Poetry of Amiri Baraka

¶ … Black Poem:

The Convergence of Culture, Art, and Identity

in the Works of Amiri Baraka

It is difficult to characterize Amiri Baraka's legacy in American literature and pop culture. He is deeply respected by some, deeply reviled by others. He has been considered a national treasure and a national disgrace. His poems have inspired, intrigued, empowered, terrified, and disgusted readers for over five decades. This extreme range of reactions speaks to the power of Baraka's artistic voice, a power that he uses to provoke emotion, reflection, and revolution both in individual readers and in society as a whole. As he said in a speech given at Rutgers University in 1997, "form and content are weapons of self-consciousness and revolution" (Chicago Review 111). Over the past fifty years, Baraka has used the "weapon" of his writing to eviscerate the concepts of race, sexuality, gender, and faith that underlie American society, sometimes in broad hacks and sometimes with surgeon-like precision. While his cuts are often brutal, they are never meaningless; every word serves to expose, explore, and expunge hypocrisy and injustice as he finds them.

Born Everett LeRoi Jones in 1934, Amiri Baraka first came to public attention as a member of the literary avant-garde in Greenwich Village in the early 1960s. As was the case with many of his contemporaries, Baraka (then known as LeRoi Jones) was seeking to define himself in opposition to the past -- his own past, his race's past, and his country's past. As a member of the Beatnik group in the late 1950s and early 1960s, he was more interested in the possibilities of the form of his art than in effecting social change with its message. By the mid-sixties, however, his racial consciousness had become central to his worldview, and he became intensely active in the black political community. (Eahrle 1)

It was during this time, referred to as his "Transitional Period," that Baraka's unique poetic voice came to the fore. Baraka was conscious of the emergence of this voice, and would often address the ideological changes occurring within him in his poetry. In "The Liar," a poem written and published during this time, he mused on the challenges of embodying a shifting identity: "I am a man / who is loud / on the birth / of his ways. Publicly redefining / each change in my soul, as if I had predicted / them / & #8230;even tho / their chanting weight / erased familiarity / from my face" (12-21). This tendency towards "public redefining" would become a hallmark of Baraka's poetry. James Miller suggests that this is, in fact, the unifying principle in Baraka's art as a whole:

If there is any single preoccupation that runs through Baraka's work, it the theme of change itself, the endless question for appropriate vehicles of expression and action in a world which is itself constantly changing. (Literature Resource Center)

Baraka was intensely aware that even the most intimately personal self-discovery achieved in his poetry was also a social statement, and that as an artist he was allowing himself to be somewhat defined by a public that may or may not understand him. This worry surfaced in the final lines of "The Liar": "When they say, 'It is Roi / who is dead?' I wonder / who will they mean?"

As Baraka became more involved in political ideology and the struggles of the black community, he began to understand and exploit the power of this social persona. In fact, he identified himself entirely with it, even in his own self-reflection. In the reflective poem "leroy," published in 1969 under his newly adopted name Amiri Baraka, a nostalgic comment on his mother becomes a lofty vision of himself as the bearer of black wisdom -- that "strong nigger feeling" (5) -- from his ancestors forward to the next generation. He refers to this legacy that he is passing on as his "consciousness" (11), an indication that he had by this point in his life entirely adopted his race as his identity.

This wholehearted self-identification with race, along with a keen awareness of his cultural power as a poet, combined to create an artist absorbed with his own capacity for social comment and change. After the assassination of Malcolm X in 1965, Baraka became disenchanted with the somewhat passive anti-establishment attitudes of the Greenwich Village artistic community, and moved to Harlem to become involved in black nationalism. There he established the Black Arts Repertory Theatre School, and threw himself into developing the role of poetry, drama, and music in the formation of a modern black social consciousness.