This chapter follows the lasting influence of Harlem Renaissance writers on Gwendolyn Brooks’s poetry, even after the 1967 Fisk Writers’ conference. Specifically, it turns to Riot (1969) to think about its continuity with the poetry most closely associated with the New Negro Renaissance. This is not done for the sake of periodizing Brooks as part of the earlier generation, nor to detach her later work from its formation in and of the Black Arts Movement. Rather, the chapter traces in Brooks’s work the development of a tradition of Black migratory poetics: poetry that formally and imaginatively enacts human transnational movement. Brooks’s migratory poetry illuminates and at times dismantles violence and constraint, but also turns its back on borders, attempting to find, create, define, and take up space beyond the nation state. As such, Riot also provides a key pivot or transition between Black modernist poetics and our contemporary moment in poetry.