The last stanza reads, ''Jazz June. What is the reader to make of these pool players who seem to take pride in the fact they have left school, escaping the tedium of education, perhaps risking unemployment and the chance to earn an honest dollar? Gwendolyn Brooks was born in Topeka, Kansas, on June 7, 1917, and raised in Chicago. First consider the book version. In eight could be nonstop lines, here is their total destiny. One is light, the other dark.
No, determined by my feeling about these boys, these young men. No requests for explanation or general short comments allowed. The mortality that Brooks addresses could be an indicator of the times that it was written in along with the fast life that the boys live in their enjoyment of skipping school, singing sin and drinking gin. Seven at the Golden Shovel. Overall, the speaker thinks his lifestyle is ''cool,'' but the poet doesn't. She also received an American Academy of Arts and Letters Award, the Frost Medal, a National Endowment for the Arts Award, the Shelley Memorial Award, and fellowships from the Academy of American Poets and the Guggenheim Foundation.
The poem is their situation as they see it. Poets and writers as diverse as Geoffrey Chaucer, Mark Twain and Langston Hughes have used it to validate the language and perspectives of so-called ''social inferiors. Are they foul mouthing, undermining the christian faith? But nothing of the sort ever entered my mind. Their poor decision serves them no advantages in any way, because they will not be active participants in society. On the Walls and in the Streets: American Poetry Broadsides from the 1960s. However, I believe that there is more than one meaning to each verse, which I will later discuss. This reader knows they shouldn't do that--knows better than they do that this first manifestation of their coolness will surely harm them, as it eventually does.
We Real Cool is a poem about the identity of a group of teenagers, black males, playing pool in the Golden Shovel. They're wasting time, throwing their young lives away. On paper it looks all too simple but when you go a bit deeper into the syntax and stress this poem has much to offer. It was written in 1959 and first published in the 1960 volume The Bean Eaters. And when they sing sin does this mean they are going against all the religious truths they were brought up with? It raises the question of whether that more conventional book page works any differently, whether the familiar habits of book design are any less contingent in their composition or more innocent of meaning themselves. A certain pride in being outside the conventions, institutions, and legal structures of the predominant society is conveyed. They ignore the seriousness of life and their future.
The establishment that Brooks is referring to here is the boys' school. The poem is not too long to induce monotony. More literal, literary, and liberating are her encouragement and publicity in favor of young poets than the hope that one day, perhaps crossing to Brooklyn on a ferry, one might think her thoughts. Brooks implies that street people will eventually die soon. As chalkboard writing, it appears in a setting familiar, if uncongenial, to the pool players. The refined transparencies of classical typography and the printed, bound pages of a well-produced hardcover book would not be available for these pool players to use to speak for themselves.
I would like to bring Helen Vendler's recent mention of Brooks into conversation with Spillers's earlier tribute. Due to Spam Posts are moderated before posted. These are the rough letters they can make themselves in order to speak in a setting that has been available to them. First of all, let me tell you how that's supposed to be said, because there's a reason why I set it out as I did. The poem is their situation as they see it. Irony is a tone that is created when a person says something he or she doesn't mean. Fashionable because they're outside the mainstream? Writing in the vernacular has historically been seen as a political statement.
Within the poem, the personae's self-conscious word play supports their self-definition. Apparently, the young men revel in socially-unacceptable, or deviant behaviors. These young boys are obviously street people because they are not in school. Regarding syntax, Brooks often leaves words out of a statement, and writes enjambed lines as well. The alliteration gives these activities an appealing quality.
But in the end, rhythm and syntax contain and finally cut off that vitality. Gwendolyn Brooks: Founder at the Center of the 'Margins. They took my lover's tallness off to war, Left me lamenting. Now I cannot guess What I can use an empty heart-cup for. Vernacular Poetry: Definition and Context Vernacular is the term used to describe a style of writing that attempts to capture the conversational speech patterns peculiar to people of a geographical region, social class or race perceived to be inferior to the powerful, mainstream, or dominant in a society. We Real Cool holds in its 8 lines the whole lives of a teenage gang, from their coolness to their demise. They lack the presence of mind to grasp the importance of what school offers at the moment and how beneficial it would serve them in the future.
Many readers have also suggested the general song-like quality that the poem possesses when being read, in line with the tradition started by. They are supposedly dropouts, or at least they're in the poolroom when they should possibly be in school, since they're probably young enough, or at least those I saw were when I looked in a poolroom, and they. The tone is one of defiance and stubborn allegiance to the gang. Pathos is one thing - based on the possibility that this gang, these cool pool players, are in fact empty jokers and have nothing substantial to say. She also wrote numerous other books including a novel, Maud Martha Harper, 1953 , and Report from Part One: An Autobiography Broadside Press, 1972 , and edited Jump Bad: A New Chicago Anthology Broadside Press, 1971. Using the ''wrong'' word is a diction choice, and leaving the verb out of the sentence is a syntax choice.
The next line gives us a more comprehensive view of what those behaviors are: drinking alcohol. Considered as an image also rather than only as a poem, it privileges the large figures in the center, the letters that represent the speech of the pool players; the small figures above and below--the otherwise controlling dramatic, literary, and publishing context--are subordinate. Curiously, from their different aesthetic and experiential positions, Vendler and Spillers both give valid readings of the poem, and it is no accident that they fix on the pronoun that hangs out there like the prepositions from William Carlos Williams's famous wheelbarrow. Rather, the thought continues into the next stanza. Brooks put s her readers, specifically a black audience that is not limited to the no-longer-New Blacks of the sixties, to work on such questions.