A Quote by Amiri Baraka
I'm fully conscious all the time that I'm an American Negro, because it's part of my life. But I also know that if I want to say, 'I see a bus full of people,' I don't have to say, 'I am a Negro seeing a bus full of people.'
Related Quotes
I maintain that I have been a Negro three times--a Negro baby, a Negro girl and a Negro woman. Still, if you have received no clear cut impression of what the Negro in America is like, then you are in the same place with me. There is no The Negro here. Our lives are so diversified, internal attitudes so varied, appearances and capabilities so different, that there is no possible classification so catholic that it will cover us all, except My people! My people!
And so I continue in borderline poverty, save for my one indulgence, no, my single absolute necessity: I take cabs. Yes, on occasion, when I wish to see what people with unpleasant skin conditions are wearing, I do take the subway. I have never, I am proud to say, taken the bus, because people who take the bus have given up.
As the bus slowed down at the crowded bus stop, the Pakistani bus conductor leaned from the platform and called out, "Six only!" The bus stopped. He counted on six passengers, rang the bell, and then, as the bus moved off, called to those left behind: "So sorry, plenty of room in my heart - but the bus is full." He left behind a row of smiling faces. It's not what you do, it's the way that you do it.
I've always been interested in history, but they never taught Negro history in the public schools...I don't see how a history of the United States can be written honestly without including the Negro. I didn't [paint] just as a historical thing, but because I believe these things tie up with the Negro today. We don't have a physical slavery, but an economic slavery. If these people, who were so much worse off than the people today, could conquer their slavery, we can certainly do the same thing....I am not a politician. I'm an artist, just trying to do my part to bring this thing about.
In the Negro Leagues, we'd play three games a day on the weekends. Then we'd ride the bus and travel to play the next day someplace else. You'd hang your shirt out the bus window to dry.
Look, I don't really know where we should take this bus. But I know this much: If we get the right people on the bus, the right people in the right seats, and the wrong people off the bus, then we'll figure out how to take it someplace great.
Only in the case of the Negro has the melting pot failed to bring a minority into the full stream of American life.
I have a theory. An audience doesn't need to get wrapped up in blackness every time they see a Negro actor. And a movie doesn't have to be about race just because there's a Negro in it.
If there are people out by the bus, I'll come off the bus and sign autographs, too. I always want to be accessible. I always tell my fans, 'If I ever get on the bus and don't come off, it's because I'm under the weather or I'm really tired.'
You know, some people say life is short and that you could get hit by a bus at any moment and that you have to live each day like it's your last. Bullshit. Life is long. You're probably not gonna get hit by a bus. And you're gonna have to live with the choices you make for the next fifty years.
The bus scares me. Way too many gross people on the bus. Sixty-five people on the bus and I was the last one on. I felt like calling Unsolved Mysteries. 'Yeah, I found everybody.
Negro writers, just by being black, have been on the blacklist all our lives. Do you know that there are libraries in our country that will not stock a book by a Negro writer, not even as a gift? There are towns where Negro newspapers and magazines cannot be sold except surreptitiously. There are American magazines that have never published anything by Negroes. There are film studios that have never hired a Negro writer. Censorship for us begins at the color line.
It is the duty of the younger Negro artist . . . to change through the force of his art that old whispering "I want to be white," hidden in the aspirations of his people, to "Why should I want to be white? I am a Negro - and beautiful!"
To my mind, it is the duty of the younger Negro artist, if he accepts any duties at all from outsiders, to change through the force of his art that old whispering 'I want to be white,' hidden in the aspirations of his people, to 'Why should I want to be white? I am a Negro - and beautiful!'
The history of the American Negro is the history of this strife, - this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost... He simply wishes to make it possible for a man to be both a Negro and an American.
'Black' is an adjective, in my book, and the way I use it, sometimes I'll say 'black people.' But if I'm talking about a person, I'm going to say 'a Negro,' because I was taught to say that, and I don't see any reason to change it. I don't think that gives pride or anything else. I don't think you get pride by calling yourself this or that.
Related Authors
Alexander Pope Quotes
English
Poet
Emily Dickinson Quotes
American
Poet
George Herbert Quotes
British
Poet
Henry Wadsworth Longfellow Quotes
American
Poet
Homer Quotes
Greek
Poet
Horace Quotes
Roman
Poet
John Milton Quotes
English
Poet
Khalil Gibran Quotes
Lebanese
Poet
Lord Byron Quotes
British
Poet
Maya Angelou Quotes
American
Poet
Oscar Wilde Quotes
Irish
Poet
Ovid Quotes
Roman
Poet
T. S. Eliot Quotes
American
Poet
Walt Whitman Quotes
American
Poet
William Butler Yeats Quotes
Irish
Poet