Gwendolyn Brooks

Gwendolyn Brooks (born June 7, 1917, Topeka, Kansas, U.S.—died December 3, 2000, Chicago, Illinois) was one of the most influential poets of the 20th century and the first African American poet to win the Pulitzer Prize (1950). Her works deal with the everyday life of urban African Americans, combining Modernist techniques with Black idioms and phrasings. Her poetry collections include A Street in Bronzeville (1945), Annie Allen (1949), and The Bean Eaters (1960). In 1968 she was named the poet laureate of Illinois, a role she served until her death 32 years later. She was also the first Black woman to be appointed U.S. Library of Congress consultant in poetry.

(Read W.E.B. Du Bois’s 1926 Britannica essay on African American literature.)

Britannica Quiz

Famous Poets and Poetic Form

Childhood and mentors

Brooks was the eldest of two children. Her father, David Anderson Brooks, was a janitor who had attended medical school and aspired to be a doctor. Her mother, Keziah Wims Brooks, was a schoolteacher and a classically trained pianist. The family moved from Topeka, Kansas, to the South Side of Chicago when Brooks was only a few weeks old. The South Side would provide Brooks with the backdrop of her poetry, the language and everyday experiences of its African American residents finding their way into her work. As she wrote in her autobiography Report from Part One (1972), “If you wanted a poem, you had only to look out of a window.”

Brooks’s parents encouraged her poetry writing. She published her first poem, “Eventide,” at age 13, in the national children’s magazine American Childhood. She sent some of her early poems to elder Black writers, including James Weldon Johnson and Langston Hughes, who offered her further encouragement. Johnson suggested that she study the Modernist poetry of T.S. Eliot, Ezra Pound, and E.E. Cummings.

Early work and A Street in Bronzeville

Brooks graduated from Wilson Junior College in Chicago in 1936. She published many of her early verses in the Chicago Defender, the most influential African American newspaper of the first half of the 20th century. In the Defender, Brooks’s poems would have enjoyed a nationwide readership among African Americans. In 1939 she married the poet Henry L. Blakely, and they had their first child, also named Henry, a year later. In 1941 Brooks enrolled in a workshop for Black writers that was held on the South Side and led by Inez Cunningham Stark, a wealthy white socialite and a patron of the city’s arts. In her autobiography, Brooks credited the workshop with teaching her more about technique. She began publishing poems in more journals and winning prizes for her work.

Brooks’s first published collection, A Street in Bronzeville, reveals her talent for making the ordinary life of her neighbors extraordinary. Its title refers to the vibrant and storied Black neighborhood in Chicago where Brooks lived, and its poems feature everyday settings such as vacant lots, front and back yards, the hairdresser’s, and kitchenette apartments. At the center of her work are recognizable people such as mothers, preachers, local dandies, and the Black servicemen of World War II. In the Chicago Tribune, poet Paul Engle called the book’s publication “an exceptional event in the literary life of Chicago, for it is the first book of a solidly Chicago person.”

Annie Allen and Maud Martha

Brooks’s next collection, Annie Allen, for which she won the Pulitzer Prize, is a loosely connected series of poems related to an African American girl’s growing up in Chicago. One of the central pieces in the book is a 43-stanza poem called “The Anniad,” which narrates the life of Annie Allen and draws on the epic poetry of Virgil’s Aeneid. In using the epic form, Brooks essentially declared that the life of an ordinary Black girl is as important a literary subject as the heroes of classical poetry.

In 1951 Brooks and her husband had their second child, Nora. Two years later she published her only novel, Maud Martha, which contains the same themes explored in Annie Allen. The novel’s heroine is a Black woman who experiences prejudice from lighter-skinned African Americans as well as from whites.

The Bean Eaters

Brooks’s third collection, The Bean Eaters, contains some of her best verse, including her most famous poem, “We Real Cool.” Consisting of four short stanzas, each made up of two lines of one-syllable words, the poem describes seven boys who have skipped school to play pool.

We real cool. We
Left school. We

Lurk late. We
Strike straight.

The poem evokes the carefree pleasures of life and the rhythm of jazz (“We / Jazz June”) yet ends on a surprisingly stark note (“We / Die soon.”). The Bean Eaters also contains social justice themes, including poems about the murder of Emmett Till—a Black teenager from Chicago who was killed by two white men while visiting family in Mississippi in 1955—and the battles for the desegregation of schools.

(Read Henry Louis Gates, Jr.’s Britannica essay on “Monuments of Hope.”)

In the Mecca

Brooks published Selected Poems in 1963, followed in 1968 by In the Mecca, half of which is a long narrative poem about people in the Mecca, a vast, fortresslike apartment building erected on the South Side of Chicago in 1891, which had long since deteriorated into a place of serious neglect and poverty. The second half of the book contains individual poems, among which the most noteworthy are “Boy Breaking Glass” and “Malcolm X.”

The poems of In the Mecca marked a noticeable change in Brooks’s work, which had begun to feature more overtly political themes, although her subject matter remained the same. This shift is most often credited to her attending a conference for Black writers at Fisk University in 1967, where she encountered a younger generation of writers who changed her views on her role in society as a poet. In the Mecca was Brooks’s last book published by a large press. Thereafter she published only with Black-owned presses—in particular, Broadside Press and the Chicago-based Third World Press (cofounded by Haki R. Madhubuti).

Later work and legacy

Her latter works include Primer for Blacks (1980), Young Poet’s Primer (1980), To Disembark (1981), The Near-Johannesburg Boy, and Other Poems (1986), Blacks (1987), Winnie (1988), and Children Coming Home (1991).

Brooks also wrote a book for children, Bronzeville Boys and Girls (1956). The autobiographical Report from Part One (1972) is an assemblage of personal memoirs, interviews, and letters; it was followed, though much later, by Report from Part Two (1996).

As poet laureate of Illinois, Brooks traveled throughout the state to speak at local schools, colleges, universities, prisons, and hospitals. She also sponsored numerous literary ceremonies and prizes in her home state. In 1985–86 Brooks was appointed Library of Congress consultant in poetry (now known as poet laureate consultant in poetry), and in 1989 she received a lifetime achievement award from the National Endowment for the Arts. She was the recipient of more than 70 honorary degrees from colleges and universities around the country. She became a professor of English at Chicago State University in 1990, a position she held until her death. Her legacy is honored annually in Chicago on June 7, her birthday, in a citywide event known as BrooksDay.