Volume 10 3

ing so adds some complexity to the situation by
showing different extents of the opposition: some
asking for more time before change, others saying
forget it. Both, however, given the tone established
in the opening of the poem, are unacceptable to the
speaker.

Lines 10-12:
Then, with the beginning of the second stanza,
a shift takes place. First the wind is offered as an
image of change, and carried by that wind, a voice.
Notice too the importance of the shift of that voice.
In the first stanza, it was the anonymous “they” that
spoke the words, while those oppressed said noth-
ing. Here, now that it has been introduced, it is the
voice of the neglected—“strong, determined,
sure”—that is about to be heard.

Lines 13-16:
The voice here readdresses the oppressive
shouts of the first stanza by negating them. The
speaker is claiming them to be unacceptable, even
in their milder forms of “soon” and “later.” To con-
tinue the earlier idea that the anaphoric “In” in
stanza one was like hammering in a nail, the repe-
tition here has a similar effect. The word “not”
being repeated drives home the idea of unaccept-
ability, of resistance, and line 15, with its brevity
and isolation, almost appears as a nail driven fully
in: “Now.” The poem then shifts from the theme
of sound and speaking, to one of action, with an
equally short and exclamatory line: “Walk!”

Lines 17-18:
Here a new stanza seems appropriate for the
combining of the voices and action, as others join
in both the speaking of the words and the walking
in protest. It is interesting to note the use of the
word “children” in line 18. This word, it could be
argued, carries both the connotations of vulnera-
bility, that a child is at the mercy of someone larger,
and of hope, as children have almost their whole
lives ahead of them. The emphasis then is on to-
getherness, which could offer strength in the face
of weariness.

Lines 19-20:
Here we are given the variety of forms in
which the voices offer themselves, from the very
subtle, to the musical, to the religious, to the an-
gry. All different forms of expressing oneself in the
face of adversity. As these echo in the head of the
reader, the command comes again with force in line
20: “Walk!”

Lines 21-22:

At this point in the poem, specific reference to

the speaker returns as the first person “I” tells of

following the command and taking to the streets of

Montgomery. This is a reference to the peaceful

protest march that took place in Montgomery, Al-

abama, one of the centers of the Civil Rights Move-

ment. And the walking continued until the “patient

acquiescence,” likened metaphorically here to a

chain that has bound the marchers, is replaced by

the more fervent demand of “Now” heard earlier

in the poem.

Lines 23-24:

The fourth stanza begins what will be a list of

demands for different kinds of action, and the

speaker’s response to them. From walking we now

shift to sitting, no doubt a reference to the sit-in

non-violent protests of segregated establishments

held across the country during this time. In this case

it is in Greensboro, North Carolina, which again,

as with the previous mention of Montgomery, pre-

sents both a geographic and historical context for

the poem. The specific detail of sitting at the coun-

ters also helps strengthen the image of the protest.

Alabama Centennial

Media

Adaptations

• Furious Flower: Conversations with African-
  American Poets was released by California
  Newsreel in 1998.


• A Poet’s Voice: Poetry by Naomi Long Madgett
  from Octavia and Other Poemswas released by
  Vander Films in 1997.


• Words Like Freedom: Sturdy Black Bridges,
  recorded with permission from the Starz Chan-
  nel, 1997.


• Writers Live with Naomi Long Madgettwas re-
  leased by Municipal Library Access Channel 9
  in 1996.


• A Poet’s Voiceproduced by Carousel Film and
  Video,1990.