So I wrote this poem inspired by ‘Art Class’ by Rhiannon McGavin, an American poet. This poem also derives my poem Genocide and its inspirations.
Despite society being an abstract noun, I have characterised society as a man. So for the nature of this poem, society is a he.
Society thinks you can’t swear in poetry.
So unto Society I say,
“Raise your hands if you have heard of Auschwitz.”
Instantly, he raises his hands
like mustard gas rising out of a trench.
Okay, hands down.”
Now raise your hands if you have heard
of the Morant Bay Massacre.
Rolling eyes blended with curious stares
a shaking hand ascends
half-raised like a lone soldier
struggling to stand at Passchendaele.
“Are you sure about that?”
“That’s what I thought”
“Society – what’s truth?”
They won’t let you hear it at school
if that person says “fuck.”
Can’t even talk about “fuck”
even though Education’s
been fucking students for years.
You can’t teach a 16-year-old in school
how to swear, how to use language,
how to wear words like body armour
There’s children in London
who carry knives to the library in case they get jumped
and you want to censor language.
“Society – what is history class?”
Your books leave out the Maroons and the Arawaks
Call themselves ‘World History’ and omit
Cecil Rhodes and Zimbabwe, King Leopold,
blood diamond mines and the Congolese Genocide
Fifteen million dead Africans,
call themselves ‘Politics in the Modern World’
and fail to mention Enoch Powell or Apartheid.
Why Black children hide in lighter skin,
dark-skinned girls under the boots of colourism
those with natural hair thrown to sin bin.
Folks thinking Edward Snowden
was a politician educated in Oxbridge.
How can education not include
Julian Assange or Jimmy Carter?
Schools are built in shadows
the grinding teeth of money,
designed under coins and corporations.
They’re sterilising children,
injecting classrooms, drilling
independent thought with silent poison
stifling creativity, making a killing.
Jack hung himself in his bathroom
because he wasn’t smart enough
to meets school standards.
Hannah started bleaching
her daughter’s skin
the day before she started school.
She carves curved lines into her
beautiful brown skin so
she can remember her ancestors.
I wrote this poem inspired by ‘Groan‘ by poet Alex Levene, which in itself is inspired by ‘Howl‘ by American poet Allen Ginsberg.
Alex Levene is a Bedford-based writer and poet who I’ve had the pleasure of sharing the stage with at SFP many times (a serious mega talent!).
I first heard ‘Groan’ at Soul Food Poetry Bedford in April this year and have since been writing a response piece to it.
So for six months I’ve been writing and editing this, detailing my own perceptions of creative writing and who my inspirations are.
I saw the greatest minds of my year group destroyed by sadness – hysterical jaywalkers, burnt brazen, naked, lives laid bare
crawling their way through the social Middle Earths of Twitter and Instagram, looking for a million likes and retweets,
millennial media mongrels lusting for a human connection to the societies of open-air realities and sunlight, through text speak and Urban Dictionary
overdosing on hollow lies still high, sofa-sprawled students smoking in their custom-made sun loungers looking into their Mad Max-esque orange
haze screens, their incandescent tangerine shed-like space, killing each other for cash and capital in a scramble for power like it’s fucking Westeros.
Now begins my song of praise
bless me with your righteous gaze.
I pray you’ll concede that this world’s future
depends on the arts, creativity and poetry.
Poems weren’t always in my peripheral view
but what better way to talk to you
and read in front of all these faces
as poetry transcends colour, creed, sex and races.
I once wanted to be a police officer, a cricketer, you know?
Now I write poems, using rhythm, rhyme, meter and onomatopoeia
striking academia full of fear in their weekend boats
sailing full speed ahead from Lands’ End to John O’Groats.
But I’ll stand tall, like the walls
between poetry and spoken word.
They’re one and the same, haven’t you heard?
Should I compare you to a summer’s day?
The war cry – the poet that slips into words
like Thanos and The Infinity Gauntlet,
the Mad Titan who takes centre stage and flaunts it.
And I write this poem for those who will listen,
who will take heed of my words and their composition,
who will comprehend the poet’s vision.
People hate to hear rhythm and rhyme,
as words can allude, confuse and hypnotise.
Conveyors of myths and magic, incantations
that summon beasts. Tales of Merlin and Mordrid,
the Druids, Arthur, Guinevere, their feasts and fights,
don’t let these poets on the open-mic tonight.
See, there are issues with poetry;
most switch off – it’s lyrical,
the pinnacle of most great songs is poetry.
Way back in the day,
you’d read up on your Greek and Latin
bashing out odes and elegies
on bits of parchment
written with quills and ink.
But poetry has always been
for the people by the people,
a synergy creating a soulful energy,
sometimes read over the kitchen sink.
And the soul of creativity
has always been inside of us, in the heart,
regardless if that’s
poetry, prose, theatre or dancing in the park;
the poet is more than writing poetry,
it’s a mentality, it’s your mind-set,
life choices, your actions and your voices.
If prose is the bellow poetry is the murmur
in the corner people-watching
taking down each detail –
collecting everyone’s emotions and clout,
bottling it up and then raising it to a shout.
A howl, a growl, a snarl,
raging against the societal machine,
lies unclean, torn seams of childhood innocence.
And I will never cease rhythm’s use,
it’s not might fault. Blame Roald Dahl,
Spike Milligan, and Dr Seuss… and
“Augustus Gloop Augustus Gloop
The great big greedy nincompoop
Augustus Gloop, so big and vile
so greedy, foul, and infantile.”
Okay, I took that, but wasn’t it
Picasso who said, “Good artists borrow,
great artists steal?” – I think,
and these writers moulded my youth.
