Name
Western Governors University
D198 Global Arts and Humanities
Prof. Name
Date
Langston Hughes’s poem “I, Too”, first published in his 1926 collection The Weary Blues, stands as a powerful proclamation of Black pride and resilience amid the oppressive racial segregation of early 20th-century America. The poem gives voice to an African American speaker who is excluded from the main dining table and relegated to the kitchen, a metaphor for racial exclusion. However, instead of expressing shame or defeat, the speaker embraces his identity with dignity and hope.
The simple image of being sent to the kitchen symbolizes systemic racial marginalization. Yet, Hughes’s tone is one of quiet strength and unwavering optimism rather than bitterness. The declaration, “I, too, sing America,” asserts the speaker’s rightful inclusion in the national identity, underscoring a vision of equality and belonging. Hughes’s poem is both a protest against injustice and a hopeful prophecy that celebrates the enduring spirit of African Americans striving for recognition and justice.
“I, Too” was written during the Harlem Renaissance, a vibrant cultural movement that flourished in the 1920s and marked a renewed sense of racial pride and artistic expression among African Americans. This era coincided with the harsh realities of Jim Crow laws, which enforced racial segregation primarily in the Southern United States, perpetuating widespread discrimination and inequality.
Hughes’s poem reflects his response to these systemic injustices, particularly the social invisibility imposed on Black Americans. By portraying exclusion from the dinner table, Hughes critiques the contradiction in America’s ideals of freedom and equality versus its actual practices of racial oppression. Despite this critique, the poem remains optimistic, envisioning a future when society will recognize the beauty and equality of Black people—a vision that anticipates the Civil Rights Movement. Thus, “I, Too” serves as a timeless assertion of Black dignity and humanity in the face of enduring racial prejudice.
Langston Hughes played a transformative role in American literature by centering the experiences, hopes, and struggles of African Americans. As a prominent figure of the Harlem Renaissance, he challenged prevailing racial stereotypes and celebrated Black culture through poetry that was both accessible and deeply resonant.
Hughes’s works, such as “I, Too”, “The Negro Speaks of Rivers”, and “Let America Be America Again”, humanized the Black experience and bridged racial divides by appealing to a broad audience. His poetry served not only as artistic expression but also as a foundation for social awareness and activism, influencing the Civil Rights Movement. Furthermore, Hughes’s inclusion of Black joy, music, and resilience enriched the American literary tradition, asserting the importance of Black voices in shaping national culture and identity. Through his compelling poetic voice, Hughes became both a chronicler of racial realities and a catalyst for progress toward equality.
Gwendolyn Brooks’s poem “We Real Cool” (1963) explores the precarious defiance of urban Black youth confronting racial and economic marginalization. The poem focuses on seven young pool players who reject societal norms by skipping school, drinking, and embracing risky behavior. Brooks’s use of sparse, rhythmic language mirrors the syncopated beat of jazz, capturing the energy and volatility of youth culture.
Her employment of African American Vernacular English (AAVE) and strategic line breaks give the poem a collective yet intimate voice. The repetition of “We” creates a sense of shared identity and solidarity, but also hints at the anonymity and vulnerability of these youths. The abrupt ending line, “We die soon,” starkly contrasts with the earlier bravado, revealing the tragic consequences of neglect and societal failure. Brooks’s minimalist style effectively blends themes of rebellion, mortality, and systemic oppression in a concise yet powerful statement.
During the 1960s Civil Rights Movement, Black youth faced a dual reality of hope for social change and frustration with persistent inequality. While the movement sought justice and civil rights, many young African Americans encountered systemic poverty, racial discrimination, and violence.
“We Real Cool” encapsulates this tension by portraying the rebellious behavior of young people not merely as delinquency, but as a form of resistance to the limited opportunities and dignity afforded to them. The poem’s fatalistic conclusion—“We die soon”—underscores the harsh realities of systemic racism, police violence, and social neglect that often cut their lives short. Brooks’s poem serves both as a cultural critique and a sobering reflection on how societal failures can push marginalized youth toward self-destructive paths. Through her poignant and succinct verse, Brooks captures the perilous search for identity and freedom experienced by Black youth during this turbulent period.
The poems “I, Too” by Langston Hughes and “We Real Cool” by Gwendolyn Brooks both address racial identity and resistance but do so with different tones, historical contexts, and visions for the future. Below is a comparative overview:
| Aspect | I, Too (Langston Hughes) | We Real Cool (Gwendolyn Brooks) |
|---|---|---|
| Racial Marginalization | Depicts systemic exclusion through segregation, highlighting denial of Black inclusion in America. | Highlights alienation and rebellion of Black youth against socio-economic oppression. |
| Theme of Resistance | Represents quiet, dignified resistance with faith in eventual equality. | Expresses rebellious defiance and the self-destructive consequences of resistance. |
| Tone | Hopeful, confident, visionary. | Tense, rhythmic, somber, with an undercurrent of danger. |
| Historical Context | Written in 1926 during the Harlem Renaissance, reflecting emerging Black cultural pride. | Written in 1963 during the Civil Rights era, reflecting youth disillusionment and struggle. |
| Form of Rebellion | Embodies patience, moral strength, and endurance. | Embodies immediate, risky defiance and rejection of authority. |
| Message on the Future | Envisions a just America with equality and inclusion. | Warns of the tragic brevity of life for marginalized youth due to systemic failures. |
Both Hughes and Brooks highlight the complex realities of Black life in America. Hughes’s poem offers a hopeful, inclusive vision of racial progress, while Brooks portrays the urgent and dangerous consequences of societal neglect. Together, their poems engage in a profound conversation about identity, resistance, and the cost of freedom in an unjust society.
Brooks, G. (1963). We Real Cool. Poetry Foundation. https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool
Hughes, L. (1926). I, Too. In The Weary Blues. Voice and Lit. https://www.voiceandlit.com/hughes/itoo/
Legal News. (n.d.). D198 Task 1 – Analysis of Racial Themes in Hughes & Brooks’ Poems. Legal News > Your source for information behind the law. https://legalnews.com/grandrapids/1402479
