In “An Agony. As Now,” from The Dead Lecturer (1964), Baraka describes in sensuous phrases his emotional and spiritual paralysis. The title of this poetry collection is a reference to the attempted suicide of the speaker. His sense of dissociation from the self who hates him is a normal part of the recovery process; however, Baraka adds another level of meaning. The inverted symbolism of white implies that assimilation, voluntary or involuntary, is a significant factor of the imprisonment.
Openings in the mask allow the persona to see, but the metal prevents any human contact. Introspectively addressing his ruminations to the soul he has sightlessly abandoned, he recalls a woman who ran from him to the forest of white “civilization” and a man decaying from psychic paralysis, “never beautiful.” The speaker’s mind races unencumbered to the sun in a series of associational images that offer a brief hope for resurrection with fragmented water imagery. Nevertheless, the torment escalates as he recognizes the corruption surrounding him. The sun is love, self-actualization, God, but the poet is trapped within himself and does not know how to reach the love, despite his need. Therefore, the sun reaches out to him, heating his white metal shell and burning awareness into him. His final scream is a scream of self-realization, a moment of truth, in which he relinquishes his detachment and accepts himself.
Baraka’s characteristic devices include the use of open parentheses and commas to stop his reader and to increase the associational possibilities of his phrasing. Inverted symbolism and the repetition of key words and phrases reinforce his meaning as he guides his reader on a journey from mind, through sun, God, and soul, to beauty. The speaker’s shell is the corrupting veneer of white civilization. To acknowledge his true identity, the black poet must reject the easy answers and accept his black consciousness as beautiful. Only after he destroys the facade will he again feel.