Poetry catches, snatches, captures, enraptures,
not just the town crier on stage proclaiming his love –
not just hope in the form of a holy white dove
but it’s a state of mind, a passion… it’s a want,
a hunger, a message, sometimes
a polemic attack against systems, governments
and institutions that manipulate and fashion.
For me, my Creative Writing degree was not a choice,
it was a chance for me to express myself and use my voice.
Every writer who has put pen to paper,
or finger to keyboard
was saving their sword for you to wield later.
I discuss race, class, politics and mental health,
children’s literature and capitalist wealth,
and the mysteries of my family tree,
stories of slavery and immigration
as I don’t know how I came to be me.
Oliver Cromwell banned Christmas, or tried to,
like how Stalin banned poetry and the Nazis believed
poetry came from the hands of the Jews.
The weapon that kills the fascists is not the gun or the sword,
it’s the lyrics, the bold art of playing with words from a chessboard.
Protest and politics is where it begins
friends and experiences poeticised in the form of a hymn.
From reggae through to science,
The Isaacs (Newton and Gregory),
you can’t lock them up in the speech penitentiary.
Agard, Zephaniah, Sabrina Benaim, Margaret Atwood AM Pressman, Neil Hilborn, Olivia Gatwood,
writers who change our perspectives for common good.
Byron, Shelley, Kerouac, Ken Kesey, Larkin
Sylvia Plath, Blake, Grace Nichols, writing mages
it’s the artists’ job to rattle society’s cages.
Semiotics is the study of signs and I wrote this poem inspired from ‘Motives and Thoughts’ by Lauryn Hill.
The severe lack grammar and punctuation is to show that thoughts and signs are not scripted. They just exist.
This is one continuous ramble with no structure. How we think is not always linear from point A to point B.
mumbling rappers confusion of sound
negative messages holding us down
time and capitalism socially constructed
human consciousness motives corrupted
impulsive reactions brexit and war
from slavery to windrush injustice galore
western media tools for
synthetic mythologies modern folklore
global newsreaders creating misdirection
claiming munitions are for our protection
wicked news anchors killing our brains
misleading us with newspeak again
war is economics designed for profit and gain
mr trump glows in the dark motives exposed
we can all see through his baggy clothes
this klansman confines kids to cages and woes
with human rights disposed written into code
Tory government party of jokers court jester logic
always answering questions with statements off topic
uncivilised people with colonialist knowledge
system decline and still wont concede
using religion as a saviour analysing behaviour
eton MPs kings and queens of corruption and greed
impulsive politicians on prescription meds
wishing brexit negotiations were all in their heads
ethical standards pride is the source
born with silver spoons on the back of a horse
imperial leaders led by whitewashed history
churchill and nelson racists it’s no mystery
global economy in for number one
banks hiring mercenaries and guns
war designed to kill fathers and sons
to the sound of cannons and drums
as number ten paints beautiful pictures
from myths into theology and scriptures
both west and east are after diamonds and pearls
as lies and deception take over the world
blind with hate deep in our hearts
neo-colonialism is a poison dart
deceive your neighbours so well get ahead
modern day deceit is what we’re being fed
I wrote this poem inspired from my schooldays and my reflections on that now as an adult, and its related connotations.
Also, this poem talks about how discrimination can happen between privately-educated / state-educated people of the same ethnicity.
This poem was deeply-inspired by ‘Privilege’ by Lacey Roop. She’s a slam poet and author poetry collection And Then Came the Flood.
At fourteen, I was educated with the children of the rich and entitled.
At lunch I sat with them – children who lived in big houses.
Honestly, I disliked most of them. I didn’t want to be one of them.
My mom was a teacher, my father worked in IT.
The parents of these children were lawyers and businesspeople.
In other words, they sold lies for a living; however, like my colleagues, I never knew the meaning of without or hungry.
Some of the friends I made at school were people who had never encountered people of colour before – other than those they saw on television.
I grew up around people who had names like Seonai and Winston and Darius and Precious and Paris and Isaiah.
And they grew up with people who had names like Mary-Kate, Anna-Grace, Elizabeth-Anne, Tom-Harry and John-Paul.
By today’s standards, they’d be known as progressive white folks who had more money than they knew what to do with.
They were the offspring of people who felt uncomfortable around someone like me, a child – whose last name wasn’t Jones or Smith, whose skin tone was a shade too dark, too dug up earth for their white picket fence.
One time, I was invited to a party. Drugs and underage girls littered it like confetti. The houses of lawyers and CEOs and surgeons, people who had inherited everything they owned.
When other Black people here how I talk, they question who I am. They question my ethnicity and identity.
Just because when I spill the heart contents of my chest, they ask if I am really Black. Because I talk too well for this colour.
As if my blood is not infested with the same slave plantation mud as theirs. I do not hate my skin but I’m often ashamed of those who share the same melanin as me.
Judging me on my RP and how I was raised, not what I say or how I behave. I hear people say, “If you know better than do better.”
This is why I can’t gawk from the side lines when I see Black people putting each other down. When I see colourism dividing us by our different shades of brown.
Black Privilege is feeling the bitterness of other people who look like me. This private school childhood is being the token Black.
It’s knowing my mouth is more bulletproof than Charlottesville which is why I use this mouth loud, even in the face of that bitterness.
To keep certain ears attuned to “You know better so be better.” For my eyes to be whitewashed and imperialised. Black privilege is a fiction, a fantasy.
It’s the assumptions people make because they hear my softly-spoken syntax – this relaxed tone of voice. This privilege-sounding tongue-tied man subverting stereotypes.
It’s the judgements we take without thinking. I was stop and searched by police for simply blinking… wrong place wrong time.
Having privilege is never having to think or talk about it. I’m always thinking and talking about it.
And if we all have voices to use, why on Earth should we stay silent?