because it gives new readers context. What are you about? Why should they read your blog?
• Because it will help you focus you own ideas about your blog and what you’d like to do with it.

The post can be short or long, a personal intro to your life or a bloggy mission statement, a manifesto for the future or a simple outline of your the types of things you hope to publish.

To help you get started, here are a few questions:

• Why are you blogging publicly, rather than keeping a personal journal?
• What topics do you think you’ll write about?
• Who would you love to connect with via your blog?
• If you blog successfully throughout the next year, what would you hope to have accomplished?

You’re not locked into any of this; one of the wonderful things about blogs is how they constantly evolve as we learn, grow, and interact with one another — but it’s good to know where and why you started, and articulating your goals may just give you a few other post ideas.

Can’t think how to get started? Just write the first thing that pops into your head. Anne Lamott, author of a book on writing we love, says that you need to give yourself permission to write a “crappy first draft”. Anne makes a great point — just start writing, and worry about editing it later.

When you’re ready to publish, give your post three to five tags that describe your blog’s focus — writing, photography, fiction, parenting, food, cars, movies, sports, whatever. These tags will help others who care about your topics find you in the Reader. Make sure one of the tags is “zerotohero,” so other new bloggers can find you, too.