At the center of the African American vernacular experience (meaning the language or oral traditions of the community) lies the Power of the Spoken Word (Nommo) to convey meaning and communicate important messages (Bernard, 1997; Clarke, 2004; Gates, 2014). Like Griots in the African tradition, the storyteller holds a unique power to command words that communicate at the greatest levels of human emotion (Ebine, 2019). The term “griot” refers to guardians of the history of the African community who “keep” and “recreate” the tradition of oral performance (Laye, 1978; Panzacchi, 1994). Perhaps one of the greatest writers in the African American vernacular tradition, Sonia Sanchez is a culture keeper and griot, who uses the Power of the Spoken Word in poetry, prose, and drama to capture the experiences of Blacks in the U.S. (Badejo, 2020; Smethurst et al., 2015; Zheng, 2021). Sanchez’s extraordinary ability to illuminate the essence of the Black experience in her writings has been the subject of significant scholarship (Clarke, 1971; Marcoux, 2017; Melhem, 1985; Mendez, 2019). A writer who came of age in the Black Arts Movement of the 1960s, Sanchez is committed to the use of the Power of the Spoken Word as a platform to share truths about the Black experience while offering a creative outlet for those suffering from social injustices (Lewis et al., 1999; Neal, 1968, 1987, 1999; Sanchez & Wood, 2010; Zheng, 2020). This research explores Sonia Sanchez’s body of work from a critical race structuralism (CRS) perspective and offers recommendations for its use in lesson planning, curriculum design, and teacher pedagogy.