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Baraka opens his piece “Wailers” with a proclamation of “Wailers are we” (1). To wail is
to cry in anguish or pain, and Baraka wants his readers to hear his wailing with this poem. He
reaffirms his first statement by saying, “We are Wailers” but assures his readers that they should
not “get scared” by this reality (2). There is a purpose for the wailing that he has not yet revealed,
but it’s function is there. What he does reveal is that there is “Nothing happening but out and way
out” (3). There is a change brewing because of their cries, and it is unlike anything before as
suggested by it being “out and way out” (3). In fact, what the narrator claims is that there is
“Nothing happening but the positive.”, which indicates the true purpose of the wailing (4). It
exists to bring the “positive” (4) vibes so often expounded by reggae singers; that “way out” (3)
social change that can only be dreamed of by those who desire it the most. The narrator is aware
thought, something that should not be considered (5). He is one of the “Wailers” and he is proud
of it, claiming “Yeh, Wailers./ We wail, we wail” (5-6). The next set of lines changes the tone of
the poem greatly, and the wailing takes on a more offensive edge:
Now these wailers are not just crying about their woes or advocating the positive. Baraka
cleverly uses the homonym “whalers” to change these positive wailers into hunters ready to
defend themselves. He compares their plight to that of Captain Ahab with his remark that “we
could dig Melville” (7) and alludes to white society as “the huge white mad beast/ speeding
death cross the sea to we” (8-9) similar to Moby Dick. But unlike Ahab who fails to defeat his
beast, these whalers “can kill whales” (10). It is not through violence that they are able to do so.
Their strategy is to “get on top of a whale/ and wail” (11-12). Although they are both “whalers”
(10) and “wailers” (11) they take the path of the latter “and wail” (12), allowing them to remain
“defense hot folk” (12) and not whaling aggressors. Encountering “blue babies humming” (13)
and “Boogie ladies strumming our/ black violet souls” (13-14) when they arrive as a celebration
of their endeavors. The wailings of the African American people are permanent “come from the
land of never say die” (14) and sustain the people with “the funk” (15). These people are
“wailers all right”, their cries are their music and art, and they sustain one another with them
(15).
The greatest wailers are those who can reach the largest audience with their message
while still bringing it back to the black experience. Much of the remainder of the poem lauds
these artists for their successes. Bob Marley is the first artist who’s work the narrator commends,
going so far as to say “Hail to you Bob, man” (16). Marley’s work is evident throughout the
poem as Baraka’s narrator speaks in a distinctive Jamaican, reggae influenced dialect noted by
phrases such as “We wailers” resembling the songs in Marley’s catalogue (5). He claims that
they will ask Marley’s “question all our lives” (16) referring to Marley’s piece “Could You Be
Loved” (17). As for the question’s answer, the narrator sees the truth:
The two “I’s” referred to are another example of Baraka’s use of homonyms, this time it is used
to compare the individual with the ability to see the truth to “see the world” (17). The future is
“transformation” and the “Wailers” are the catalyst (18). Their work as “subterranean night color
Magis, working inside the soul of the world” allows these artists to bring about change from the
inside out, and being “Magis” they strive to work endlessly for the greater good (19). So the
answer to the question of “Could You Be Loved” is always in transition, but with the help of the
artists bring to the African American community. Marley is referenced again, bringing his “real
vision and action” (21). New “Wailers” begin to be called upon, such as “Lester... wailing us
energy/ for truth” (22-23). Their “wailing” empowers the others, because it comes straight from
their souls (22). They are “wailing for all we worth” (23) , and the “sound purchase” (25) which
they are “obsessed” (24) with belongs to the black community and no one else. There are those
who attempt to take this music and “tell folks” (27) that it is their own, such as the case with
“Thelonius” (26). These individuals cannot preform “real wailing” and instead give off a cheap
counterfeit “tale telling”, because the music comes from the communities experience and cannot
be imitated (28). The true “Blue Blowers. The Real Rhythm Kings” (29) are who they are
because they “sing philosophy” (30), they sing the experience because they were forced to
participate. The “Wail Vessel”, it is filled with these wailers, it is “crowded” with them because
there are so many who have wailing to do (26). Even though there are some African American’s
whose wailing is more pronounced, they are all born into and discover that “Wailers/ Be We”
(29-30).
The poem then begins to take on a more restless, syncopated tone, as if it is reaching the