Surrender
By Angelina Weld Grimké

We ask for peace. We, at the bound
O life, are weary of the round
In search of Truth. We know the quest
Is not for us, the vision blest
Is meant for other eyes. Uncrowned,
We go, with heads bowed to the ground,
And old hands, gnarled and hard and browned.
Let us forget the past unrest,—
      We ask for peace.

Our strainéd ears are deaf,—no sound
May reach them more; no sight may wound
Our worn-out eyes. We gave our best,
And, while we totter down the West,
Unto that last, that open mound,—
    We ask for peace.

About the Poem

Angelina Weld Grimké’s poem “Surrender” is a deeply evocative work that explores themes of love, longing, and emotional vulnerability. As a poet of the Harlem Renaissance, Grimké often infused her poetry with intense emotions, subtle sensuality, and themes of suppressed or forbidden desire. “Surrender” conveys a sense of deep yearning, as the speaker seems to express an intense, possibly unreciprocated, love. The act of surrendering suggests giving oneself completely to another, either emotionally or physically. Grimké’s work often hints at restrained or hidden desire, possibly influenced by her position as a Black woman and the social constraints of her time. “Surrender” could be read as an exploration of the tension between desire and societal expectations.

Grimké frequently uses natural imagery in her poetry to symbolize emotions. The poem may contain references to elements like wind, water, or the body’s physical responses, deepening the emotional intensity. The title itself, “Surrender,” suggests an act of yielding—perhaps to love, to passion, or to fate. The poem’s tone might oscillate between fear and exhilaration, reflecting the emotional risk of loving someone completely.

As a Harlem Renaissance writer, Grimké was one of the first Black female poets to explore themes of personal and romantic love in ways that subtly challenged societal norms. While her poetry was not overtly political, it carried deep undercurrents of resistance—whether against racial oppression or restrictive gender roles. Some interpretations suggest that Grimké’s works may hint at same-sex desire, adding another layer of meaning to “Surrender.”

About the Poet

Angelina Weld Grimké (1880–1958) was an African American poet, playwright, and journalist, best known for her contributions to the Harlem Renaissance and her exploration of themes related to race, gender, love, and oppression. Though she was not as widely recognized as some of her contemporaries, her work remains significant for its emotional depth and its role in early 20th-century Black literature.

Born in Boston, Massachusetts, Grimké came from a family deeply involved in abolitionist and civil rights causes. She was one of the first African American women to write a play centered on racial injustice. Her poetry, though often quiet and introspective, carried powerful messages about race, identity, and emotional longing. Her legacy has influenced later Black women writers, particularly those exploring themes of race, gender, and sexuality.

She was the daughter of Archibald Grimké, a prominent Black lawyer and activist, and Sarah Stanley Grimké, a white woman from a progressive family. Her great-aunts, Angelina Grimké Weld and Sarah Grimké, were well-known white abolitionists who had fought against slavery in the 19th century. Her parents’ interracial marriage was unconventional for the time, and her mother left the family when Angelina was very young, leading to a strained relationship with her father. Grimké attended the Boston Normal School of Gymnastics (later part of Wellesley College) and went on to teach English in Washington, D.C. She was one of the few Black women educators in the early 1900s and taught at Dunbar High School, a prestigious institution for African American students.

Grimké’s writing spanned poetry, drama, and journalism. She was associated with the Harlem Renaissance, though she wrote earlier than many of its key figures. Her poetry often explored themes of love, nature, racial injustice, and emotional longing. Some of her most famous poems include “The Black Finger,” “A Winter Twilight,” and “Surrender”—which deal with identity, desire, and the beauty of the natural world. Her poems often carried subtle undertones of suppressed emotions and possibly same-sex love, making her an early figure in LGBTQ+ literary history.

Grimké’s most famous work is the play Rachel (1916), one of the first plays written by an African American woman and produced by a Black theater company. Rachel was a response to the violent racism of the time, particularly the lynching epidemic. The play follows a young Black woman who, after witnessing racial injustice, vows never to bring children into such a cruel world. The play was commissioned by the NAACP as a form of social protest and is considered one of the first anti-lynching dramas.

Grimké never married and was a private person. Scholars have speculated that her poetry and personal letters suggest she may have had romantic feelings for women, making her an early, though understated, LGBTQ+ literary voice. Her work was largely forgotten after her death in 1958, but feminist and Black literary scholars rediscovered her in the late 20th century, recognizing her contributions to African American literature and activism.