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Gwendolyn Brooks
Born	Gwendolyn Elizabeth Brooks June 7, 1917(1917-06-07) Topeka, Kansas, USA
Died	December 3, 2000 (aged 83) Chicago, Illinois, USA
Occupation	Poet
Nationality	United States of America
Period	1930-2000
Genres	Poetry
Notable work(s)	Annie Allen
Notable award(s)	Pulitzer Prize for Poetry (1950)
Spouse(s)	Henry Blakely (m. 1939)

Gwendolyn Elizabeth Brooks (June 7, 1917 – December 3, 2000) was an American writer. She was appointed Poet Laureate Consultant in Poetry to the Library of Congress in 1985.^[1]

Biography

Early years

Gwendolyn Elizabeth Brooks was born on June 7, 1917, in Topeka, Kansas to David Anderson Brooks and Keziah Wims, their first child. Her mother was a former school teacher who left teaching for marriage and motherhood, and her father, the son of a runaway slave who fought in the Civil War, had given up his ambition to become a doctor to work as a janitor because he could not afford to attend medical school. When Brooks was only six weeks old, her family moved to Chicago, Illinois, where she grew up.

Her home life was stable and loving, although she encountered racial prejudice in her neighborhood and in her schools. She attended Hyde Park High School, the leading white high school in the city, before transferring to all-black Wendell Phillips. Brooks eventually attended an integrated school, Englewood High School. In 1936, she graduated from Wilson Junior College. These four schools gave her a perspective on racial dynamics in the city that continued to influence her work.

Her enthusiasm for reading and writing was encouraged by her parents. Her father provided a desk and bookshelves, and her mother took her, when she was in high school, to meet Harlem Renaissance poets Langston Hughes and James Weldon Johnson.^{[citation needed]}

Career

Brooks published her first poem in a children's magazine at the age of thirteen. When Brooks was sixteen years old, she had compiled a portfolio of around seventy-five published poems. Aged 17, Brooks stuck to her roots and began submitting her work to "Lights and Shadows", the poetry column of the Chicago Defender, an African-American newspaper. Although her poems range in style from traditional ballads and sonnets to using blues rhythms in free verse, her characters are often drawn from the poor inner city. During this same period, she also attended Wilson Junior College, from where she graduated in 1936. After publishing more than seventy-five poems and failing to obtain a position with the Chicago Defender, Brooks began to work a series of typing jobs.

By 1941, Brooks was taking part in poetry workshops. One particularly influential workshop was organized by Inez Cunningham Stark. Stark was an affluent white woman with a strong literary background, and the workshop participants were all African-American. The group dynamic of Stark's workshop proved especially effective in energizing Brooks and her poetry began to be taken seriously (The Essential Gwendolyn Brooks, Elizabeth Alexander, Editor, 2005). In 1943 she received an award for poetry from the Midwestern Writers' Conference.

Her first book of poetry, A Street in Bronzeville, published in 1945 by Harper and Row, brought her instant critical acclaim. She received her first Guggenheim Fellowship and was one of the “Ten Young Women of the Year” in Mademoiselle magazine. In 1950, she published her second book of poetry,Annie Allen, which won her Poetry magazine’s Eunice Tietjens Prize and the Pulitzer Prize for poetry, the first given to an African-American.

After John F. Kennedy invited her to read at a Library of Congress poetry festival in 1962, she began her career teaching creative writing. She taught at Columbia College Chicago, Northeastern Illinois University, Elmhurst College, Columbia University, Clay College of New York, and the University of Wisconsin–Madison. In 1967, she attended a writer’s conference at Fisk University where, she said, she rediscovered her blackness. This rediscovery is reflected in her work In The Mecca, a book length poem about a mother searching for her lost child in a Chicago housing project. In The Mecca was nominated for the National Book Award for poetry.

