‘The Negro Speaks of Rivers’: How the Past Influences the Flow of Our Current

One thing I love about art is that it doesn’t exist in a vacuum. Instead, I think it informs us of the political and social climate that it was produced in. The intricacies of an artistic atmosphere arise from the creator’s experiences, perspectives and unique insights into their world. This sentiment rings true so clearly when we examine the nature of Black art. 

 

Ok… but why does this matter? 

Well, during the systematic disempowerment of Black people that was colonisation, our cultural artefacts were destroyed and invalidated to promote Western superiority. This phenomenon has been documented in literary texts such as Things Fall Apart, a novel by Nigerian author Chinua Achebe which narrates the perilous incongruence between European missionaries and traditional Igbo beliefs in colonial Nigeria. 

By weakening our collective understanding of our cultural identity, our self-perception became all-the-more susceptible to negative indoctrination. In my opinion, that’s why poems like The Negro Speaks of Rivers by Langston Hughes (definitely click the link if you aren’t familiar) are so important. By utilising modernist literary features such as subversion, experimentation and the rejection of archaic ideas, Hughes constructs a poignant poem that links Black history and Black culture to the very infancy of civilisation. In an effort to reject the dominant, reductive ideas about Black people in 1920s America, while highlighting how the “soul” of Black culture has been enriched by our history, Hughes creates a piece of art that continues to send a strong and uplifting message.

… but how do you know that’s what he meant?

Jeez, just let me talk to you about the poem and I’m sure you’ll see where I’m coming from. In the first lines, the speaker addresses the audience directly using the first person to say:

 

“I’ve known rivers:

 I’ve known rivers ancient as the world”

 

Maybe it’s just me, but the use of first person immediately brings to mind the modernist movement’s characteristic focus on the individual. Hughes’ choice to present a poem about Black culture from a personal perspective emphasises the abundant commonalities in the Black American experience. All of the historical triumphs and achievements of Black people that are enumerated in the poem are attributed to the singular “I” of the speaker. This is suggestive of how individuals within the Black community can  overcome feelings of inferiority by identifying with and being prideful of our rich cultural history. A certain Kendrick Lamar song comes to mind… 

 

Additionally, the anaphoric phrase, “I’ve known rivers” is representative of the speaker’s knowledge of the Black cultural identity. Throughout the poem, rivers act as a symbol for the speaker’s perception of Black history. Rivers are continuous and powerful. They run deep throughout different areas acting as vessels for connection. Black history aligns with this description as it cumulatively develops and spreads, deepening our understanding and connection to our cultural identity. The simile that renders the rivers “ancient as the world” emphasises just how deep and complex the history of Black people is. 

Wait, rivers symbolise Black history?

OK, it sounds like a stretch but just walk with me here. Hughes repeatedly refers to famous rivers and alludes to historical events that are uniquely connected to different Black people. You should try to apply each river’s historical and geographical significance when drawing meaning from the poem and you’ll see how Hughes is really commenting on the strength of black people in the face of centuries of oppression. Actually, I’ll do it for you! He refers to the ancient Euphrates in the line, 

 

“I bathed in the Euphrates when dawns were young.”

This line is in reference to an ancient river that is considered by many historians to be where human civilisation was born. Inferring that Black people have contributed to the development of the modern world, the speaker asserts that we were present at the very beginning of human history, or as Hughes more poetically puts it “when dawns were young”. Personifying the youth of the ancient world reinforces the idea that the black experience is as old as time, which strengthens the sense of belonging  among black people. 

  

“I built my hut near the Congo and it lulled me to sleep.”

