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The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J
SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23). -
PART 1 Rresistanceesistance to Sslaverylavery
PART 1 RResistanceesistance to SlaverySlavery A Ride for Liberty, or The Fugitive Slaves, 1862. J. Eastman Johnson. 55.9 x 66.7 cm. Brooklyn Museum of Art, New York. “You have seen how a man was made a slave; you shall see how a slave was made a man.” —Frederick Douglass Narrative of the Life of Frederick Douglass, an American slave 329 J. Eastman Johnson/The Bridgeman Art Library 0329 U3P1-845481.indd 329 4/6/06 9:00:01 PM BEFORE YOU READ Three Spirituals WHO WROTE THE SPIRITUALS? he spirituals featured here came out of the oral tradition of African Americans Tenslaved in the South before the outbreak of the Civil War. These “sorrow songs,” as they were called, were created by anonymous artists and transmitted by word of mouth. As a result, several versions of the same spiritual may exist. According Some spirituals served as encoded messages by to the Library of Congress, more than six thousand which enslaved field workers, forbidden to speak spirituals have been documented, though some are to each other, could communicate practical infor- not known in their entirety. mation about escape plans. Some typical code African American spirituals combined the tunes words included Egypt, referring to the South or the and texts of Christian hymns with the rhythms, state of bondage, and the promised land or heaven, finger-snapping, clapping, and stamping of tradi- referring to the North or freedom. To communi- tional African music. The spirituals allowed cate a message of hope, spirituals frequently enslaved Africans to retain some of the culture of recounted Bible stories about people liberated from their homelands and forge a new culture while fac- oppression through divine intervention. -
Women and Ecopoetics: an Introduction in Context
Harriet Tarlo Women and ecopoetics: an introduction in context This introduction contextualises and introduces the material within the special feature on women and ecopoetics as well as exploring the contributors’ and, on occasion, my own thoughts on the subject. I shall identify some common creative practices and ideological threads whilst respecting the sheer diversity of practitioners and practice presented here. After all, this issue features essays, statements, images, open form poetry, performance pieces, prose poetry, site specific work and found poetry from writers with experience as poets, critics, artists, educators, librarians and media workers. I have organised this work into sections as follows: Poems (selections of work from seven women poets); Recycles (selections of work making use of found text from eight women poets); Essays (seven essays on women poets from an eco-poetical perspective) and Working Notes/Ecopoetical statements. In addition to the working notes from featured poets which take the form traditional in How2, this section contains a number of short statements from writers made in response to the women and ecopoetics theme. Those that stand well alone also appear as “postcards” which has had the added advantage of their acting as a provocative “trail” for the special feature, as well as being a part of it of course. Generic segregation and classification of contents is, in some ways, contrary to the spirit of How2 and perhaps to ecopoetics too, yet it is I think helpful to reading work online to have some method of navigating our way around it. However, I should like to draw attention to the particularly hybrid nature of many of the contributions here. -
340 Africology: the Journal of Pan African Studies, Vol.11, No.6, April 2018
340 Africology: The Journal of Pan African Studies, vol.11, no.6, April 2018 Quincy Troupe and Michael Simanga At the left: poet, teacher, journalist Quincy Troupe is an alumnus of the Watts Writers Workshop and, along with his friends Ishmael Reed, Amiri Baraka, Nikki Giovanni and others, associated with the Black Arts Movement. He was named California's first poet laureate in 2002. Troupe's Miles: The Autobiography (1990) is considered a contemporary classic of musical artist biography. Among his many other books are his collaboration on the autobiography of Chris Gardner, The Pursuit of Happyness (2006), which became a popular film starring Will Smith. He also wrote James Baldwin: The Legacy (1989) and Earl the Pearl: My Story (2013) by Earl Monroe and Quincy Troupe. Troupe has published many volumes of his poetry over the years and has also published several children's books. Quincy Troupe is also a professor emeritus of the University of California, San Diego, and editor of Black Renaissance Noire, a literary journal of the Institute of Africana Studies at New York University. In 1991, Troupe received the Peabody Award for The Miles Davis Radio Project. His other honors include a fellowship from the New York Foundation for the Arts (1987); an American Book Award for lifetime achievement (2010); and the Milt Kessler Award for Poetry (2003). At the right: Michael Simanga is an activist cultural worker, artist and scholar in African American art and culture as expression of identity, forms of resistance and transformation. He is a Lecturer in the Department of African American Studies at Georgia State University; he received his Ph.D. -