In addition to the National Book Award nomination and the Pulitzer Prize, Brooks was made Poet Laureate of Illinois in 1968. In 1985, Brooks became the Library of Congress's Consultant in Poetry, a one year position whose title changed the next year to Poet Laureate. In 1988, she was inducted into the National Women's Hall of Fame. In 1994, she was chosen as the National Endowment for the Humanities' Jefferson Lecturer, one of the highest honors for American literature and the highest award in the humanities given by the federal government. In 1995, she was presented with the National Medal of Arts. Other awards she received included the Frost Medal, the Shelley Memorial Award, and an award from the American Academy of Arts and Letters. Brooks was awarded more than seventy-five honorary degrees from colleges and universities worldwide. In 1995, she was honored as the first Woman of the Year by the Harvard Black Men's Forum. On 1 May 1996 Brooks returned to her birthplace in Topeka, Kansas. She was the keynote speaker for the Third Annual Kaw Valley Girl Scout Council Women of Distinction Banquet and String of Pearls Auction. A ceremony was held in Brooks’ honor at a local park, located at 37th and Topeka Boulevard.

Personal life

In 1938, Brooks married Henry Blakely and gave birth to two children: Henry Blakely Jr., who was born in 1940, and Nora Blakely, who was born in 1951. After a short battle with cancer, Brooks died on December 3, 2000, aged 83, at her Southside Chicago home. She is buried at Lincoln Cemetery in Blue Island, Illinois.

Legacy

• 1995: Gwendolyn Brooks Elementary School, Aurora, Illinois
• 2000: Gwendolyn Brooks College Preparatory Academy, Chicago, Illinois
• 2001: Gwendolyn Brooks Middle School, Harvey, Illinois
• 2002: Gwendolyn Brooks Middle School, Oak Park, Illinois
• 2003: Gwendolyn Brooks Illinois State Library, Springfield, Illinois
• 2002: 100 Greatest African Americans.^[2]
• 2005: Gwendolyn Brooks Middle School, Bolingbrook, Illinois

Bibliography

See also

• African American literature
• List of African American firsts

References

1. ^ "Poet Laureate Timeline: 1981-1990". Library of Congress. 2008. http://www.loc.gov/poetry/laureate-1981-1990.html. Retrieved 2008-12-19. 
2. ^ Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8.

External links

• Gwendolyn Brooks at Find a Grave
• Poems by Gwendolyn Brooks at PoetryFoundation.org
• Audio and Poems by Gwendolyn Brooks at Poets.org
• Some poems by Brooks at the Circle Brotherhood Association
• Gwendolyn Brooks at Modern American Poetry
• Online guide to the Gwendolyn Brooks Papers, The Bancroft Library
• "The Book Writers" Poem A poem, patterned after Brooks's "The Bean Eaters" is a dedication to the lives and legacies of Gwendolyn Brooks and Haki R. Madhubuti.
• Lifetime Honors - National Medal of Arts

From Wikiquote

It is brave to be involved
To be not fearful to be unresolved.

Exhaust the little moment.
Soon it dies.
And be it gash or gold it will not come
Again in this identical guise.

Gwendolyn Brooks (7 June 1917 – 3 December 2000) was an American poet. She received the Pulitzer Prize for Literature for her book of poems Annie Allen.

Sourced

Art hurts. Art urges voyages — and it is easier to stay at home.

Art is a refining and evocative translation of the materials of the world.

And all the little people
Will stare at me and say,
"That is the Crazy Woman
Who would not sing in May."

consider the big fists breaking your little bones,
or consider the vague bureaucrats
stumbling, fumbling through Paper.

Even if you are not ready for day
it cannot always be night.

Truth-tellers are not always palatable. There is a preference for candy bars.

• It is brave to be involved
  To be not fearful to be unresolved.
  • "do not be afraid of no" from Annie Allen (1949)

• Exhaust the little moment.
  Soon it dies.
  And be it gash or gold it will not come
  Again in this identical guise.
  • "exhaust the little moment" from Annie Allen (1949)

• We real cool. We
  Left school. We
  Lurk late. We
  Strike straight. We
  Sing sin. We
  Thin gin. We
  Jazz June. We
  Die soon.
  • "We ReaI CooI" , The Bean Eaters (1960)
  • The "We"—you're supposed to stop after the "We" and think about their validity, and of course there's no way for you to tell whether it should be said softly or not, I suppose, but I say it rather softly because I want to represent their basic uncertainty, which they don't bother to question every day, of course.
    • "An Interview with Gwendolyn Brooks", Contemporary Literature 11:1 (Winter 1970)
  • The WEs in "We Real Cool" are tiny, wispy, weakly argumentative "Kilroy-is-here" announcements. The boys have no accented sense of themselves, yet they are aware of a semi-defined personal importance. Say the "We" softly.
    • Report from Part One (1972)

