Top of page

The Power of a Poem

Share this post:

(The following is an article from the March/April 2015 issue of the Library of Congress Magazine, LCM. Editor Audrey Fischer wrote the story. You can read the issue in its entirety here.)

This portrait of Billie Holliday performing in a New York nightclub appeared in Down Beat magazine in 1947. William P. Gottlieb, Gottlieb Collection, Music Division.
This portrait of Billie Holliday performing in a New York nightclub appeared in Down Beat magazine in 1947. William P. Gottlieb, Gottlieb Collection, Music Division.

Billie Holiday’s iconic song about racial inequality was penned by a poet whose works are preserved at the Library of Congress.

Recorded in 1939, Billie Holiday’s “Strange Fruit” brought the topic of lynching to the commercial record-buying public.

Few may be aware that the song was based on a poem written several years earlier by Abel Meeropol (1903-1986), a Jewish high-school teacher from the Bronx, who was deeply affected by a 1930 photograph of a lynching.

Born in the Bronx, Meeropol attended DeWitt Clinton High School, where he later taught English. The school’s other notable creative alumni include James Baldwin, Countee Cullen, Richard Rodgers, Burt Lancaster, Stan Lee, Neil Simon and Ralph Lauren.

Meeropol published most of his work under the pseudonym “Lewis Allan,” in memory of the names of his two stillborn children. In 1937, his poem originally titled “Bitter Fruit” was published under his given name in the Teachers’ Union publication “The New York Teacher” and under his pen name, in the Marxist publication “The New Masses.”

Meeropol later set it to music and gave it to the owner of Café Society, an integrated cabaret club in New York’s Greenwich Village. The club owner shared it with Billie Holiday, one of the club’s regular performers, who sang it at the end of a set in 1938–to a stunned audience. She recorded it the following year under the title “Strange Fruit.” In 1999, Time magazine named “Strange Fruit” the song of the century. In 2002, it was selected for preservation in the inaugural National Recording Registry.

Abel with wife Anne Meeropol, the first person to sing “Strange Fruit” in public, circa 1935. Courtesy of Michael and Robert Meeropol.

Like many who railed against social injustice during the 1930s, Meeropol was a member of the Communist party. At a Christmas party at the home of civil rights activist W.E.B. Du Bois, Meeropol and his wife were introduced to the young children of Ethel and Julius Rosenberg, a couple convicted of conspiracy to commit espionage. The children were orphaned when their parents were executed in 1953 at the height of the McCarthy Era. A few weeks later, the children were sent to live with the Meeropols and took their last name.

Meeropol, who taught until 1945, continued to write songs for such artists as Peggy Lee and Frank Sinatra. One of his more well-known works, “The House I Live In,” was sung by Sinatra in a 10-minute short film written by Albert Maltz. The 1945 film, which was made to oppose anti-Semitism and racial prejudice at the end of World War II, received an honorary Academy Award and a special Golden Globe award in 1946. In 2007, it was added to the list of films selected for preservation in the National Film Registry.

Comments (4)

  1. Wow. That was one of the most interesting blogs I’ve read. Had no idea of all the connections between people with this truly heartbreaking song. Was Mr Meeropol black listed during the McCarthy anti-communist era? Thanks.

    • Thank you Nathan. According to his son, Robert, Abel Meerpol did find it hard to get work as a writer during the 1950s but there’s no hard evidence that he was blacklisted.

  2. Abel and Anne Meeropol met the orphaned children of Julius and Ethel Rosenberg, Robert and Michael, at a Christmas party in the home of W.E.B.Dubois, adopting them shortly afterward.

  3. I don’t know when or how “strange fruit” transitioned into “shot down like prey”

Add a Comment

This blog is governed by the general rules of respectful civil discourse. You are fully responsible for everything that you post. The content of all comments is released into the public domain unless clearly stated otherwise. The Library of Congress does not control the content posted. Nevertheless, the Library of Congress may monitor any user-generated content as it chooses and reserves the right to remove content for any reason whatever, without consent. Gratuitous links to sites are viewed as spam and may result in removed comments. We further reserve the right, in our sole discretion, to remove a user's privilege to post content on the Library site. Read our Comment and Posting Policy.

Required fields are indicated with an * asterisk.