Smash and bludgeon forty-one times a day Tie him to a tree in front of city hail So every one of his victims families and friends Can make Forty-one ass-whipping calls (Baraka, Giuliani 20) During a poetry workshop at the Betty Shabazz Wholistic Retreat Center in the summer of 2000, Amiri Baraka debuted a new satiric poem that he had been working on for a political anthology entitled Keeping Track: 41 Voices, 41 Visions for Amadou Diallo. longstanding tension between New York City Mayor Rudolph and his constituents (some members of the lower class and minorities, especially African Americans) came to a head when the unarmed African emigrant was gunned down by four undercover New York City Police Officers in the vestibule of his Bronx apartment building in February 1999. case of mistaken identity, the special Street Crime Unit shot at the defenseless twenty-two-year-old forty-one times, striking him nineteen. Long before the shooting, however, Mayor had been harshly criticized for fostering an atmosphere in which citizens have a right to fear the police, and since, for impatiently mishandling the investigation into the special crime unit whose motto is ironically taken from a Baraka poem, Own the Night. In the poem A Proposal for Giuliani's Disposal in Forty-one Verses Which Are Also Curses, Baraka viciously lampoons Mayor for what many activists and citizens believe to be Giuliani's complicity in the murder of the innocent young man, and the city's strong-armed attack upon the people of New York. Before he read, Baraka joked that soon after he had written the poem cursing Giuliani, the inhumane mayor was diagnosed with prostate cancer. The audience laughed, Baraka chuckled, but given his illustrated knowledge of Yoruba conjure, his belief in the West African concept of Nommo, the power of the word, and his almost four decades of radical activism, Amiri Baraka could have been deadly serious. Baraka's Modest Proposal, unlike eighteenth-century satirist Jonathan Swift's satiric prose piece of the same title, relies heavily upon Juvenalian satire, which the Encyclopedia Britannica defines as any bitter and ironic criticism of contemporary persons and institutions that is filled with personal invective, angry moral indignation, and pessimism. Here's an example: Dog Dick Pus, Ugly wound ... The Bad Breath of Ibis, The Devil's Gas, Criminal G, Successor, R Like the Child Killer, White Death, Black Death, Murder Man, Death Jam, Mayor NAZI Chiller, Insane Killer, Rudy Maniac, Murder Beast, Rudy the Vile, 666, City Hall Hitler, The Ice Man, Killer Rudy, Rudy Death, Rudy The Ripper, Crazy Rudy, Doo Doo De Sade, Grand Dragon of The Apple, Mayor Murderer, Alcalde Diablo ... Serial Assassin. Though quite funny, the poem never allows the reader to forget the tragedy that inspired it. The phrase 41, the number of bullets the police shot at the unarmed African, which recurs in all forty-one verses, stands as a testament to the excessive force that Mayor allowed to be visited upon the people. The reader may laugh, but will forever link Mayor to the murder of innocence. Baraka's contemporary satiric poem, though less sophisticated than his satiric drama of the '60s and '70s, has evolved just as the word warrior himself has evolved, as well as the world and the people for whom he writes. We are no longer embroiled in open racial warfare, as when Dutchman, the first play by Amiri Baraka, then LeRoi Jones, was produced in 1964. Therefore, his contemporary satire has to meet the people where they are (often times in their comfort zone), without being preachy or overtly didactic. Baraka calls Dahmer's Successor ... Death Jam, Mayor NAZI, Chiller, Insane Killer ... Rudy The Ripper ... Doo Doo Brain, and his message is immediately received. Readers might be inspired to action--maybe to attend a rally, withdraw all support from Giuliani's administration; maybe to write letters to their congressman and hold all such politicians accountable for their deeds for and against the people. …
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