Classic and Contemporary Poetry: Explained

"Memorial: 1. The Supremes - Ciz They Dead" by Sonia Sanchez is a short yet potent piece that explores themes of racial identity, erasure, and cultural appropriation. Sanchez, a prominent poet known for her poignant and often politically charged works, uses minimal language to convey a powerful message about the loss and transformation of African American identity in the context of mainstream culture.

The poem begins with the stark statement "the supremes / done gone." This opening sets the tone for the piece, indicating a departure or loss. The Supremes, an iconic Motown girl group, were not only a symbol of Black success in the music industry but also a representation of Black culture reaching mainstream audiences. The phrase "done gone" suggests a passing or a fading away, hinting at a transformation or disappearance of the essence of what they once represented.

Sanchez then uses the phrase "and bleached out / their blk/ness." This imagery of "bleaching out" speaks to the process of erasing or diluting Black identity. The choice of the word "bleached" is deliberate, evoking connotations of skin lightening and assimilation into a predominantly white culture. The slashed word "blk/ness" further emphasizes the fragmentation and alteration of Black identity, suggesting a division or loss of purity in its original form.

The following lines, "and all that is heard / me," can be interpreted in several ways. On one level, it might suggest that despite the erasure or transformation of Blackness, the poet's voice, representative of authentic Black experience, remains. It could also imply a sense of isolation or singularity, where the original voices and experiences of the Black community are drowned out, leaving only the poet's voice as a solitary reminder.

The poem concludes with the repetition of "tarzan jane / and bwana. / bwana. / bwana." These references are loaded with historical and cultural implications. "Tarzan" and "Jane" are characters often associated with colonial narratives, where Tarzan, a white man, becomes the "king" of the jungle, a setting populated by stereotypical representations of Black people. The term "bwana," Swahili for "boss" or "master," is used in a similar colonial context, often reflecting the power dynamics between white colonizers and native populations.

By ending the poem with "bwana" repeated thrice, Sanchez highlights the lingering effects of colonialism and cultural dominance. The repetition underscores the enduring nature of these power imbalances and the persistent influence of a dominant culture that seeks to define and control the narrative around Blackness.

In terms of structure and style, the poem is free verse, allowing Sanchez to employ a conversational tone that mirrors the directness of the message. The lack of punctuation and the use of enjambment create a fluid, uninterrupted flow, reflecting the continuous and pervasive nature of the issues being addressed. The minimalistic approach, both in language and structure, forces the reader to focus on the weight of each word and its implications.

Overall, "Memorial: 1. The Supremes - Ciz They Dead" is a meditation on the complexities of racial identity in a society that often seeks to commodify and sanitize Black culture for mainstream consumption. Sanchez's poem serves as a lament for what has been lost in this process and a critique of the forces that perpetuate these losses. The poem's brevity belies its depth, offering a powerful commentary on the intersection of race, culture, and power.

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