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"The Fact of the Black Poet": Four Phenomenological Interviews with Prominent American Writers on the Impact of the Furious Flower Poetry Center

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James Madison University JMU Scholarly Commons Masters Theses, 2020-current The Graduate School 5-8-2020 "The fact of the Black poet": Four phenomenological interviews with prominent American writers on the impact of the Furious Flower Poetry Center Karen E. Risch Mott Follow this and additional works at: https://commons.lib.jmu.edu/masters202029 Part of the African American Studies Commons, Africana Studies Commons, American Literature Commons, Bilingual, Multilingual, and Multicultural Education Commons, and the Poetry Commons Recommended Citation Risch Mott, Karen E., ""The fact of the Black poet": Four phenomenological interviews with prominent American writers on the impact of the Furious Flower Poetry Center" (2020). Masters Theses, 2020-current. 54. https://commons.lib.jmu.edu/masters202029/54 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. “The Fact of the Black Poet”: Four Phenomenological Interviews with Prominent American Writers On the Impact of the Furious Flower Poetry Center Karen E. Risch Mott A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Education College of Education May 2020 FACULTY COMMITTEE: Committee Chair: Stephanie Wasta, PhD Committee Members/Readers: Katya Koubek, PhD Besi Brillian Muhonja, PhD Margaret M. Mulrooney, PhD Dedication For Thelonious, who gave me every reason ii Acknowledgments This project was fascinating and absolutely dependent on help I received from key people. I owe them my deepest gratitude: Joanne V. Gabbin, not only Furious Flower’s visionary leader but my inspiration for pursuing this course of study Jericho Brown, Toi Derricotte, Tyehimba Jess, and Evie Shockley, the four poets who gave me their time, patience, and thoughtful reflection Katya Koubek, Besi Muhonja, Meg Mulrooney, and Stephanie Wasta, my stellar faculty committee, who pushed this thesis as far as it could go in the time we had together Lauren K. Alleyne, whose opinion I hold in the highest regard and whose critical reading and friendship are so valuable to me Mollie Godfrey, who has taught me so much and also allowed me to direct her students’ interviews to supplement and support this inquiry Kate Morris and the crew in JMU Special Collections, who eagerly and ably assisted with my research My colleagues in University Advancement, who encouraged, applauded, and contributed to this work, in particular Pam Brock, Sarah Brodie, Cannie Campbell, Jennifer Dehoff, Jim Heffernan, John Meck, Kacey Neckowitz, Hannah Robinson, Justin Roth, and David Taylor And most especially Robert Mott, my beloved for more than 30 years, the last few of which were no doubt burdensome because of my focus on this degree program, and which he handled with his usual grace, good humor, and generous spirit. iii Contents List of Tables ..................................................................................................................... vi List of Figures ................................................................................................................... vii Abstract ............................................................................................................................ viii Introduction ..........................................................................................................................1 Historical Context, 2 Purpose, 11 Researcher Connections to the Topic, 13 Definition of Terms, 15 Literature Review...............................................................................................................21 Alive and Well: Poetry in Explicit and Interdisciplinary Curricula, 21 Dive into Diversity: Black Studies and Culturally Specific Co-Curricula at PWIs, 24 Understanding Furious Flower: Preliminary Data Set, 27 Assessing Art and Cultural Programs: Relevant Impact Studies, 29 Beyond Boundaries: Theoretical Framework, 31 Method ...............................................................................................................................35 Research Design, 36 Threats and Countermeasures, 43 Protection of Human Subjects, 44 Data Analysis, 45 Findings..............................................................................................................................47 Overview, 47 Possibilities and Realities, 50 iv Connections and Counterspaces, 54 Chronicles and Contexts, 61 Perceptions, Power, and the PWI, 65 Discussion and Conclusions ..............................................................................................69 Limitations and Suggestions for Further Research, 74 Essential Realities, 76 References ..........................................................................................................................78 Appendix A. Consent to Participate in Research ...............................................................90 Appendix B. Interview Introduction Script .......................................................................92 Appendix C. Interview Guide ............................................................................................93 Appendix D. Article on Furious Flower’s 25th Anniversary ............................................94 v List of Tables Table 1. Data Summary .............................................................................48 Table 2. Themes and Subthemes ...............................................................50 Table 3. Furious Flower Anthologies ........................................................63 vi List of Figures Figure 1. Jericho Brown, PhD....................................................................39 Figure 2. Toi Derricotte, MA .....................................................................40 Figure 3. Tyehimba Jess, MFA ..................................................................40 Figure 4. Evie Shockley, JD, PhD .............................................................41 Figure 5. The Impacts of Furious Flower ..................................................70 Note: Photographs of the poets (Figures 1–4) were all made by Greg Gibson at the National Museum of African American History and Culture on September 28, 2019. Reprinted courtesy James Madison University. vii Abstract The purpose of this study was to discern the impact, if any, of the Furious Flower Poetry Center, the United States’ first academic center devoted to Black poetry. A qualitative approach centered on semi-structured phenomenological interviews was applied, and four nationally acclaimed poets were recruited for a purposive sample: Jericho Brown, PhD; Toi Derricotte, MA; Tyehimba Jess, MFA; and Evie Shockley, JD, PhD. Emergent themes were identified based on content analysis by hand-coding transcripts; these findings lead to a conclusion that Furious Flower’s impact on the poets has been significant and consistent in three ways: 1) creating a platform for showing and sharing art and experiences, thus asserting and insisting upon both the possibilities and realities of Black poetry, Black poetics, and Black poets; 2) fostering personal and professional networks, as well as a sense of community—connections and counterspaces—which supports and encourages the establishment of other key institutions; and 3) documenting an evolution of Black poetry, providing chronicles and contexts for current and future scholarship. These themes are illustrated in an impact model, and this study offers insight to Furious Flower’s national reach, as well as how it contributes to the credibility and reputation of James Madison University, the predominantly white institution where it has been located since 1994. Keywords: academic center, Black studies, community, counterspace, poet, predominantly white institution viii IMPACT OF FURIOUS FLOWER 1 Introduction Many of the United States’ most highly regarded creative writers are Black poets. They include Tracy K. Smith, Rita Dove, and Natasha Trethewey, all former U.S. Poets Laureate who have won numerous major literary awards, including Pulitzers for all three (Library of Congress, n.d.; The Pulitzer Prizes, n.d.). Dove, who recently received a $100,000 prize from the American Academy of Poets for lifetime achievement, also serves as the New York Times Magazine’s poetry editor, succeeding MacArthur Genius awardee Terrance Hayes (Bromley, 2019; Fitzgerald, 2018; Fuoco, 2014). All these American writers are Black. So, too, is Tyehimba Jess, whose collection Olio won the Pulitzer Prize in 2017, as are Patricia Smith and Evie Shockley, both of whom received nominations for the Pulitzer in 2018 (The Pulitzer Prizes, n.d.). In 2019, Jericho Brown, PhD, and Toi Derricotte were finalists for the National Book Award (Dwyer, 2019). This considerably abbreviated list contains names that may yet be unfamiliar in the mainstream, which partly explains why the Furious Flower Poetry Center remains vital. This academic center at James Madison University (JMU) in Harrisonburg, Virginia gives its institution’s students, faculty, and staff, as well as members of surrounding communities, unprecedented exposure to a great number of today’s most talented writers: established, even revered poet-elders as well as emerging voices. The latter include writers who have been featured onstage at JMU early in their careers
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