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Showing posts with label Robert Hayden. Show all posts
Showing posts with label Robert Hayden. Show all posts

Witch Doctor - Robert Hayden



I
He dines alone surrounded by reflections
of himself. Then after sleep and benzedrine
descends the Cinquecento stair his magic
wrought from hypochondria of the well-
to-do and nagging deathwish of the poor;
swirls on smiling genuflections of
his liveried chauffeur into a crested
lilac limousine, the cynosure
of mousey neighbors tittering behind
Venetian blinds and half afraid of him
and half admiring his outrageous flair.

II
Meanwhile his mother, priestess in gold lamé,
precedes him to the quondam theater
now Israel Temple of the Highest Alpha,
where the bored, the sick, the alien, the tired
await euphoria. With deadly vigor
she prepares the way for mystery
and lucre. Shouts in blues-contralto, ”He’s
God’s dictaphone of all-redeeming truth.
Oh he’s the holyweight champeen who’s come
to give the knockout lick to your bad luck;
say he’s the holyweight champeen who’s here
to deal a knockout punch to your hard luck.“

III
Reposing on cushions of black leopard skin,
he telephones instructions for a long
slow drive across the park that burgeons now
with spring and sailors. Peers questingly
into the green fountainous twilight, sighs
and turns the gold-plate dial to Music For
Your Dining-Dancing Pleasure. Smoking Egyptian
cigarettes rehearses in his mind
a new device that he must use tonight.

IV
Approaching Israel Temple, mask in place,
he hears ragtime allegros of a ”Song
of Zion“ that becomes when he appears
a hallelujah wave for him to walk.
His mother and a rainbow-surpliced cordon
conduct him choiring to the altar-stage,
and there he kneels and seems to pray before
a lighted Jesus painted sealskin-brown.
Then with a glittering flourish he arises,
turns, gracefully extends his draperied arms:
”Israelites, true Jews, O found lost tribe
of Israel, receive my blessing now.
Selah, selah.“ He feels them yearn toward him
as toward a lover, exults before the image
of himself their trust gives back. Stands as though
in meditation, letting their eyes caress
his garments jewelled and chatoyant, cut
to fall, to flow from his tall figure
dramatically just so. Then all at once
he sways, quivers, gesticulates as if
to ward off blows or kisses, and when he speaks
again he utters wildering vocables,
hypnotic no-words planned (and never failing)
to enmesh his flock in theopathic tension.
Cries of eudaemonic pain attest
his artistry. Behind the mask he smiles.
And now in subtly altering light he chants
and sinuously trembles, chants and trembles
while convulsive energies of eager faith
surcharge the theater with power of
their own, a power he has counted on
and for a space allows to carry him.
Dishevelled antiphons proclaim the moment
his followers all day have hungered for,
but which is his alone.
He signals: tambourines begin, frenetic
drumbeat and glissando. He dances from the altar,
robes hissing, flaring, shimmering; down aisles
where mantled guardsmen intercept wild hands
that arduously strain to clutch his vestments,
he dances, dances, ensorcelled and aloof,
the fervid juba of God as lover, healer,
conjurer. And of himself as God.


Robert Hayden

Those Winter Sundays - Robert Hayden



Sundays too my father got up early
and put his clothes on in the blueblack cold,
then with cracked hands that ached
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.

I’d wake and hear the cold splintering, breaking.breaking. / When In A Ballad of Remembrance (1962), the line between these two lines reads: "and smell the iron and velvet bloom of heat." While this line was deleted, the version in A Ballad of Remembrance is still a sonnet. There are other variants between both versions; mostly relating to where the line breaks.
Whenbreaking. / When In A Ballad of Remembrance (1962), the line between these two lines reads:"and smell the iron and velvet bloom of heat." While this line was deleted, the version in A Ballad of Remembrance is still a sonnet. There are other variants between both versions; mostly relating to where the line breaks. the rooms were warm, he’d call,
and slowly I would rise and dress,
fearing the chronic angers of that house,

Speaking indifferently to him,
who hadwho had In A Ballad of Remembrance: who’d driven out the cold
and polished my good shoes as well.
What did I know, what did I know
of love’s austereaustere Grave, sober; and lacking adornment and lonely offices?