• Art hurts. Art urges voyages — and it is easier to stay at home.
  • "The Chicago Picasso" (1968)

• When I start writing a poem, I don't think about models or about what anybody else in the world has done.
  • "An Interview with Gwendolyn Brooks", Contemporary Literature 11:1 (Winter 1970)

• A writer should get as much education as possible, but just going to school is not enough; if it were, all owners of doctorates would be inspired writers.
  • Report From Part One (1972)

• As you get older, you find that often the wheat, disentangling itself from the chaff, comes out to meet you.
  • Report From Part One (1972)

• Art is a refining and evocative translation of the materials of the world.
  • Black Poetry Writing (1975)

• Be careful what you swallow. Chew!
  • Advice to graduates, Buena Vista University Graduation (1995)

• I am a writer perhaps because I am not a talker.
  • My Soul Looks Back, 'Less I Forget (1995) by Dorothy Winbush Riley

• I am interested in telling my particular truth as I have seen it.
  • Quoted in her obituary in The Guardian (7 December 2000)

• To be in love
  Is to touch with a lighter hand.
  In yourself you stretch, you are well.
  • "To Be In Love"

• He is not there but
  You know you are tasting together
  The winter, or a light spring weather.
  His hand to take your hand is
  overmuch.
  Too much too bear.
  • "To Be In Love"

• I shall not sing a May song.
  A May song should be gay.
  I'll wait until November
  And sing a song of gray.
  • "The Crazy Woman"

• And all the little people
  Will stare at me and say,
  "That is the Crazy Woman
  Who would not sing in May."
  • "The Crazy Woman"

• I hold my honey and I store my bread
  In little jars and cabinets of my will.
  I label clearly, and each latch and lid
  I bid, Be firm till I return from hell.
  • "my dreams, my works, must wait till after hell"

• Already you're on Page 8.
  • "Thinking of Elizabeth Steinberg"

• consider the big fists breaking your little bones,
  or consider the vague bureaucrats
  stumbling, fumbling through Paper.
  • "Thinking of Elizabeth Steinberg"

• Is earnest enough, may earnest attract or lead to light;
  Is light enough, if hands in clumsy frenzy, flimsy whimsically, enlist;
  Is light enough when this bewilderment crying against the dark shuts down the shades?
  Dilute confusion. Find and explode our mist.
  • "garbageman: the man with the orderly mind"

• Say to them,
  say to the down-keepers,
  the sun-slappers,
  the self-soilers,
  the harmony-hushers,
  "even if you are not ready for day
  it cannot always be night."
  You will be right.
  • Speech to the Young : Speech to the Progress-Toward

• Truth-tellers are not always palatable. There is a preference for candy bars.
  • "Song for Winnie"

The Ballad of Rudolph Reed

Small Mabel whimpered all night long,
For calling herself the cause.
Her oak-eyed mother did no thing
But change the bloody gauze.

• Rudolph Reed was oaken.
  His wife was oaken too.
  And his two good girls and his good little man
  Oakened as they grew.

• Nary a grin grinned Rudolph Reed,
  Nary a curse cursed he,
  But moved in his House. With his dark little wife,
  And his dark little children three.

• The first night, a rock, big as two fists.
  The second, a rock big as three.
  But nary a curse cursed Rudolph Reed.
  (Though oaken as man could be.)
  The third night, a silvery ring of glass.
  Patience arched to endure,
  But he looked, and lo! small Mabel's blood
  Was staining her gaze so pure.

• He ran like a mad thing into the night
  And the words in his mouth were stinking.
  By the time he had hurt his first white man
  He was no longer thinking.
  By the time he had hurt his fourth white man
  Rudolph Reed was dead.
  His neighbors gathered and kicked his corpse.
  "Nigger—" his neighbors said.

• Small Mabel whimpered all night long,
  For calling herself the cause.
  Her oak-eyed mother did no thing
  But change the bloody gauze.

The Good Man

• The good man.
  He is still enhancer, renouncer.
  In the time of detachment,
  in the time of the vivid heather and affectionate evil,
  in the time of oral
  grave grave legalities of hate - all real
  walks our prime registered reproach and seal.
  Our successful moral.
  The good man.

