Difference between revisions of "Afterimages (1997)"
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==Poetry== | ==Poetry== | ||
− | + | <blockquote> " ''I'' | |
− | However the image enters | + | ''However the image enters'' |
− | its force remains within | + | ''its force remains within'' |
− | my eyes | + | ''my eyes'' |
− | rockstrewn caves where dragonfish evolve | + | ''rockstrewn caves where dragonfish evolve'' |
− | wild for life, relentless and acquisitive | + | ''wild for life, relentless and acquisitive'' |
− | learning to survive | + | ''learning to survive'' |
− | where there is no food | + | ''where there is no food'' |
− | my eyes are always hungry | + | ''my eyes are always hungry'' |
− | and remembering | + | ''and remembering'' |
− | however the image enters | + | ''however the image enters'' |
− | its force remains. | + | ''its force remains.'' |
− | A white woman stands bereft and empty | + | ''A white woman stands bereft and empty'' |
− | a black boy hacked into a murderous lesson | + | ''a black boy hacked into a murderous lesson'' |
− | recalled in me forever | + | ''recalled in me forever'' |
− | like a lurch of earth on the edge of sleep | + | ''like a lurch of earth on the edge of sleep'' |
− | etched into my visions | + | ''etched into my visions'' |
− | food for dragonfish that learn | + | ''food for dragonfish that learn'' |
− | to live upon whatever they must eat | + | ''to live upon whatever they must eat'' |
− | fused images beneath my pain. | + | ''fused images beneath my pain.'' |
II | II | ||
− | The Pearl River floods through the streets of Jackson | + | ''The Pearl River floods through the streets of Jackson'' |
− | A Mississippi summer televised. | + | ''A Mississippi summer televised.'' |
− | Trapped houses kneel like sinners in the rain | + | ''Trapped houses kneel like sinners in the rain'' |
− | a white woman climbs from her roof to a passing boat | + | ''a white woman climbs from her roof to a passing boat'' |
− | her fingers tarry for a moment on the chimney | + | ''her fingers tarry for a moment on the chimney'' |
− | now awash | + | ''now awash'' |
− | tearless and no longer young, she holds | + | ''tearless and no longer young, she holds'' |
− | a tattered baby's blanket in her arms. | + | ''a tattered baby's blanket in her arms.'' |
− | In a flickering afterimage of the nightmare rain | + | ''In a flickering afterimage of the nightmare rain'' |
− | a microphone | + | ''a microphone'' |
− | thrust up against her flat bewildered words | + | ''thrust up against her flat bewildered words'' |
− | “we jest come from the bank yestiddy | + | ''“we jest come from the bank yestiddy'' |
− | borrowing money to pay the income tax | + | ''borrowing money to pay the income tax'' |
− | now everything's gone. I never knew | + | ''now everything's gone. I never knew'' |
− | it could be so hard.” | + | ''it could be so hard.”'' |
− | Despair weighs down her voice like Pearl River mud | + | ''Despair weighs down her voice like Pearl River mud'' |
− | caked around the edges | + | ''caked around the edges'' |
− | her pale eyes scanning the camera for help or explanation | + | ''her pale eyes scanning the camera for help or explanation'' |
− | unanswered | + | ''unanswered'' |
− | she shifts her search across the watered street, dry-eyed | + | ''she shifts her search across the watered street, dry-eyed'' |
− | “hard, but not this hard.” | + | ''“hard, but not this hard.”'' |
− | Two tow-headed children hurl themselves against her | + | ''Two tow-headed children hurl themselves against her'' |
− | hanging upon her coat like mirrors | + | ''hanging upon her coat like mirrors'' |
− | until a man with ham-like hands pulls her aside | + | ''until a man with ham-like hands pulls her aside'' |
− | snarling “She ain't got nothing more to say!” | + | ''snarling “She ain't got nothing more to say!”'' |
− | and that lie hangs in his mouth | + | ''and that lie hangs in his mouth'' |
− | like a shred of rotting meat. | + | ''like a shred of rotting meat.'' |
− | III | + | ''III'' |
− | I inherited Jackson, Mississippi. | + | ''I inherited Jackson, Mississippi.'' |
− | For my majority it gave me Emmett Till | + | ''For my majority it gave me Emmett Till'' |
− | his 15 years puffed out like bruises | + | ''his 15 years puffed out like bruises'' |
− | on plump boy-cheeks | + | ''on plump boy-cheeks'' |