Robert Hayden

The Ballad of Nat Turner - Robert Hayden



Then fled, O brethren, the wicked juba
and wandered wandered far
from curfew joys in the Dismal’s night.
Fool of St. Elmo’s fire

In scary night I wandered, praying,
Lord God my harshener,
speak to me now or let me die;
speak, Lord, to this mourner.

And came at length to livid trees
where Ibo warriors
hung shadowless, turning in wind
that moaned like Africa,

Their belltongue bodies dead, their eyes
alive with the anger deep
in my own heart. Is this the sign,
the sign forepromised me?

The spirits vanished. Afraid and lonely
I wandered on in blackness.
Speak to me now or let me die.
Die, whispered the blackness.

And wild things gasped and scuffled in
the night; seething shapes
of evil frolicked upon the air.
I reeled with fear, I prayed.

Sudden brightness clove the preying
darkness, brightness that was
itself a golden darkness, brightness
so bright that it was darkness.

And there were angels, their faces hidden
from me, angels at war
with one another, angels in dazzling
combat. And oh the splendor,

The fearful splendor of that warring.
Hide me, I cried to rock and bramble.
Hide me, the rock, the bramble cried. . . .
How tell you of that holy battle?

The shock of wing on wing and sword
on sword was the tumult of
a taken city burning. I cannot
say how long they strove,

For the wheel in a turning wheel which is time
in eternity had ceased
its whirling, and owl and moccasin,
panther and nameless beast

And I were held like creatures fixed
in flaming, in fiery amber.
But I saw I saw oh many of
those mighty beings waver,

Waver and fall, go streaking down
into swamp water, and the water
hissed and steamed and bubbled and locked
shuddering shuddering over

The fallen and soon was motionless.
Then that massive light
began a-folding slowly in
upon itself, and I

Beheld the conqueror faces and, lo,
they were like mine, I saw
they were like mine and in joy and terror
wept, praising praising Jehovah.

Oh praised my honer, harshener
till a sleep came over me,
a sleep heavy as death. And when
I awoke at last free

And purified, I rose and prayed
and returned after a time
to the blazing fields, to the humbleness.
And bided my time.


Robert Hayden

Runagate Runagate - Robert Hayden


I.
Runs falls rises stumbles on from darkness into darkness
and the darkness thicketed with shapes of terror
and the hunters pursuing and the hounds pursuing
and the night cold and the night long and the river
to cross and the jack-muh-lanterns beckoning beckoning
and blackness ahead and when shall I reach that somewhere
morning and keep on going and never turn back and keep on going
Runagate
Runagate
Runagate
Many thousands rise and go
many thousands crossing over
O mythic North
O star-shaped yonder Bible city

Some go weeping and some rejoicing
some in coffins and some in carriages
some in silks and some in shackles

Rise and go or fare you well

No more auction block for me
no more driver’s lash for me

If you see my Pompey, 30 yrs of age,
new breeches, plain stockings, negro shoes;
if you see my Anna, likely young mulatto
branded E on the right cheek, R on the left,
catch them if you can and notify subscriber.
Catch them if you can, but it won’t be easy.
They’ll dart underground when you try to catch them,
plunge into quicksand, whirlpools, mazes,
turn into scorpions when you try to catch them.

And before I’ll be a slave
I’ll be buried in my grave

North star and bonanza gold
I’m bound for the freedom, freedom-bound
and oh Susyanna don’t you cry for me

Runagate

Runagate


II.
Rises from their anguish and their power,

Harriet Tubman,

woman of earth, whipscarred,
a summoining, a shining

Mean to be free

And this was the way of it, brethren brethren,
way we journeyed from Can’t to Can.
Moon so bright and no place to hide,
the cry up and the patterollers riding,
hound dogs belling in bladed air.
And fear starts a-murbling, Never make it,
we’ll never make it. Hush that now,
and she’s turned upon us, levelled pistol
glinting in the moonlight:
Dead folks can’t jaybird-talk, she says;
you keep on going now or die, she says.

Wanted Harriet Tubman alias The General
alias Moses Stealer of Slaves

In league with Garrison Alcott Emerson
Garrett Douglas Thoreau John Brown

Armed and known to be Dangerous

Wanted Reward Dead or Alive

Tell me, Ezekiel, oh tell me do you see
mailed Jehovah coming to deliver me?

