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Which excerpt represents the call-and-response format derived from jazz music?
Deferred
by Langston Hughes (excerpt)

Maybe now I can have that white enamel stove
I dreamed about when we first fell in love
eighteen years ago.
But you know,
rooming and everything
then kids,
cold-water flat and all that.
But now my daughter’s married
And my boy's most grown--
quit school to work--
and where we're moving
there ain't no stove--
Maybe I can buy that white enamel stove!

Island
by Langston Hughes (excerpt)

Black and white,
Gold and brown--
Chocolate-custard
Pie of a town.

Dream within a dream,
Our dream deferred.

Good morning, daddy!

Ain't you heard?

Harlem
by Langston Huges (excerpt)

Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?

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Respuesta :

lizzycars
I am pretty sure that it is Harlem, but not 100%

Answer:

"Good morning, daddy!

Ain't you heard?"

Explanation:

This excerpt from Langston Hughe's poem 'Dream Boogie' is an example of a 'call-and-response' format. Langston had used the framework of 'Bebop Jazz' in this poem. The poet had tried to expose the racial misery beneath the jazz festivity. In the poem, the speaker is a boy, who asks his audience a question that whether they had heard

"The boogie-woogie rumble

Of a dream deferred?"

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