− | his only Mississippi summer | + | ''his only Mississippi summer'' |
− | whistling a 21 gun salute to Dixie | + | ''whistling a 21 gun salute to Dixie'' |
− | as a white girl passed him in the street | + | ''as a white girl passed him in the street'' |
− | and he was baptized my son forever | + | ''and he was baptized my son forever'' |
− | in the midnight waters of the Pearl. | + | ''in the midnight waters of the Pearl.'' |
− | His broken body is the afterimage of my 21st year | + | ''His broken body is the afterimage of my 21st year'' |
− | when I walked through a northern summer | + | ''when I walked through a northern summer'' |
− | my eyes averted | + | ''my eyes averted'' |
− | from each corner's photographies | + | ''from each corner's photographies'' |
− | newspapers protest posters magazines | + | ''newspapers protest posters magazines'' |
− | Police Story, Confidential, True | + | ''Police Story, Confidential, True'' |
− | the avid insistence of detail | + | ''the avid insistence of detail'' |
− | pretending insight or information | + | ''pretending insight or information'' |
− | the length of gash across the dead boy's loins | + | ''the length of gash across the dead boy's loins'' |
− | his grieving mother's lamentation | + | ''his grieving mother's lamentation'' |
− | the severed lips, how many burns | + | ''the severed lips, how many burns'' |
− | his gouged out eyes | + | ''his gouged out eyes'' |
− | sewed shut upon the screaming covers | + | ''sewed shut upon the screaming covers'' |
− | louder than life | + | ''louder than life'' |
− | all over | + | ''all over'' |
− | the veiled warning, the secret relish | + | ''the veiled warning, the secret relish'' |
− | of a black child's mutilated body | + | ''of a black child's mutilated body'' |
− | fingered by street-corner eyes | + | ''fingered by street-corner eyes'' |
− | bruise upon livid bruise | + | ''bruise upon livid bruise'' |
− | and wherever I looked that summer | + | ''and wherever I looked that summer'' |
− | I learned to be at home with children's blood | + | ''I learned to be at home with children's blood'' |
− | with savored violence | + | ''with savored violence'' |
− | with pictures of black broken flesh | + | ''with pictures of black broken flesh'' |
− | used, crumpled, and discarded | + | ''used, crumpled, and discarded'' |
− | lying amid the sidewalk refuse | + | ''lying amid the sidewalk refuse'' |
− | like a raped woman's face. | + | ''like a raped woman's face.'' |
− | A black boy from Chicago | + | ''A black boy from Chicago'' |
− | whistled on the streets of Jackson, Mississippi | + | ''whistled on the streets of Jackson, Mississippi'' |
− | testing what he'd been taught was a manly thing to do | + | ''testing what he'd been taught was a manly thing to do'' |
− | his teachers | + | ''his teachers'' |
− | ripped his eyes out his sex his tongue | + | ''ripped his eyes out his sex his tongue'' |
− | and flung him to the Pearl weighted with stone | + | ''and flung him to the Pearl weighted with stone'' |
− | in the name of white womanhood | + | ''in the name of white womanhood'' |
− | they took their aroused honor | + | ''they took their aroused honor'' |
− | back to Jackson | + | ''back to Jackson'' |
− | and celebrated in a whorehouse | + | ''and celebrated in a whorehouse'' |
− | the double ritual of white manhood | + | ''the double ritual of white manhood'' |
− | confirmed. | + | ''confirmed.'' |
− | IV | + | ''IV'' |
− | <small>“If earth and air and water do not judge them who are</small> | + | <small>''“If earth and air and water do not judge them who are''</small> |
− | <small> | + | <small> ''we to refuse a crust of bread?”''</small> |
− | Emmett Till rides the crest of the Pearl, whistling | + | ''Emmett Till rides the crest of the Pearl, whistling'' |
− | 24 years his ghost lay like the shade of a raped woman | + | ''24 years his ghost lay like the shade of a raped woman'' |
− | and a white girl has grown older in costly honor | + | ''and a white girl has grown older in costly honor'' |
− | (what did she pay to never know its price?) | + | ''(what did she pay to never know its price?)'' |
− | now the Pearl River speaks its muddy judgment | + | ''now the Pearl River speaks its muddy judgment'' |
− | and I can withhold my pity and my bread. | + | ''and I can withhold my pity and my bread.'' |
