Let’s just get this out of the way. Amiri Baraka/LeRoi Jones is a difficult, problematic, and prickly figure. LeRoi Jones was deeply involved in the poetic circles in and around New York City, apparently had lovers of both sexes. As Amiri Baraka, he was angry and militant and, I’m afraid, made more than a few anti-gay remarks. But he was also still LeRoi Jones, in that he was deeply influenced by the major currents of the twentieth century, especially the New York School, the Black Arts Movement, and (like another revolutionary poet, Aime Cesaire) Surrealism. Baraka was also much more political and a major figure in building black political power in Newark, New Jersey.
WISE WHY’S Y’s is deeply political, unyielding, and is weighed on heavily by the history (and, therefore, the legacy) of slavery.
We are bullets into
We are Changerers
these limpid blue
that packed sky
(the lost key of
like my own
is part of the hatred
That’s from a poem entitled #20 Borders (Incest) Obsession and is intended to be read with musical accompaniment. He actually lists a bunch of tunes to go with the poems (John Coltrane comes up a lot). Because bop and post-bop jazz is the rhythm to these poems, they are often jagged. There is often rhyme, but without a rhyme scene, reflecting the work of jazz musicians like Ornette Coleman and Dizzy Gillespie.
In another poem is this stanza:
(Not Sociology & Social Democratic
I know that he’s mocking the shallow, meaningless political talk of white, coffeeshop revolutionaries… but good lord, don’t you want to be a ‘political Bohemian?’ I hate myself for thinking that, because Baraka is also right to criticize the wordy, windy impotence of ‘slacktivism’ and other such skin deep dissent.