235-Newsletter.Pdf
The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. -
A City Full of Voices: a Collection of Essays on Robert Kelly's Work
Essays on the Work Work the on Essays of Robert Kelly Robert of with Peter Cockelbergh Joris Pierre BY EDITED & A Newberger Joel CITY FULL OOF VOICES A CITY FULL OF VOICES ESSAYS ON THE WORK OF ROBERT KELLY Edited by Pierre Joris with Peter Cockelbergh & Joel Newberger Preface © 2019 by Pierre Joris, isbn 9781940625348 Peter Cockelbergh, and Joel Newberger; essays © 2019 I. Joris, Pierre; Cockelbergh, Contra Mundum Press and Peter; Newberger, Joel. each individual contributor. II. Title. III. Preface. First Contra Mundum Press IV. Joris, Pierre; Cockelbergh, edition 2019. Peter; Newberger, Joel. All Rights Reserved under 2019952613 International & Pan-American Copyright Conventions. No part of this book may be reproduced in any form or by any electronic means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Library of Congress Cataloguing-in-Publication Data A City Full of Voices: Essays on the Work of Robert Kelly / Pierre Joris, Peter Cockelbergh, Joel Newberger, eds and Preface. st .—ı Contra Mundum Press Edition 626 pp., 6 x 9 in. Table of Contents o–vi Preface vii Frontispiece: Phong Bui 0 Gerrit Lansing | “Sombre Fulguration” THREADS 13: ROBERT SAYS 4 1. A BOOK OF IMAGES REVISITED 8 Charles Olson | Response to Robert Kelly’s “Notes on the Poetry of the Deep Image” 9 Robert Creeley / Jerome Rothenberg | Exchange on Deep Image 16 Denise Levertov | An Argument. In Response to Trobar #2 Kelly’s “Notes on the Poetry of the Deep Image” 19 David Ossman | Comments on Montage 22 Stan Brakhage | [Two letters] THREADS 14: ROBERT SAYS 32 2. -
Furiousflower2014 Program.Pdf
Dedication “We are each other’s harvest; we are each other’s business; we are each other’s magnitude and bond.” • GWENDOLYN BROOKS Dedicated to the memory of these poets whose spirit lives on: Ai Margaret Walker Alexander Maya Angelou Alvin Aubert Amiri Baraka Gwendolyn Brooks Lucille Clifton Wanda Coleman Jayne Cortez June Jordan Raymond Patterson Lorenzo Thomas Sherley Anne Williams And to Rita Dove, who has sharpened love in the service of myth. “Fact is, the invention of women under siege has been to sharpen love in the service of myth. If you can’t be free, be a mystery.” • RITA DOVE Program design by RobertMottDesigns.com GALLERY OPENING AND RECEPTION • DUKE HALL Events & Exhibits Special Time collapses as Nigerian artist Wole Lagunju merges images from the Victorian era with Yoruba Gelede to create intriguing paintings, and pop culture becomes bedfellows with archetypal imagery in his kaleidoscopic works. Such genre bending speaks to the notions of identity, gender, power, and difference. It also generates conversations about multicultur- alism, globalization, and transcultural ethos. Meet the artist and view the work during the Furious Flower reception at the Duke Hall Gallery on Wednesday, September 24 at 6 p.m. The exhibit is ongoing throughout the conference, 10 a.m. to 5 p.m. FUSION: POETRY VOICED IN CHORAL SONG FORBES CENTER FOR THE PERFORMING ARTS Our opening night concert features solos by soprano Aurelia Williams and performances by the choirs of Morgan State University (Eric Conway, director) and James Madison University (Jo-Anne van der Vat-Chromy, director). In it, composer and pianist Randy Klein presents his original music based on the poetry of Margaret Walker, Michael Harper, and Yusef Komunyakaa. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
ENCOUNTERING the GODDESS in INDIA Religion 220 Dr. Joel R. Smith Spring, 2012 Skidmore College an Introduction to the Hi