− | + | ''“Hard, but not this hard.”'' | |
− | Her face is flat with resignation and despair | + | ''Her face is flat with resignation and despair'' |
− | with ancient and familiar sorrows | + | ''with ancient and familiar sorrows'' |
− | a woman surveying her crumpled future | + | ''a woman surveying her crumpled future'' |
− | as the white girl besmirched by Emmett's whistle | + | ''as the white girl besmirched by Emmett's whistle'' |
− | never allowed her own tongue | + | ''never allowed her own tongue'' |
− | without power or conclusion | + | ''without power or conclusion'' |
− | unvoiced | + | ''unvoiced'' |
− | she stands adrift in the ruins of her honor | + | ''she stands adrift in the ruins of her honor'' |
− | and a man with an executioner's face | + | ''and a man with an executioner's face'' |
− | pulls her away. | + | ''pulls her away.'' |
− | Within my eyes | + | ''Within my eyes'' |
− | the flickering afterimages of a nightmare rain | + | ''the flickering afterimages of a nightmare rain'' |
− | a woman wrings her hands | + | ''a woman wrings her hands'' |
− | beneath the weight of agonies remembered | + | ''beneath the weight of agonies remembered'' |
− | I wade through summer ghosts | + | ''I wade through summer ghosts'' |
− | betrayed by vision | + | ''betrayed by vision'' |
− | hers and my own | + | ''hers and my own'' |
− | becoming dragonfish to survive | + | ''becoming dragonfish to survive'' |
− | the horrors we are living | + | ''the horrors we are living'' |
− | with tortured lungs | + | ''with tortured lungs'' |
− | adapting to breathe blood. | + | ''adapting to breathe blood.'' |
− | A woman measures her life's damage | + | ''A woman measures her life's damage'' |
− | my eyes are caves, chunks of etched rock | + | ''my eyes are caves, chunks of etched rock'' |
− | tied to the ghost of a black boy | + | ''tied to the ghost of a black boy'' |
− | whistling | + | ''whistling'' |
− | crying and frightened | + | ''crying and frightened'' |
− | her tow-headed children cluster | + | ''her tow-headed children cluster'' |
− | like little mirrors of despair | + | ''like little mirrors of despair'' |
− | their father's hands upon them | + | ''their father's hands upon them'' |
− | and soundlessly | + | ''and soundlessly'' |
− | a woman begins to weep. | + | ''a woman begins to weep.'' |
+ | |||
+ | (Audre Lorde,1997)<ref>Lorde, Audre. “Afterimages”. ''Poetry Foundation'', https://www.poetryfoundation.org/poems/42582/afterimages. Accessed 25 December 2020/</ref></blockquote> | ||
==Summary== | ==Summary== | ||
Line 284: | Line 286: | ||
==Author== | ==Author== | ||
− | Born in New York City on February 18, 1934, Audre Geraldine Lorde went on to become a leading African American poet and essayist who gave voice to race, gender and sexuality issues. Lorde's passion for poetry started at a young age, and as a teenager, she began writing. She was attending Hunter College, working through school to support herself. She went | + | Born in New York City on February 18, 1934, Audre Geraldine Lorde went on to become a leading African American poet and essayist who gave voice to race, gender and sexuality issues. Lorde's passion for poetry started at a young age, and as a teenager, she began writing. She was attending Hunter College, working through school to support herself. She went continuer her study in library science at Columbia University in 1961, after graduating in 1959. |
Audre Lorde attended Hunter College and Columbia University and, before writing her first volume of poetry, First Towns, in 1968, she was a librarian for many years. More popular collections followed, including The Black Unicorn and From a Land Where Other People Live (1973) (1978). The Cancer Journals (1980) and A Burst of Light were also memoirs written by Lorde (1988). | Audre Lorde attended Hunter College and Columbia University and, before writing her first volume of poetry, First Towns, in 1968, she was a librarian for many years. More popular collections followed, including The Black Unicorn and From a Land Where Other People Live (1973) (1978). The Cancer Journals (1980) and A Burst of Light were also memoirs written by Lorde (1988). | ||
Line 297: | Line 299: | ||
