Langston Hughes (1902-1967)
Kids Who Die
This is for the kids who die,
Black and white,
For kids will die certainly.
The old and rich will live on awhile,
As always,
Eating blood and gold,
Letting kids die.
Kids will die in the swamps of Mississippi
Organizing sharecroppers
Kids will die in the streets of Chicago
Organizing workers
Kids will die in the orange groves of California
Telling others to get together
Whites and Filipinos,
Negroes and Mexicans,
All kinds of kids will die
Who don’t believe in lies, and bribes, and contentment
And a lousy peace.
Of course, the wise and the learned
Who pen editorials in the papers,
And the gentlemen with Dr. in front of their names
White and black,
Who make surveys and write books
Will live on weaving words to smother the kids who die,
And the sleazy courts,
And the bribe-reaching police,
And the blood-loving generals,
And the money-loving preachers
Will all raise their hands against the kids who die,
Beating them with laws and clubs and bayonets and bullets
To frighten the people—
For the kids who die are like iron in the blood of the people—
And the old and rich don’t want the people
To taste the iron of the kids who die,
Don’t want the people to get wise to their own power,
To believe an Angelo Herndon, or even get together
Listen, kids who die—
Maybe, now, there will be no monument for you
Except in our hearts
Maybe your bodies’ll be lost in a swamp
Or a prison grave, or the potter’s field,
Or the rivers where you’re drowned like Leibknecht
But the day will come—
Your are sure yourselves that it is coming—
When the marching feet of the masses
Will raise for you a living monument of love,
And joy, and laughter,
And black hands and white hands clasped as one,
And a song that reaches the sky—
The song of the life triumphant
Through the kids who die.
Comments (2)
kvora@... said
at 8:21 pm on Apr 15, 2009
In the poem "Kids who die," Hughes begins the poem with "this is for the kids who die," being that this is the poem, or his way of creating awareness. To a certain point after reading the poem, I actually happen to believe that kids, in other words could be freedom. I believe "kids" is freedom that is dying, as when you think of little kids, the 1st thing that comes to your mind is freedom and carefree. As the poem goes on, Hughes mentions that "kids will die certainly," and towards the end he mentions that "the song of the life triumphant" is "through the kids who die." Simply, this entire poem seems to be about kids, but more about freedom, that we all loose at a certain point, but it is through our loss of the freedom that we realize the importance of it. The fact that the poem is written for the kids who die, but in the end it says that it is through the kids who die. So basically the poem is saying that through the loss of freedom do we realize the freedom we had, and now no longer do.
James Garland said
at 3:17 pm on Apr 16, 2009
The footnote feature isn't working for me, so here is mine.
The use of the language and punctuation of that language is interesting in this poem. In line 2, in reference to "the kids who die," reads "Black and white." Later in the poem, in line 22, the people who squelch the credit and dishonor the memory of the kids who die are "White and black." While it's true that the kids who die are both Black and white, the people that oppress them are White and black. Very curious punctuation is used in these cases. The capitalization of Black pertaining to the kids who die implies a heavier importance on that word, where as white is lowercase; while the word White is capitalized in the order of those who oppress the Black and white. Perhaps this is simply because the first word in each line is capitalized, but I believe that the importance of the capitalization goes beyond structure. Of the kids that die, it seems that those who are "Black" take precedence (in some way, whether it be sheer number of the oppressed or importance) over their "white" brothers, and Hughes intentionally reverses the order to say that those who are "White" belay a heavier burden in oppression than those who are "black." Examining just these few lines could provide a foil to this idea because racial identifiers are not always capitalized, so the lowercase does not imply a feigned importance, but when examining the words “Whites.... Filipinos/ Negroes and Mexicans” in lines 14 and 15, we see that Hughes is of the train of thought that significance in racial categories should be capitalized. Why place all of these racial words on the same level, while relating struggles between two polar groups as a different case? Even something as innoculous as lowercase instances of black and white can show a second meaning, and relay the power structures that the poet truly sees. James Garland
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