The Essential Gwendolyn Brooks: (American Poets Project #19)

This is a wonderful book for both children and adults. If you like poems, then you should definetly read this book.

Five stars! If I had to choose the ten greatest books of the twentieth century, Brooks' Selected Poems would have to be one of them. Her voice is entirely original - no one who came before Brooks or follows her writes quite like her. Brooks' work is distinguished by so many wonderful qualities - she may have the best ear of any living American poet. Her sense of the musicality of language rivals that of Yeats and Dylan Thomas (as in, say, "A Sunset of the City," "We Real Cool," "Big Bessie throws her son into the street, and her great long poem, "Riot."). I once heard Gwendolyn Brooks read over twenty years ago when I was in college, and I still haven't forgotten the sound of her voice, and with it the dawn of my understanding that poetry is half-music, half-language. Brooks is also capable of that kind of clarity and brilliance of imagery that you find in the best William Carlos Williams Poems. (Read, for example, "The Last Quatrain of the Ballad of Emmett Till" or "My Little `Bout Town Gal"). What has always been most special about her work for me, however, is the way Brooks captures nuances of feeling, multi-layers of emotion, in a few phrases, as in her very contemporary poem about abortion, "the mother," or her love poem, "A Lovely Love." The only other poet I know of who does this so well is Emily Dickinson.

In 1984, I had the honor to spend a day with Miss Brooks, and to hear her do a reading of many of the poems in this book. I wish that all of you could have heard that reading, her work is meant to be read aloud. That's what I would advise you to do, buy this book, and when you get it, read the poems aloud. Play with the flow and the cadence of the words. Miss Brooks is a national treasure, and her words speak to us all.

It's a shame some people sit in their Wall Street Towers and, not having any apparent experience with the real world, judge harshly those who not only live in it, but interpret it into literary masterpieces. Those who find solace in maligning Gwendolyn Brook's poetry should take a much closer second look. Her poetry transcends all barriers. Her subjects are the embodiment of all of us, poor or rich. Ms. Brooks' poetry shoots straight to the soul, exposing it; and, the soul knows not color, race, creed, or ethnicity. Ms. Brooks is a national treasure, our collective national conscience. Her poetry is a reflection of today's society - good or bad, clean or dirty. Isn't it a shock to look into the mirror after all the facades are melted away and discover that none of us are really "all of that?"

This is a wonderful collection of poems, Brooks's best. I understand why Langston Hughes has received so much attention over the last several decades--his first-person commentary and description of Black life in the twentieth century is valuable and enlightening--but Brooks, at her best (i.e., in this book), is a better poet than Hughes was at his best, and I'm a little miffed that she hasn't received more credit by the general public than she has. It is just that this volume won the Pulizter Prize, and it will certainly be around for some time.