Introduction
This essay explores the poetic works of Fatimah Asghar and Kendrick Lamar, focusing on Asghar’s “If They Come for Us” and Lamar’s “Alright,” to compare and contrast their approaches to social issues and poetic structure. Drawing on the concept of **social policy** as a lens from literary critique strategies, this analysis examines how both poets address cultural and societal challenges. Additionally, it considers the **pattern** of their compositions to highlight stylistic differences and similarities. Through a critical evaluation of these elements, the essay aims to uncover how each poet navigates personal and collective identities within their cultural critiques, offering insights into broader societal implications. While both works engage with themes of resistance and identity, their approaches to structure and thematic depth vary significantly, reflecting distinct artistic intentions.
Social Policy as a Shared Concern
One striking similarity between Asghar’s “If They Come for Us” and Lamar’s “Alright” lies in their engagement with **social policy**, particularly around issues of cultural identity and systemic oppression. Asghar’s poem, rich with imagery of South Asian and Muslim communities, constructs a collective identity through the refrain “my people my people” (Asghar, 2018). This repetition serves as a rallying cry, uniting diverse individuals under a shared heritage while critiquing the social exclusion they face. Her work implicitly challenges policies of marginalization by asserting a visible, undeniable presence: “if they come for you they / come for me too” (Asghar, 2018). This highlights a demand for solidarity as a form of resistance against societal hostility.
Similarly, Lamar’s “Alright” addresses systemic racism and police brutality within African American communities, using the refrain “we gon’ be alright” as an anthem of hope amidst adversity (Lamar, 2015). The song-poem critiques social structures that perpetuate inequality, urging resilience as a response to oppressive social policy. Lamar’s work resonates with a call for reform by exposing cultural defects, much like historical literary works have prompted societal change (Abrams, 2015). Both poets, therefore, use their craft to expose societal flaws, though Asghar’s focus on diaspora and cultural memory contrasts with Lamar’s emphasis on immediate, urban struggle. This shared thematic concern underscores literature’s power to influence social discourse, though their specific cures for cultural issues diverge based on lived experiences.
Differences in Poetic Pattern and Structure
A notable difference between the two works emerges in their approach to **pattern** and structural composition. Asghar’s “If They Come for Us” employs a sprawling, free-verse style, weaving together fragmented images and narratives that mirror the chaotic, multifaceted nature of diasporic identity (Asghar, 2018). Lines such as “the old woman’s sari dissolving to wind” and “a muslim teenager / snapback & high-tops gracing / the subway platform” jump between generations and settings, creating a mosaic-like effect (Asghar, 2018). While this **pattern** reflects diversity, it can appear disjointed, potentially challenging readers to find coherence.
In contrast, Lamar’s “Alright” adheres to a more rhythmic, cyclical pattern, driven by hip-hop’s repetitive hooks and verses (Lamar, 2015). The consistent return to “we gon’ be alright” anchors the piece, providing a clear, unifying message despite the complexity of its verses. This structured pattern enhances accessibility, ensuring the poem’s intent—hope amid despair—remains focused. Therefore, while Asghar’s fragmented style captures the breadth of cultural experience, Lamar’s tighter composition prioritizes emotional clarity, illustrating divergent artistic strategies in conveying social critique.
Conclusion
In conclusion, Fatimah Asghar’s “If They Come for Us” and Kendrick Lamar’s “Alright” offer compelling critiques of societal issues through the lens of **social policy**, addressing marginalization and resilience within their respective communities. While both poets share a commitment to exposing cultural defects, their approaches to **pattern** reveal significant stylistic differences, with Asghar’s fragmented free verse contrasting Lamar’s rhythmic, cohesive structure. These variations highlight the diverse ways literature can engage with social reform, prompting readers to consider multiple perspectives on systemic challenges. Indeed, such works underscore the relevance of poetry in shaping discourse on identity and policy, inviting further exploration into how literary forms influence societal perceptions. Their impact lies not only in documenting struggle but also in inspiring potential solutions, affirming the enduring role of art in public dialogue.
References
- Abrams, M.H. (2015) A Glossary of Literary Terms. 11th ed. Cengage Learning.
- Asghar, F. (2018) If They Come for Us. Poetry Foundation.
- Lamar, K. (2015) Alright. From the album To Pimp a Butterfly. Top Dawg Entertainment, Aftermath Entertainment, Interscope Records.