#Edwin, Steve. ''[https://processedlives.tumblr.com/post/122929011775/in-afterimages-lorde-intends-not-only-to Remembering the Ancestor’s Image: Emmett Till and Predicaments of Witnessing].'' [https://processedlives.tumblr.com/ Processed Lives.] | #Edwin, Steve. ''[https://processedlives.tumblr.com/post/122929011775/in-afterimages-lorde-intends-not-only-to Remembering the Ancestor’s Image: Emmett Till and Predicaments of Witnessing].'' [https://processedlives.tumblr.com/ Processed Lives.] | ||
− | [[Category: Black Racism in Poetry]] | + | [[Category: Black-Targeted Racism in Poetry]] |
Latest revision as of 07:38, 15 March 2021
A young African American boy's violent murder sticks to Audre Lorde and inspires her to compose an intense poem entitled "Afterimages." The boy's image, Emmett till, is forever etched in the brain of Audre Lorde (Lorde 48). Not only with what happens to Emmett Till, but even with the views of society as a whole, her poem clearly expresses how distressed she is.The theme of "Afterimages" by Audre Lorde is that traumatic experiences can represent the attitudes of members of a society and can have a profound effect on the lives of young people as well.
The poem by Audre Lorde shows the reader the persistence during the early twentieth century of prejudice and injustice. The poet describes Emmett Till, an African American boy, being brutally murdered for whistling at a white woman.This clearly reflects how many white people during Audre Lorde's early life felt about African Americans. Audre Lorde cites Jackson, Mississippi, as the location of her poem (Lorde 47). For contemporary readers, since it is common knowledge, this is another straightforward way for the poet to respond to social injustice and people's attitudes.
Contents
Poetry
" I
However the image enters
its force remains within
my eyes
rockstrewn caves where dragonfish evolve
wild for life, relentless and acquisitive
learning to survive
where there is no food
my eyes are always hungry
and remembering
however the image enters
its force remains.
A white woman stands bereft and empty
a black boy hacked into a murderous lesson
recalled in me forever
like a lurch of earth on the edge of sleep
etched into my visions
food for dragonfish that learn
to live upon whatever they must eat
fused images beneath my pain.
II
The Pearl River floods through the streets of Jackson
A Mississippi summer televised.
Trapped houses kneel like sinners in the rain
a white woman climbs from her roof to a passing boat
her fingers tarry for a moment on the chimney
now awash
tearless and no longer young, she holds
a tattered baby's blanket in her arms.
In a flickering afterimage of the nightmare rain
a microphone
thrust up against her flat bewildered words
“we jest come from the bank yestiddy
borrowing money to pay the income tax
now everything's gone. I never knew
it could be so hard.”
Despair weighs down her voice like Pearl River mud
caked around the edges
her pale eyes scanning the camera for help or explanation
unanswered
she shifts her search across the watered street, dry-eyed
“hard, but not this hard.”
Two tow-headed children hurl themselves against her
hanging upon her coat like mirrors
until a man with ham-like hands pulls her aside
snarling “She ain't got nothing more to say!”
and that lie hangs in his mouth
like a shred of rotting meat.
III
I inherited Jackson, Mississippi.
For my majority it gave me Emmett Till
his 15 years puffed out like bruises
on plump boy-cheeks
his only Mississippi summer
whistling a 21 gun salute to Dixie
as a white girl passed him in the street
and he was baptized my son forever
in the midnight waters of the Pearl.
His broken body is the afterimage of my 21st year
when I walked through a northern summer
my eyes averted
from each corner's photographies
newspapers protest posters magazines
Police Story, Confidential, True
the avid insistence of detail
pretending insight or information
the length of gash across the dead boy's loins
his grieving mother's lamentation
the severed lips, how many burns
his gouged out eyes
sewed shut upon the screaming covers
louder than life
all over
the veiled warning, the secret relish
of a black child's mutilated body
fingered by street-corner eyes
bruise upon livid bruise
and wherever I looked that summer
I learned to be at home with children's blood
with savored violence
with pictures of black broken flesh
used, crumpled, and discarded
lying amid the sidewalk refuse
like a raped woman's face.