 

 

Here, Hughes is talking about the great Congo River and the huts that his ancestors built around it. Fun fact: The Congo River is one of the longest and most significant rivers in Africa and is recognised for its historical and ecological significance. This “hut” is a piece of visual imagery that describes the pre-colonial lives of Black people, before our traditions were abandoned for the fruitless pursuit of Westernisation. The hut also acts as a symbol for shelter and protection, and our ability to take refuge in our connection to our ancestral land. The phrase “it lulled me to sleep” evokes feelings of calmness and comfort, suggesting that the speaker’s increased proximity to an emblem of African heritage restores their inner peace. Inner peace is quite the achievement considering Congo was one of the main countries where the slave trade took place, the fact that the speaker (or I guess the speaker’s ancestors) is still able to find peace demonstrates how much solace one’s cultural heritage can provide. And make no mistake, Africa isn’t only providing for Black people! Seen Black Panther (there is only one correct answer to that)? Remember the whole vibranium thing? In a nutshell, vibranium is to Wakanda what cobalt is to Congo. In recent years, electric cars have become more popular (more generally Teslapproved if you will) and cobalt is a critical element of the lithium batteries that they use. Congo’s cobalt-abundant soil should be making the country one of the world’s richest (Wakanda-level) but instead, the real winners are mining corporations owned by other countries that operate based off their own profit. Never the well-being of the country they are exploiting. Neo-colonialism strikes again…

“I looked upon the Nile and raised the pyramids above it.”

 

As you probably know, the Nile river is the longest river in the world. Continuing the metaphor of rivers representing history and culture, the length of the river could be considered to be representative of how extensive our culture is. The imagery of the Nile highlights the connections to the ancient past and the vastness of Africa’s cultural history. The pyramids are monumental structures built along the Nile that represent the ingenuity of African innovation. They are true architectural marvels that the speaker “raised” and helped to elevate. This statement expresses a profound pride, reiterating the positive self-perception derived from knowing the contributions of Africa

to human civilisation.

 

“I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I’ve seen its muddy bosom turn all golden in the sunset.”

 

 Hughes’ final allusion to historical events is to the emancipation of African American slaves that was aided by the 16^th US president Abe Lincoln. The auditory imagery of the “singing” of joy along the Mississippi River that the speaker hears is once again linking back to beginning of this blog. Art doesn’t exist in a vacuum. The soul of our art, the purpose of our expression, it all links to our collective experiences the world. The African-American songs of the Deep South often talked about topics of race and struggle, and greatly inspired the genres of blues, soul, jazz and rap. Sound interesting? Here’s a playlist of songs like this made by yours truly: 

https://open.spotify.com/playlist/0UB2lRfl8EwmoSPmTQ0X5M?si=Pm__FcqYS7GAMoF20z9tnA

 

 

“Ancient, dusky rivers.”

 

My soul has grown deep like the rivers.”

 

 

A final bit of subversion for the road. The term “dusky” was used in a derogatory way to put down black people in the 1920s. Hughes’ weaponised this term to highlight the irony in anti-black sentiment after enumerating our triumphs and achievements throughout history. Language is a powerful tool for changing the hearts and minds of people. It was weaponised by colonisers and now black people can weaponise it in the same way to send positive messages rather than negative ones. Legendary boxer Muhammad Ali tapped into this method of sending a political message when he decided to change his name from Cassius Clay to Muhammad Ali because he regarded his old name as a “slave name”. Ali told the world, "I didn't choose it and I don't want it. I am Muhammad Ali, a free name — it means beloved of God, and I insist people use it when people speak to me." He knew the power of language. Do you? 

 

 Alright, wrap it up…

In this poem, Hughes harnesses his powerful mastery of language to create art. Art that shows us how easy it is to embrace the beauty and resilience of Black Americans while instilling a sense of empowerment and self-worth. He guides us through the rivers of our history and tells us to look at our reflection. What do you see? Power? Pain? Hope? Whatever it is you found in this poem, make something of it. Find your artistic voice. To quote one of my favourite films, Dead Poets Society:

*if the gif doesn’t work it says “You must strive to find your own voice, boys, and the longer you wait to begin the less likely you are to find it at all.” 

by Amy Irekpolo