Classic and Contemporary Poetry: Explained

"Riot" by Gwendolyn Brooks is a powerful and evocative poem that captures the tensions and tumult of racial unrest, juxtaposing the privileged world of the protagonist, John Cabot, with the explosive force of a riot. Through her vivid imagery and sharp contrasts, Brooks critiques social inequality, racial prejudice, and the isolation of affluence from the realities of racial and economic oppression. The poem is set against the backdrop of the 1960s, a period of significant civil rights activism and racial riots in the United States, and it resonates with the words of Martin Luther King Jr., who famously said, "A riot is the language of the unheard."

John Cabot, the central figure in the poem, is depicted as a man of wealth and privilege, ensconced in luxury and largely disconnected from the world beyond his affluent bubble. Brooks meticulously lists the symbols of his privilege—his Jaguar, his preference for Grandtully Scotch, and his patronage of high-end restaurants and art galleries—to underscore the vast gulf between Cabot's life and the experiences of the poor and marginalized Black community. This disparity sets the stage for the poem's dramatic turn.

The catalyst for the poem's action is the approach of the rioters, described as "the Negroes" and "the Poor," moving "in rough ranks," "in seas," "in windsweep." Brooks's use of elemental imagery to describe the movement of the rioters conveys the unstoppable, natural force of their collective action. Their description as "black and loud," "not detainable," and "not discreet" contrasts sharply with Cabot's orderly and sanitized world, emphasizing the disruptive power of their presence.

The poem's language shifts dramatically with the riot's approach, capturing Cabot's fear and disdain with the exclamation "Gross. Gross. 'Que tu es grossier!'" His reaction reveals not only his disgust but also his deep-seated prejudices and his fear of being touched by "the blackness." This moment of contact, both literal and metaphorical, forces Cabot—and by extension, the reader—to confront the realities of racial and social divides.

Brooks masterfully intertwines the physical with the symbolic, as the rioters' "breath" carries the scents of pig foot, chitterling, and cheap chili—foods associated with poverty and African American culture. This "terrific touch" serves as a stark intrusion of one world into another, challenging Cabot's (and society's) attempts to maintain separation and ignorance of the other's existence.

The poem concludes with Cabot's downfall amidst "smoke and fire / and broken glass and blood," a vivid depiction of the riot's chaos and violence. His final plea, "Lord! Forgive these nigguhs that know not what they do," echoes the words of Jesus on the cross, imbuing the moment with a tragic irony. Cabot's inability to see beyond his prejudices, even in his last moments, underscores the poem's critique of the social and racial myopia that fuels such conflicts.

"Riot" is a poignant commentary on the cycles of violence and misunderstanding that perpetuate racial and economic divides. Brooks's use of contrasting imagery, her exploration of privilege and alienation, and her invocation of King's words all contribute to a powerful narrative that challenges the reader to confront the underlying causes of unrest and to acknowledge the humanity of those who have been marginalized and unheard. Through the lens of John Cabot's experience, Brooks invites a reflection on the cost of indifference and the urgent need for empathy and justice.

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