A black boy from Chicago
whistled on the streets of Jackson, Mississippi
testing what he'd been taught was a manly thing to do
his teachers
ripped his eyes out his sex his tongue
and flung him to the Pearl weighted with stone
in the name of white womanhood
they took their aroused honor
back to Jackson
and celebrated in a whorehouse
the double ritual of white manhood
confirmed.
IV
“If earth and air and water do not judge them who are
we to refuse a crust of bread?”
Emmett Till rides the crest of the Pearl, whistling
24 years his ghost lay like the shade of a raped woman
and a white girl has grown older in costly honor
(what did she pay to never know its price?)
now the Pearl River speaks its muddy judgment
and I can withhold my pity and my bread.
“Hard, but not this hard.”
Her face is flat with resignation and despair
with ancient and familiar sorrows
a woman surveying her crumpled future
as the white girl besmirched by Emmett's whistle
never allowed her own tongue
without power or conclusion
unvoiced
she stands adrift in the ruins of her honor
and a man with an executioner's face
pulls her away.
Within my eyes
the flickering afterimages of a nightmare rain
a woman wrings her hands
beneath the weight of agonies remembered
I wade through summer ghosts
betrayed by vision
hers and my own
becoming dragonfish to survive
the horrors we are living
with tortured lungs
adapting to breathe blood.
A woman measures her life's damage
my eyes are caves, chunks of etched rock
tied to the ghost of a black boy
whistling
crying and frightened
her tow-headed children cluster
like little mirrors of despair
their father's hands upon them
and soundlessly
a woman begins to weep.
(Audre Lorde,1997)[1]
Summary
Audre Lorde's "Afterimages" is a nuanced, multi-layer poem that reflects the ongoing pain of one of the most violent incidents in the civil rights struggle—the assassination of Emmett Till. This 14-year-old black boy was violently beaten and killed in the Mississippi Delta in 1955 for reportedly whistling wolf at a white woman, Carolyn Bryant.
Author
Born in New York City on February 18, 1934, Audre Geraldine Lorde went on to become a leading African American poet and essayist who gave voice to race, gender and sexuality issues. Lorde's passion for poetry started at a young age, and as a teenager, she began writing. She was attending Hunter College, working through school to support herself. She went continuer her study in library science at Columbia University in 1961, after graduating in 1959.
Audre Lorde attended Hunter College and Columbia University and, before writing her first volume of poetry, First Towns, in 1968, she was a librarian for many years. More popular collections followed, including The Black Unicorn and From a Land Where Other People Live (1973) (1978). The Cancer Journals (1980) and A Burst of Light were also memoirs written by Lorde (1988).
Racism Issue
In "Afterimages," Lorde aims not only to express her rage and pain, but also to condemn a dominant visual economy that amplifies the terrorizing effects of racial and gender-based violations. The media's argument of "Insight or Information" could hardly disguise the "secret relish" with which the mass audience consumed photographs of Till's body along with narratives of his murder. The journalistic cliché merely sanitized and disapproved of the way the narratives were sexualized and the photographs "fingered by the eyes of the street." By comparison, for many African American viewers, the images represented what Lorde considered a "veiled" alert. If lynching was less frequent and less noticeable than in previous decades, and if young people raised in the North had been shielded from some of the more extreme forms of racial assault, the murder of Emmett Till made it clear that African Americans, wherever they could live, they were still vulnerable to racial abuse.
Reference
- Lorde, Audre. 1997. “Afterimages” from The Collected Poems of Audre Lorde. Reprinted with the permission of Charlotte Sheedy Literary Agency and W. W. Norton & Company, Inc.
- Kolin, Philip C. Audre Lorde's "Afterimages": history, scripture, myth, and nightmare. University of Southern Mississippi.
- Edwin, Steve. Remembering the Ancestor’s Image: Emmett Till and Predicaments of Witnessing. Processed Lives.
- ↑ Lorde, Audre. “Afterimages”. Poetry Foundation, https://www.poetryfoundation.org/poems/42582/afterimages. Accessed 25 December 2020/