"Song No. 3"

Sonia Sanchez

Unsettling America, p. 111

1. Biographical Information

   Sonia Sanchez was born Wilsonia Benita Driver, September 9, 1934 in Birmingham, Alabama to Lena and Wilson L. Driver. She received her B.A. in 1955 in Political Science. Around the age of 26, she became involved with the activist movements of the sixties. This era influenced her writhing tremendously. However, her work undergoes a distinct evolution from activism, to "elegant stanzas with the tempered fire of an engaged mind". Throughout Sanchez’s career, she exhibited an eclectic array of performing outlets including singing, chanting, praying, Kswahili phrases and other African Languages. (This was a feat within itself because she is a former stutterer). In all she has produced 14 books, she has lectured in over 500 colleges and universities, and she is an international traveler, having visited Africa, Cuba, England, Australia, Nicaragua, China, Norway, etc. Various accolades include the Writing Award, National Arts and Letter Award, and many more. Recently retired, Sanchez had been on the faculty at Temple University as an English Women’s Studies professor from 1975 to 1999. Maya Angelou has described her as "a lion in literature’s forest." http://www.black-collegian.com/african/paintedvoices/sanchez.shtml

2. Course Objectives

III. Angles of Interpretation

• The poem is an introspective view of how African American girls (or women) perceive themselves, and how mainstream white culture perceives their contrast to Anglo-Saxon features. The beauty ideals of America's dominant culture do not include those of women of color.
• To exacerbate Black self image, it is made clear that not only are the differences made apparent, but love and affection are denied because of it. Feelings of unworthiness and isolation are exemplified.
• The dialect chosen for use in the poem ties the African American experience together. Her appearance as well as her speech does not maintain the ideals of mainstream society.
• At the end of the poem is redemption. The realization that there are others like me, group dignity is restored.

4. The Style Question

• The poem allows for animated imagery that communicates the collision of "The Dreams."
• Language in the poem is used as a unifier to complete the rawness of the subject matter.

4. Discussion Questions

1. How has this poem affected your views on assimilation of the African American culture?
2. How do you think the language usage in the poem affected its effectiveness?
3. What is meant by the title, "Song No. 3"?

4. Additional Works Cited

• http://www.findarticles.com
• http://www.diacenter.org/prg/poetry/98/sanchezbio.html
• http://www.scils.rutgers.edu/~cybers/san.html

Discussion

(Billie Johnston) –

"The voice of the child speaking in the poem has a defiant voice, but it is still repressed—that is the true irony of the poem. She is viewed or views herself as being in the position of the ‘object’ (as discussed in class). She is acted upon and is responding to the dominant culture’s views on appearance / looks, even though she knows she is beautiful in her view."

(Sylvia) – Question 1

"This poem exemplifies what happens as a result."

(Jared) –Comment RE: School

"They focus on the Black Race – Whites pointing out the differences."

( Jodie)—Question 2

"Poem is written as if a kid actually wrote it. Good flow. Note punctuation to make points. Defiant – Viewed as an object –being acted upon. The quote, ‘Knowin’ i cant fall . . .’ exhibiting her strength even in the face of how society views her."

( ?) – Question 3

"Singing as a celebration –looks at it as a liberation and telling young girls not to listen to it. Liberate yourself."

(Sylvia) –

Long line of commentary of the African American experience/ Documents her process as becoming a woman – withdrawal – struggle. A snapshot.