Langston Hughes' "I Too" is a compact yet potent poem that uses the metaphor of a shared meal to confront and ultimately transcend the racial segregation and discrimination prevalent in America during his time. Written in 1926, at the height of the Harlem Renaissance, the poem is a direct response to Walt Whitman's more idealized "I Hear America Singing." Where Whitman celebrates a diverse chorus of American workers, Hughes, speaking from the perspective of a Black American, reclaims this vision of national identity and insists on the inclusion of those historically marginalized. The poem’s strength lies in its measured anger, its unwavering hope, and its simple, yet profound, assertion of belonging, culminating in a vision of a truly unified American future.
Hughes masterfully employs a conversational tone, almost like a gentle but firm rebuttal. He begins by acknowledging Whitman’s famous line: "I, too, sing America." The initial agreement, "I, too," is crucial. It establishes a connection, a shared nationality, but immediately sets up the contrast that follows. The speaker then describes his experience: "I am the darker brother. / He sent me to the kitchen / When company comes." This imagery is stark and unambiguous. The “darker brother” signifies the Black American, relegated to the domestic sphere, excluded from the communal gathering. The “kitchen” becomes a symbol of segregation, a place of subservience and invisibility, distinct from the main dining area where the “company” is welcomed. This exclusion is not presented as a passive acceptance but as a directive from the dominant culture, a systemic denial of full personhood.
However, the poem does not dwell in the bitterness of this exclusion. Instead, it shifts to a powerful act of defiance and self-affirmation: "But I laugh, / And eat well, / And grow strong." This sequence demonstrates resilience. The speaker finds sustenance and strength not just in food, but in his own spirit and in the act of living fully despite the imposed limitations. Laughter, in this context, is not mere amusement; it is a form of resistance, an assertion of joy and vitality that cannot be extinguished by prejudice. The act of eating well and growing strong signifies a fundamental affirmation of life and a refusal to be diminished. The speaker is not merely surviving; he is thriving, building an inner fortitude that prepares him for the future.
The poem then moves towards a prophetic vision, a projection of what is to come. The speaker imagines a future where he will no longer be relegated to the kitchen: "Tomorrow, / He will sit at the table / When company comes." This "tomorrow" represents a hope for social change, a future where racial equality is realized. The act of sitting at the table is the ultimate symbol of inclusion and recognition. It signifies equality, participation in the national life, and the end of segregation. The repetition of "When company comes" links this future vision directly back to the present experience of exclusion, highlighting the transformative change that is anticipated.
The poem concludes with a bold declaration that directly challenges the exclusionary practices of the past and present: "They will see how beautiful I am / And be ashamed— / I, too, sing America." The recognition of his beauty is not just physical; it encompasses his inherent worth, his contributions, and his very humanity. The shame of the oppressor is a crucial element, suggesting a moral awakening and an acknowledgment of past wrongs. The final reiteration of "I, too, sing America" is the poem’s ultimate triumph. It moves beyond mere inclusion to a powerful claim of equal voice and equal participation in the American song. Hughes doesn't just ask to be let in; he asserts his inherent right to sing his part in the national anthem, enriching and completing the symphony of American identity.