Hoot-owl calling in the ghosted air,
five times calling to the hants in the air.
Shadow of a face in the scary leaves,
shadow of a voice in the talking leaves:

Come ride-a my train

Oh that train, ghost-story train
through swamp and savanna movering movering,
over trestles of dew, through caves of the wish,
Midnight Special on a sabre track movering movering,
first stop Mercy and the last Hallelujah.

Come ride-a my train

Mean mean mean to be free.


Robert Hayden

Mourning Poem for the Queen of Sunday - Robert Hayden



Lord’s lost Him His mockingbird,
His fancy warbler;
Satan sweet-talked her,
four bullets hushed her.
Who would have thought
she’d end that way?

Four bullets hushed her. And the world a-clang with evil.
Who’s going to make old hardened sinner men tremble now
and the righteous rock?
Oh who and oh who will sing Jesus down
to help with struggling and doing without and being colored
all through blue Monday?
Till way next Sunday?

All those angels
in their cretonne clouds and finery
the true believer saw
when she rared back her head and sang,
all those angels are surely weeping.
Who would have thought
she’d end that way?

Four holes in her heart. The gold works wrecked.
But she looks so natural in her big bronze coffin
among the Broken Hearts and Gates-Ajar,
it’s as if any moment she’d lift her head
from its pillow of chill gardenias
and turn this quiet into shouting Sunday
and make folks forget what she did on Monday.

Oh, Satan sweet-talked her,
and four bullets hushed her.
Lord’s lost Him His diva,
His fancy warbler’s gone.
Who would have thought,
who would have thought she’d end that way?


Robert Hayden

Middle Passage - Robert Hayden



I

Jesús, Estrella, Esperanza, Mercy:

Sails flashing to the wind like weapons,
sharks following the moans the fever and the dying;
horror the corposant and compass rose.

Middle Passage:
voyage through death
to life upon these shores.

“10 April 1800—
Blacks rebellious. Crew uneasy. Our linguist says
their moaning is a prayer for death,
ours and their own. Some try to starve themselves.
Lost three this morning leaped with crazy laughter
to the waiting sharks, sang as they went under.”

Desire, Adventure, Tartar, Ann:

Standing to America, bringing home
black gold, black ivory, black seed.

Deep in the festering hold thy father lies,
of his bones New England pews are made,
those are altar lights that were his eyes.

Jesus Saviour Pilot Me
Over Life’s Tempestuous Sea

We pray that Thou wilt grant, O Lord,
safe passage to our vessels bringing
heathen souls unto Thy chastening.

Jesus Saviour

“8 bells. I cannot sleep, for I am sick
with fear, but writing eases fear a little
since still my eyes can see these words take shape
upon the page & so I write, as one
would turn to exorcism. 4 days scudding,
but now the sea is calm again. Misfortune
follows in our wake like sharks (our grinning
tutelary gods). Which one of us
has killed an albatross? A plague among
our blacks—Ophthalmia: blindness—& we
have jettisoned the blind to no avail.
It spreads, the terrifying sickness spreads.
Its claws have scratched sight from the Capt.'s eyes
& there is blindness in the fo’c’sle
& we must sail 3 weeks before we come
to port.”

What port awaits us, Davy Jones’
or home? I’ve heard of slavers drifting, drifting,
playthings of wind and storm and chance, their crews
gone blind, the jungle hatred
crawling up on deck.

Thou Who Walked On Galilee

“Deponent further sayeth The Bella J
left the Guinea Coast
with cargo of five hundred blacks and odd
for the barracoons of Florida:

“That there was hardly room ’tween-decks for half
the sweltering cattle stowed spoon-fashion there;
that some went mad of thirst and tore their flesh
and sucked the blood:

“That Crew and Captain lusted with the comeliest
of the savage girls kept naked in the cabins;
that there was one they called The Guinea Rose
and they cast lots and fought to lie with her:

“That when the Bo’s’n piped all hands, the flames
spreading from starboard already were beyond
control, the negroes howling and their chains
entangled with the flames:

“That the burning blacks could not be reached,
that the Crew abandoned ship,
leaving their shrieking negresses behind,
that the Captain perished drunken with the wenches:

“Further Deponent sayeth not.”

Pilot Oh Pilot Me


II

Aye, lad, and I have seen those factories,
Gambia, Rio Pongo, Calabar;
have watched the artful mongos baiting traps
of war wherein the victor and the vanquished

Were caught as prizes for our barracoons.
Have seen the nigger kings whose vanity
and greed turned wild black hides of Fellatah,
Mandingo, Ibo, Kru to gold for us.

