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Best Famous Hattie Poems

Here is a collection of the all-time best famous Hattie poems. This is a select list of the best famous Hattie poetry. Reading, writing, and enjoying famous Hattie poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of hattie poems.

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Written by Gwendolyn Brooks | Create an image from this poem

The Lovers of the Poor

 arrive.
The Ladies from the Ladies' Betterment League Arrive in the afternoon, the late light slanting In diluted gold bars across the boulevard brag Of proud, seamed faces with mercy and murder hinting Here, there, interrupting, all deep and debonair, The pink paint on the innocence of fear; Walk in a gingerly manner up the hall.
Cutting with knives served by their softest care, Served by their love, so barbarously fair.
Whose mothers taught: You'd better not be cruel! You had better not throw stones upon the wrens! Herein they kiss and coddle and assault Anew and dearly in the innocence With which they baffle nature.
Who are full, Sleek, tender-clad, fit, fiftyish, a-glow, all Sweetly abortive, hinting at fat fruit, Judge it high time that fiftyish fingers felt Beneath the lovelier planes of enterprise.
To resurrect.
To moisten with milky chill.
To be a random hitching post or plush.
To be, for wet eyes, random and handy hem.
Their guild is giving money to the poor.
The worthy poor.
The very very worthy And beautiful poor.
Perhaps just not too swarthy? Perhaps just not too dirty nor too dim Nor--passionate.
In truth, what they could wish Is--something less than derelict or dull.
Not staunch enough to stab, though, gaze for gaze! God shield them sharply from the beggar-bold! The noxious needy ones whose battle's bald Nonetheless for being voiceless, hits one down.
But it's all so bad! and entirely too much for them.
The stench; the urine, cabbage, and dead beans, Dead porridges of assorted dusty grains, The old smoke, heavy diapers, and, they're told, Something called chitterlings.
The darkness.
Drawn Darkness, or dirty light.
The soil that stirs.
The soil that looks the soil of centuries.
And for that matter the general oldness.
Old Wood.
Old marble.
Old tile.
Old old old.
Note homekind Oldness! Not Lake Forest, Glencoe.
Nothing is sturdy, nothing is majestic, There is no quiet drama, no rubbed glaze, no Unkillable infirmity of such A tasteful turn as lately they have left, Glencoe, Lake Forest, and to which their cars Must presently restore them.
When they're done With dullards and distortions of this fistic Patience of the poor and put-upon.
They've never seen such a make-do-ness as Newspaper rugs before! In this, this "flat," Their hostess is gathering up the oozed, the rich Rugs of the morning (tattered! the bespattered .
.
.
), Readies to spread clean rugs for afternoon.
Here is a scene for you.
The Ladies look, In horror, behind a substantial citizeness Whose trains clank out across her swollen heart.
Who, arms akimbo, almost fills a door.
All tumbling children, quilts dragged to the floor And tortured thereover, potato peelings, soft- Eyed kitten, hunched-up, haggard, to-be-hurt.
Their League is allotting largesse to the Lost.
But to put their clean, their pretty money, to put Their money collected from delicate rose-fingers Tipped with their hundred flawless rose-nails seems .
.
.
They own Spode, Lowestoft, candelabra, Mantels, and hostess gowns, and sunburst clocks, Turtle soup, Chippendale, red satin "hangings," Aubussons and Hattie Carnegie.
They Winter In Palm Beach; cross the Water in June; attend, When suitable, the nice Art Institute; Buy the right books in the best bindings; saunter On Michigan, Easter mornings, in sun or wind.
Oh Squalor! This sick four-story hulk, this fibre With fissures everywhere! Why, what are bringings Of loathe-love largesse? What shall peril hungers So old old, what shall flatter the desolate? Tin can, blocked fire escape and chitterling And swaggering seeking youth and the puzzled wreckage Of the middle passage, and urine and stale shames And, again, the porridges of the underslung And children children children.
Heavens! That Was a rat, surely, off there, in the shadows? Long And long-tailed? Gray? The Ladies from the Ladies' Betterment League agree it will be better To achieve the outer air that rights and steadies, To hie to a house that does not holler, to ring Bells elsetime, better presently to cater To no more Possibilities, to get Away.
Perhaps the money can be posted.
Perhaps they two may choose another Slum! Some serious sooty half-unhappy home!-- Where loathe-lover likelier may be invested.
Keeping their scented bodies in the center Of the hall as they walk down the hysterical hall, They allow their lovely skirts to graze no wall, Are off at what they manage of a canter, And, resuming all the clues of what they were, Try to avoid inhaling the laden air.


Written by John Lindley | Create an image from this poem

DARKIES

 “I’d rather make $700 a week playing a maid than earn $7 a day being a maid”.
Hattie McDaniel.
I’m the savage in the jungle and the busboy in the town.
I’m the one who jumps the highest when the Boss man comes around.
I’m the maid who wields the wooden broom.
I’m the black boot polish cheeks.
I’m the big fat Lawdy Mama who always laughs before she speaks.
I’m the plaintive sound of spirituals on the mighty Mississip’.
I’m the porter in the club car touching forelock for a tip.
I’m the bent, white-whiskered ol’ Black Joe with the stick and staggered walk.
I’m the barefoot boy in dungarees with a stammer in my talk.
I’m the storytelling Mr.
Bones with a jangling tambourine.
I’m the North’s excuse for novelty and the South’s deleted scene.
I’m the one who takes his lunch break with the extras and the grips.
I’m the funny liquorice coils of hair and the funny looking lips.
I’m the white wide eyes and pearly teeth.
I’m the jet black skin that shines.
I’m the soft-shoe shuffling Uncle Tom for your nickels and your dimes.
I’m the Alabami Mammy for a state I’ve never seen.
I’m the bona fide Minstrel Man whose blackface won’t wash clean.
I’m the banjo playing Sambo with a fixed and manic grin.
I’m the South’s defiant answer that the Yankees didn’t win.
I’m the inconvenient nigrah that no one can let go.
I’m the cutesy picaninny with my hair tied up in bows.
I’m the funny little shoeshine boy.
I’m the convict on the run; the ****** in the woodpile when the cotton pickin’s done.
I’m a blacklist in Kentucky.
I’m the night when hound dogs bay.
I’m the cut-price, easy light relief growing darker by the day.
I’m the “yessir, Massa, right away” that the audience so enjoys.
I’m the full-grown man of twenty-five but still they call me ‘boy’.
For I’m the myth in Griffith’s movie.
I’m the steamboat whistle’s cry.
I’m the dust of dead plantations and the proof of Lincoln’s lie.
I’m the skin upon the leg iron.
I’m the blood upon the club.
I’m the deep black stain you can’t erase no matter how you scrub.
John Lindley