
Map of American English dialects.
On July 5, 2018, The Nation, a left-leaning magazine of politics and culture founded in 1865, published a poem on its website called “How-To.” The poem, meant to be an ironic critique of the limits of white liberal compassion, uses what is called in the field of linguistics African-American Vernacular English (AAVE) to set out a list of rules, offered by one homeless person to another, on how to maximize donations from passers-by. The punchline: it’s all about making donors feel good about themselves and center themselves in the narrative of the homeless person they walk past on the street — further marginalizing the presumably black, possibly sick, and perhaps disabled panhandler. Here is the poem:
If you got hiv, say aids. If you a girl,
say you’re pregnant––nobody gonna lower
themselves to listen for the kick. People
passing fast. Splay your legs, cock a knee
funny. It’s the littlest shames they’re likely
to comprehend. Don’t say homeless, they know
you is. What they don’t know is what opens
a wallet, what stops em from counting
what they drop. If you’re young say younger.
Old say older. If you’re crippled don’t
flaunt it. Let em think they’re good enough
Christians to notice. Don’t say you pray,
say you sin. It’s about who they believe
they is. You hardly even there.
The poem caused an uproar on Twitter, because the poet, Anders Carlson-Wee, looks like this:

The backlash inspired The Nation’s poetry editors to publish an apology, in which they said that they had
The poet himself tweeted out:

The Nation’s apology in turn caused a backlash-against-the-backlash. It was noted that the magazine had never before issued an apology for publishing a poem, even after the great American novelist
(You can read “Drum Taps” here.)
The cultural critic Caitlin Flanagan saw the uproar over the poem and The Nation’s mea culpa as proof that
You can read the full transcript of the speech Obama made at the 2018 Mandela Day celebration in South Africa, which Flanagan references, here, or watch it here (the speech begins at 2:17:30):
Is the poem “How-To” problematic? Do you think that Carlson-Wee’s use of AAVE is cultural appropriation? Is it a form of poetic blackface/blackvoice? Is it racist? Should white poets/musicians/artists/random guys on the street be “allowed” to use it?
What do you think of this statement by a letter-writer to the New York Times, who maintains:
Regardless of the artistic merits of Anders Carlson-Wee’s poem, can we — should we — regard art as being separate from the artist, as having its own life and mission?
The black linguistics scholar John McWhorter dismissed the uproar over the poem:
There is logic here, but it is fragile.
What do you think?
I will tell you a personal story. The great black operatic mezzo-soprano and Civil Rights activist Barbara Smith Conrad was my voice teacher. She was a beloved mentor, and she even sang at my wedding — a great honor.

In addition to her work as an opera soloist and teacher, Ms. Conrad was involved in the creation of the Endowment for the Study of American Spirituals at the University of Texas, her alma mater. She believed that spirituals were a legitimate genre of art song, like German Lieder or French mélodies. And, just as one sings Lieder in German or mélodies in French, she believed that one must sing spirituals in the accent of AAVE. I remember her coaching me in Harry T. Burleigh’s great song “Deep River,” and correcting my English: “Say ‘Jerdan,’ not ‘Jordan.’” Ms. Conrad told me that I had to sing the repertoire of spirituals. “You have that pathos in your voice,” she said. Indeed, she believed that this repertoire belonged to the world, and that all singers, not just singers of color, should perform it.
Here is Barbara Smith Conrad singing it:
Here is Binghamton favorite, the beautiful soprano Meroë Khalia Adeeb, singing “Deep River”:
Here is the great mezzo-soprano Lorraine Hunt Lieberson singing it (notably, not in AAVE dialect):
It is worth noting that some prominent black poets of the twentieth century wrote both in Standard American English and in AAVE. In doing so, they were not trivializing Black English, but, rather, promoting it as a legitimate language full of nuance and meaning, as Barbara Smith Conrad strove to do with her teaching of spirituals. James Weldon Johnson, for instance, best known for writing the text of “Lift Ev’ry Voice,” also wrote poems in dialect, like this one, “Sence You Went Away”:
Seems lak to me de stars don’t shine so bright,
Seems lak to me de sun done loss his light,
Seems lak to me der’s nothin’ goin’ right,
Sence you went away.
Seems lak to me de sky ain’t half so blue,
Seems lak to me dat ev’ything wants you,
Seems lak to me I don’t know what to do,
Sence you went away.
Seems lake to me dat ev’ything is wrong,
Seems lak to me de day’s jes twice es long,
Seems lak to me de bird’s forgot his song,
Sence you went away.
Seems lak to me I jes can’t he’p but sigh,
Seems lak to me ma th’oat keeps gettin’ dry,
Seems lak to me a tear stays in ma eye,
Sence you went away.
Johnson meant this poem to be a kind of folk expression of sorrow elevated to the level of poetry, just as serious as, say, a lament of the Greek poet Sappho (630-570 BCE):
He is dying, Aphrodite;
luxuriant Adonis is dying.
What should we do?
Beat your breasts, young maidens.
And tear your garments
in grief.
What do you think?
The Fisk Jubilee Singers performing “Steal Away” from an early recording (“Steal Away” was the first number on the program of their first concert tour of the United States, in 1871):
Barbara Smith Conrad singing it in a 1997 recording:
The US Naval Academy Men’s Glee Club singing it:
The National Taiwan University Chorus singing it:
More on Barbara Smith Conrad:
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