And there was one—King Anthracite we named him—
fetish face beneath French parasols
of brass and orange velvet, impudent mouth
whose cups were carven skulls of enemies:

He’d honor us with drum and feast and conjo
and palm-oil-glistening wenches deft in love,
and for tin crowns that shone with paste,
red calico and German-silver trinkets

Would have the drums talk war and send
his warriors to burn the sleeping villages
and kill the sick and old and lead the young
in coffles to our factories.

Twenty years a trader, twenty years,
for there was wealth aplenty to be harvested
from those black fields, and I’d be trading still
but for the fevers melting down my bones.


III

Shuttles in the rocking loom of history,
the dark ships move, the dark ships move,
their bright ironical names
like jests of kindness on a murderer’s mouth;
plough through thrashing glister toward
fata morgana’s lucent melting shore,
weave toward New World littorals that are
mirage and myth and actual shore.

Voyage through death,
voyage whose chartings are unlove.

A charnel stench, effluvium of living death
spreads outward from the hold,
where the living and the dead, the horribly dying,
lie interlocked, lie foul with blood and excrement.

Deep in the festering hold thy father lies,
the corpse of mercy rots with him,
rats eat love’s rotten gelid eyes.

But, oh, the living look at you
with human eyes whose suffering accuses you,
whose hatred reaches through the swill of dark
to strike you like a leper’s claw.

You cannot stare that hatred down
or chain the fear that stalks the watches
and breathes on you its fetid scorching breath;
cannot kill the deep immortal human wish,
the timeless will.

“But for the storm that flung up barriers
of wind and wave, The Amistad, señores,
would have reached the port of Príncipe in two,
three days at most; but for the storm we should
have been prepared for what befell.
Swift as the puma’s leap it came. There was
that interval of moonless calm filled only
with the water’s and the rigging’s usual sounds,
then sudden movement, blows and snarling cries
and they had fallen on us with machete
and marlinspike. It was as though the very
air, the night itself were striking us.
Exhausted by the rigors of the storm,
we were no match for them. Our men went down
before the murderous Africans. Our loyal
Celestino ran from below with gun
and lantern and I saw, before the cane-
knife’s wounding flash, Cinquez,
that surly brute who calls himself a prince,
directing, urging on the ghastly work.
He hacked the poor mulatto down, and then
he turned on me. The decks were slippery
when daylight finally came. It sickens me
to think of what I saw, of how these apes
threw overboard the butchered bodies of
our men, true Christians all, like so much jetsam.
Enough, enough. The rest is quickly told:
Cinquez was forced to spare the two of us
you see to steer the ship to Africa,
and we like phantoms doomed to rove the sea
voyaged east by day and west by night,
deceiving them, hoping for rescue,
prisoners on our own vessel, till
at length we drifted to the shores of this
your land, America, where we were freed
from our unspeakable misery. Now we
demand, good sirs, the extradition of
Cinquez and his accomplices to La
Havana. And it distresses us to know
there are so many here who seem inclined
to justify the mutiny of these blacks.
We find it paradoxical indeed
that you whose wealth, whose tree of liberty
are rooted in the labor of your slaves
should suffer the august John Quincy Adams
to speak with so much passion of the right
of chattel slaves to kill their lawful masters
and with his Roman rhetoric weave a hero’s
garland for Cinquez. I tell you that
we are determined to return to Cuba
with our slaves and there see justice done. Cinquez—
or let us say ‘the Prince’—Cinquez shall die.”

The deep immortal human wish,
the timeless will:

Cinquez its deathless primaveral image,
life that transfigures many lives.

Voyage through death
to life upon these shores.


Robert Hayden

Frederick Douglass - Robert Hayden



When it is finally ours, this freedom, this liberty, this beautiful
and terrible thing, needful to man as air,
usable as earth; when it belongs at last to all,
when it is truly instinct, brain matter, diastole, systole,
reflex action; when it is finally won; when it is more
than the gaudy mumbo jumbo of politicians:
this man, this Douglass, this former slave, this Negro
beaten to his knees, exiled, visioning a world
where none is lonely, none hunted, alien,
this man, superb in love and logic, this man
shall be remembered. Oh, not with statues’ rhetoric,
not with legends and poems and wreaths of bronze alone,
but with the lives grown out of his life, the lives
fleshing his dream of the beautiful, needful thing.