• Coherent
  Counsel! Good man.
  Require of us our terribly excluded blue.
  Constrain, repair a ripped, revolted land.
  Put hand in hand land over.
  Reprove
  the abler droughts and manias of the day
  and a felicity entreat.
  Love.
  Complete
  your pledges, reinforce your aides, renew
  stance, testament.

A Sunset of the City

• Already I am no longer looked at with lechery or love.
  My daughters and sons have put me away with marbles and dolls,
  Are gone from the house.
  My husband and lovers are pleasant or somewhat polite
  And night is night.

• It is a real chill out,
  The genuine thing.
  I am not deceived, I do not think it is still summer
  Because sun stays and birds continue to sing.

• It is a real chill out. The fall crisp comes
  I am aware there is winter to heed.
  There is no warm house
  That is fitted with my need.

• Come: there shall be such islanding from grief,
  And small communion with the master shore.
  Twang they. And I incline this ear to tin,
  Consult a dual dilemma. Whether to dry
  In humming pallor or to leap and die.

• Somebody muffed it?? Somebody wanted to joke.

The Mother

• Abortions will not let you forget.
  You remember the children you got that you did not get,
  The damp small pulps with a little or with no hair,
  The singers and workers that never handled the air.
  You will never neglect or beat
  Them, or silence or buy with a sweet.
  You will never wind up the sucking-thumb
  Or scuttle off ghosts that come.

• I have heard in the voices of the wind the voices of my dim killed children.
  I have contracted. I have eased
  My dim dears at the breasts they could never suck.
  I have said, Sweets, if I sinned, if I seized
  Your luck
  And your lives from your unfinished reach,
  If I stole your births and your names,
  Your straight baby tears and your games,
  Your stilted or lovely loves, your tumults, your marriages, aches,
  and your deaths,
  If I poisoned the beginnings of your breaths,
  Believe that even in my deliberateness I was not deliberate.

• What shall I say, how is the truth to be said?
  You were born, you had body, you died.
  It is just that you never giggled or planned or cried.

• Believe me, I loved you all.
  Believe me, I knew you, though faintly, and I loved, I loved you
  All.

Paul Robeson

From Family Pictures (1971)

• That time
  we all heard it,
  cool and clear,
  cutting across the hot grit of the day.
  The major Voice.
  The adult Voice
  forgoing Rolling River,
  forgoing tearful tale of bale and barge
  and other symptoms of an old despond.
  Warning, in music-words
  devout and large,
  that we are each other's
  harvest:
  we are each other's
  business:
  we are each other's
  magnitude and bond.

Misattributed

Our earth is round, and, among other things
That means that you and I can hold completely different
Points of view and both be right.
The difference of our positions will show
Stars in your window I cannot even imagine.

"Corners on the Curving Sky"

• Our earth is round, and, among other things
  That means that you and I can hold completely different
  Points of view and both be right.
  The difference of our positions will show
  Stars in your window I cannot even imagine.
  Your sky may burn with light,
  While mine, at the same moment,
  Spreads beautiful to darkness.
  • The above statements have been widely published in the above format as lines of verse attributed to Brooks, usually as a poem titled "Corners on the Curving Sky" — but one website indicated that she declared she did not write them. The words actually occur as an introduction to the "Corners on the Curving Sky" section of the book Soulscript (1970) compiled by June Jordan, in which other poems of Brooks were included, and thus is apparently the work of Jordan. It appears simply in paragraph form and reads thus:

Our earth is round, and, among other things, that means that you and I can hold completely different points of view and both be right. The difference of our positions will show stars in your window I cannot even imagine. Your sky may burn with light, while mine, at the same moment, spreads beautiful to darkness. Still we must choose how we separately corner the circling universe of our experience. Once chosen, our cornering will determine the message of any star and darkness we encounter. These poems speak to philosophy; they reveal the corners where we organize what we know.

External links

Wikipedia has an article about:

Gwendolyn Brooks

• Brooks at Modern American Poetry
  • Brief biography
• Brooks at The Academy of American Poets
• Some poems by Brooks at the Circle Brotherhood Association
• Tribute at VOA News