ENCOUNTERING THE GODDESS IN INDIA Religion 220 Dr. Joel R. Smith Spring, 2012 Skidmore College An introduction to the Hindu religious culture of India through a study of major Hindu goddesses. The vision (darsan) of and devotion (bhakti) to the feminine divine image will be explored in terms of both the Goddess worshipped in her own right independently of any male god, and goddesses worshipped as the spouse or consort of a male god. An interdisciplinary approach will explore the religious meaning of the Hindu goddess in literature, painting, poetry, ritual, and sculpture. Learning Goals: (1) Learn about the meaning of the major Hindu Goddesses of India: their history, scriptures, myths, rituals, iconography, and symbolism. (2) Place the Goddesses and devotion to them in the context of other kinds of Hindu religious movements. (3) Learn about the culture of India through the study of Hindu Goddesses. (4) Develop critical concepts and methodologies for the study of religions in India and elsewhere. (5) Practice subtle reading, writing, and analytical skills, including critical evaluation, by discussing readings in class and by writing essays about them. (6) Consider feminist aspects of the Goddesses and their relevance for non-Hindu Westerners, especially women. Office Hours: I would be delighted to talk with you outside of class. Make an appointment or stop by during my office hours: Monday & Wednesday: 4:30- 5:30 p.m. Tuesday & Thursday: 5:00- 6:00 p.m. Friday: 11:00-12:00 a.m. (other times by appointment) Office: Ladd 217 Email: [email protected] Office Phone: (518) 580-5407 (Please don’t call me at home.) Required Texts: 1. -
Yale University B0082
U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180082 Gramts.gov Tracking#: GRANT12659441 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180082 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (1244-GEPA Statement2018) e12 6. Grants.gov Lobbying Form e13 7. Dept of Education Supplemental Information for SF-424 e14 8. ED Abstract Narrative Form e15 Attachment - 1 (1246-CES FLAS Abstract) e16 9. Project Narrative Form e18 Attachment - 1 (1245-CES FLAS Budget Narrative) e19 10. Other Narrative Form e67 Attachment - 1 (1234-InformationToMeetStatutoryRequirements (9)) e68 Attachment - 2 (1235-FLAS Applicant Profile) e71 Attachment - 3 (1236-Acronyms ESC) e72 Attachment - 4 (1237-Bojanowska CV 2018) e74 Attachment - 5 (1238-BIOS ForAPPwithTOC_YaleESC) e85 Attachment - 6 (1239-LetterOfReferenceMinjinHashbat) e244 Attachment - 7 (1240-LetterOfReferenceNellekeVanDeusen-Scholl) e246 Attachment - 8 (1241-LetterOfReferenceConstantineMuravnik) e248 Attachment - 9 (1242-CouncilMemberList) e250 Attachment - 10 (1243-CourseListForAPP_ALLYaleESC) e253 11. Budget Narrative Form e317 Attachment - 1 (1247-Section C Budget Narrative) e318 This application was generated using the PDF functionality. The PDF functionality automatically numbers the pages in this application. Some pages/sections of this application may contain 2 sets of page numbers, one set created by the applicant and the other set created by e-Application's PDF functionality. -
Fall 2004 the Wallace Stevens Journal
The Wallace Stevens Journal The Wallace The Wallace Stevens Journal Special Conference Issue, Part 1 Special Conference Vol. 28 No. 2Fall 2004 Vol. Special Conference Issue, Part 1 A Publication of The Wallace Stevens Society, Inc. Volume 28 Number 2 Fall 2004 The Wallace Stevens Journal Volume 28 Number 2 Fall 2004 Contents Special Conference Issue, Part I Celebrating Wallace Stevens: The Poet of Poets in Connecticut Edited by Glen MacLeod and Charles Mahoney Introduction —Glen MacLeod and Charles Mahoney 125 POETS ON STEVENS: INQUIRY AND INFLUENCE A Postcard Concerning the Nature of the Imagination —Mark Doty 129 Furious Calm —Susan Howe 133 Line-Endings in Wallace Stevens —James Longenbach 138 On Wallace Stevens —J. D. McClatchy 141 A Lifetime of Permissions —Ellen Bryant Voigt 146 NEW PERSPECTIVES ON STEVENS Planets on Tables: Stevens, Still Life, and the World —Bonnie Costello 150 Wallace Stevens and the Curious Case of British Resistance —George Lensing 158 Cross-Dressing as Stevens Cross-Dressing —Lisa M. Steinman 166 STEVENSIAN LANGUAGE “A Book Too Mad to Read”: Verbal and Erotic Excess in Harmonium —Charles Berger 175 Place-Names in Wallace Stevens —Eleanor Cook 182 Verbs of Mere Being: A Defense of Stevens’ Style —Roger Gilbert 191 WALLACE STEVENS AND HISTORICISM: PRO AND CON Stevens’ Soldier Poems and Historical Possibility —Milton J. Bates 203 What’s Historical About Historicism? —Alan Filreis 210 Wallace Stevens and Figurative Language: Pro and Con —James Longenbach 219 THE COLLECTED POEMS: THE NEXT FIFTY YEARS Prologues to Stevens Criticism in Fifty Years —John N. Serio 226 The Collected Poems: The Next Fifty Years —Susan Howe 231 Wallace Stevens and Two Types of Vanity —Massimo Bacigalupo 235 Position Paper: Wallace Stevens —Christian Wiman 240 Stevens’ Collected Poems in 2054 —Marjorie Perloff 242 KEYNOTE ADDRESS Wallace Stevens: Memory, Dead and Alive —Helen Vendler 247 THE WADSWORTH ATHENEUM Poets of Life and the Imagination: Wallace Stevens and Chick Austin —Eugene R.