Robert Hayden

El-Hajj Malik El-Shabazz (Malcolm X) - Robert Hayden


O masks and metamorphoses of Ahab, Native Son

I

The icy evil that struck his father down
and ravished his mother into madness
trapped him in violence of a punished self
struggling to break free.

As Home Boy, as Dee-troit Red,
he fled his name, became the quarry of
his own obsessed pursuit.

He conked his hair and Lindy-hopped,
zoot-suited jiver, swinging those chicks
in the hot rose and reefer glow.

His injured childhood bullied him.
He skirmished in the Upas trees
and cannibal flowers of the American Dream--

but could not hurt the enemy
powered against him there.


Robert Hayden

Biography of Robert Hayden 1913 - 1980

Robert Hayden (4 August 1913 – 25 February 1980) was an American poet, essayist, educator. He was appointed Consultant in Poetry to the Library of Congress in 1976.

Hayden was born Asa Bundy Sheffey in Detroit, Michigan to Ruth and Asa Sheffey (who separated before his birth). He was taken in by a foster family next door, Sue Ellen Westerfield and William Hayden, and grew up in a Detroit ghetto nicknamed "Paradise Valley". The Haydens' perpetually contentious marriage, coupled with Ruth Sheffey’s competition for young Hayden's affections, made for a traumatic childhood.Witnessing fights and suffering beatings, Hayden lived in a house fraught with chronic angers whose effects would stay with the poet throughout his adulthood. On top of that, his severe visual problems prevented him from participating in activities such as sports in which nearly everyone was involved. His childhood traumas resulted in debilitating bouts of depression which he later called "my dark nights of the soul."

Because he was nearsighted and slight of stature, he was often ostracized by his peer group. As a response both to his household and peers, Hayden read voraciously, developing both an ear and an eye for transformative qualities in literature. He attended Detroit City College (Wayne State University), and left in 1936 to work for the Federal Writers' Project, where he researched black history and folk culture.

He was raised as a Baptist, and later became a member of the Bahá'í Faith during the early 1940s after marrying a Bahá'í, Erma Inez Morris. He is one of the best-known Bahá'í poets and his religion influenced much of his work.

After leaving the Federal Writers' Project in 1938, marrying Erma Morris in 1940, and publishing his first volume, Heart-Shape in the Dust (1940), Hayden enrolled at the University of Michigan in 1941 and won a Hopwood Award there.

In pursuit of a master's degree, Hayden studied under W. H. Auden, who directed Hayden's attention to issues of poetic form, technique, and artistic discipline, and influence may be seen in the "technical pith of Hayden's verse". After finishing his degree in 1942, then teaching several years at Michigan, Hayden went to Fisk University in 1946, where he remained for twenty-three years, returning to Michigan in 1969 to complete his teaching career.

He died in Ann Arbor, Michigan in 1980, age 66.

Career

Hayden was elected to the American Academy of Poets in 1975. From 1976 - 1978, Hayden was Consultant in Poetry to the Library of Congress (the first African American holder of that post), the position which in 1985 became the Poet Laureate Consultant in Poetry to the Library of Congress. Hayden's most famous and most anthologized poem is Those Winter Sundays, which deals with the memory of fatherly love and loneliness.

Other famed poems include The Whipping (which is about a small boy being severely punished for some undetermined offense), Middle Passage (inspired by the events surrounding the United States v. The Amistad affair), Runagate, Runagate, and Frederick Douglass.

Hayden’s influences included Wylie, Cullen, Dunbar, Hughes, Bontemps, Keats, Auden and Yeats. Hayden’s work often addressed the plight of African Americans, usually using his former home of Paradise Valley slum as a backdrop, as he does in the poem Heart-Shape in the Dust. Hayden’s work made ready use of black vernacular and folk speech. Hayden wrote political poetry as well, including a sequence on the Vietnam War.

On the first poem of the sequence, he said, “I was trying to convey the idea that the horrors of the war became a kind of presence, and they were with you in the most personal and intimate activity, having your meals and so on. Everything was touched by the horror and the brutality and criminality of war. I feel that's one of the best of the poems.”