Video: Obama’s Selma Speech and the Poets

(30 minutes) President Obama delivers remarks from the Edmund Pettus Bridge in Selma, Alabama, marking the 50th anniversary of the marches from Selma to Montgomery. Rumor has it that Obama wrote most of this speech himself. We glimpse the best of Obama and the best of the American story. (Read the transcript here.)

Who was Edmund Pettus? See here. Learn why this bridge in Selma is part of a long contest of wills in America.

The president quotes Langston Hughes, Emerson, and Walt Whitman, so I’ve included the sources for those quotes below:

“We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.” From the 1926 essay “The Negro Artist and the Racial Mountain” by Langston Hughes

“Not gold but only men can make / A people great and strong;/ Men who for truth and honor’s sake / Stand fast and suffer long.” From the poem “A Nation’s Strength” by William Ralph Emerson (not Ralph Waldo Emerson)

“The health of the eye seems to demand a horizon. We are never tired, so long as we can see far enough.” From Nature by Ralph Waldo Emerson

“Do I contradict myself? / Very well then I contradict myself, / (I am large, I contain multitudes.)” From Song of Myself by Walt Whitman

Adrienne Rich: ‘Legislators of the World’

Poet Adrienne Rich (Staff photo Kris Snibbe/Harvard News Office)
In 2006, Adrienne Rich published this essay “Legislators of the World” in The Guardian saying, “In our dark times we need poetry more than ever.” At the time she had just been awarded the US National Book Foundation 2006 Medal for Distinguished Contribution to American Letters and released her most recent book School Among the Ruins. Rich died this week at the age of 82. I’m including the full essay below because I think it is so important:

In “The Defence of Poetry” 1821, Shelley claimed that “poets are the unacknowledged legislators of the world”. This has been taken to suggest that simply by virtue of composing verse, poets exert some exemplary moral power – in a vague unthreatening way. In fact, in his earlier political essay, “A Philosophic View of Reform,” Shelley had written that “Poets and philosophers are the unacknowledged” etc. The philosophers he was talking about were revolutionary-minded: Thomas Paine, William Godwin, Voltaire, Mary Wollstonecraft.

And Shelley was, no mistake, out to change the legislation of his time. For him there was no contradiction between poetry, political philosophy, and active confrontation with illegitimate authority. For him, art bore an integral relationship to the “struggle between Revolution and Oppression”. His “West Wind” was the “trumpet of a prophecy”, driving “dead thoughts … like withered leaves, to quicken a new birth”.

I’m both a poet and one of the “everybodies” of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry – it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.
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