Classic and Contemporary Poetry: Explained

"Listenen to Big Black at S.F. State" by Sonia Sanchez is a raw and powerful expression of Black empowerment and the rejection of dwelling on past grievances against racial oppression. The poem, written in a bold, colloquial style, captures a moment of transformation and self-affirmation within the Black community. The title itself situates the poem in a specific context, likely referencing a performance or gathering at San Francisco State University, where the artist Big Black, known for his drum music and activism, might have been a central figure.

The poem begins with a direct call to move beyond the "meetings / where u talk bout / whitey," rejecting a focus on complaints about racial injustices perpetrated by "the cracker / who done u wrong." Sanchez's choice of language here is deliberately provocative, employing raw vernacular to emphasize a rejection of lamentation and a shift toward strength. The comparison of these grievances to "some sad/bitch / who split in the middle of yo/comen" further accentuates this point, suggesting that clinging to these grievances is akin to holding onto bitterness from a personal betrayal.

The phrase "just. gitting. stronNNNger." encapsulates the poem's central message of empowerment and resilience. The unconventional spelling and emphasis on "stronNNNger" convey a sense of intensifying strength and determination. This transformation is described as "maken warriors / outa boys / blk/woooomen / outa girls," indicating a coming-of-age or maturation into a state of empowered identity. The use of "blk/woooomen" with the elongated vowels highlights a celebratory and proud assertion of Black womanhood.

Sanchez describes a dynamic movement "in & / out of blkness," suggesting an exploration and reclamation of Black identity that transcends traditional boundaries and expectations. The phrase "til it runs this / 400/yr/old/road/show / (called amurica)" critically addresses the long history of systemic racism in the United States. The parenthetical "called amurica" with its phonetic spelling underscores a disillusionment with the American dream and the nation's historical treatment of Black people.

The poem sharply transitions with a declaration of "no mo tellen the man he is / fucka." This bold statement signals a shift away from verbal confrontations with "the man," representing oppressive authorities, toward a more constructive focus. The description of America as "a dead/die/en/motha" signifies a rejection of the nation's failed promises and a break from the past.

As the poem progresses, Sanchez invokes the "sound of drums," a symbol of cultural resilience and unity. The "sonnnnNNg of chiefs" suggests a return to ancestral roots and leadership within the community. The repeated chant-like lines "aree-um-doo-doo-doooooo" followed by words like "WORK," "LOVE," "UNITY," "LAND," "WAR," and "Builden" emphasize a collective effort toward rebuilding and reclaiming a sense of nationhood and self-determination. The names "MalcolMmmm," "ElijahHHH," and "Imamuuuu" reference influential Black leaders Malcolm X, Elijah Muhammad, and Amiri Baraka (formerly LeRoi Jones), underscoring a connection to historical figures who have been pivotal in advocating for Black empowerment and cultural pride.

The poem concludes with a triumphant assertion of "blk/nation/hood / builden." This final image encapsulates the central theme of the poem: a call for the Black community to move beyond victimhood, embrace their identity, and actively work towards building a strong, unified future. Sanchez's use of rhythmic, musical language and bold imagery creates a sense of urgency and empowerment, urging her audience to participate in this collective journey toward liberation and self-determination.

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