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On April 3 at a Gigantic Anti-War Rally on Historic Bos Ton Common, Hundreds of New England Men Will Turn-In Their Draft Cards Wed
resistance m A COPY NEW ENGLAND EDITION ft 1 MARCH 1-15 Resistance Moves Again On April 3 At a gigantic anti-war rally on historic Bos ton Common, hundreds of New England men will turn-in their draft cards Wed. April 3 in soli darity with the Vietnamese, black and poor Amer icans who cannot get deferments or exemptions, and 2500 youths who non-cooperated nationally Oct. 16 and Nov.lb/Dec. 4. In nearly 100 other cities, Resistance groups 111! fill! -11 will move simultaneously against the Selective Service System with demonstrations at draft boards, federal buildings and induction centers. The Boston Common rally will begin at 11 a.m. mm?mt National peace leaders Staughton Lynd, Paul Good • • • ': • . • • •• man, Dave Dellinger, and Howard Zinn have been invited to speak. The day's events will also include marches to other revolutionary sites in the city; an inter-faith service; a concert; and dinners. The following day, all new and old resistors will hold a general conference and divide into organizing workshops to develop the theory and practice of Resistance and to plan for summer action. Since as many as 25,000 people are expected to come to the rally from all across New England the Service of Conscience at which the draft cards are tumed-in will take place outside, or at nearby Arlington St. Church in case of bad weather. v While the Resistance has no official estimate of how many will non-cooperate April 3, the na tional total this Spring will be in the thou sands. -
Sex and the Student Body: Knowledge, Equality, and the Sexual Revolution, 1960 to 1973
SEX AND THE STUDENT BODY: KNOWLEDGE, EQUALITY, AND THE SEXUAL REVOLUTION, 1960 TO 1973 Kelly Morrow A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History Chapel Hill 2012 Approved by: Jacquelyn Dowd Hall Crystal Feimster Peter Filene James Leloudis Nancy MacLean John Sweet © 2012 Kelly Morrow ALL RIGHTS RESERVED ii ABSTRACT KELLY MORROW: Sex and the Student Body: Knowledge, Equality, and the Sexual Revolution, 1960 to 1973 (Under the direction of Jacquelyn Dowd Hall) “Sex and the Student Body” seeks to revise popular and scholarly understandings of the sexual revolution by viewing it through the prism of New Left activism on college campuses from 1960 to 1973. This upheaval in manners and mores is often remembered as a sexual free-for-all based on individual gratification. Research in university archives, campus papers, and oral history interviews, however, reveals that at the center of the sexual revolution on college campuses were “sexual liberation activists” who offered students a new framework for understanding their sexual and emotional relationships grounded in the principle of equality. Far from advocating sexual license, these activists responded to a changing sexual culture by linking liberation to knowledge and responsibility. Through sexual health clinics, courses, handbooks, and counseling services, a coalition of faculty and students worked together to build institutions and create a more democratic university. Inspired by the liberation movements of the 1960s, men and women joined forces to advocate for equality and reproductive justice, and they attempted to change the gender consciousness of men as well as women in order to promote sexual relationships based on mutual honesty, trust, and pleasure. -
Jazz Poetry and Making Visible the Black American Experience
Jazz Poetry and Making Visible the Black American Experience Shannon Marks University of Wyoming English Honors Thesis Spring 2019 1 Contents Introduction………………………………………………………………………..………………4 Thesis/Abstract……………………………...…………………………………………….4 Conceptual Metaphors………………………………...…………………………………11 Black Arts Movement...………………………………...………………………………..15 Blues to Jazz………………………………………...…………………………………...17 Jazz Poetry………….…………………………………...……………………………….21 Langston Hughes Biography………………………………..……………………………………28 Bob Kaufman Biography……………………………………………………..………………….30 Amiri Baraka Biography…………………………………………………………………………33 Sun……………………………………………………………………………………………….36 Baraka’s Use of Sun; “An Agony. As Now”…………………...………………………..37 Hughes’ Use of Sun; “Dream Boogie”………………..…………………………………41 Kaufman’s Use of Sun; “Battle Report”…...……………………...……………………..50 Water……………………………………………………………………………………………..58 Water in Hughes’ Poetry; “The Negro Speaks of Rivers”…………………...…………..59 Water in Kaufman’s Poetry; “The Night that Lorca Comes”……………………………66 Water in Baraka’s Poetry; “Legacy”……………………………………………………..71 Piano……………………………………………………………………………………………..77 Baraka and Jazz; “Snake Eyes”………………………………………………………….78 Kaufman and Jazz; “O-Jazz-O War Memoir: Jazz, Don’t Listen to It at Your Own Risk” …….83 Hughes and Jazz; “The Weary Blues”………………..………………………………….90 Conclusion………………………………………………..……………………………………...98 2 Cento…………………………………………………………………………………….99 Cento Reflection…………………………………………………………………………99 The Black American Experience……………………………………………………….101 Reflections on Poetry…………………………………………………………………...103 -
View Prospectus
Archive from “A Secret Location” Small Press / Mimeograph Revolution, 1940s–1970s We are pleased to offer for sale a captivating and important research collection of little magazines and other printed materials that represent, chronicle, and document the proliferation of avant-garde, underground small press publications from the forties to the seventies. The starting point for this collection, “A Secret Location on the Lower East Side,” is the acclaimed New York Public Library exhibition and catalog from 1998, curated by Steve Clay and Rodney Phillips, which documented a period of intense innovation and experimentation in American writing and literary publishing by exploring the small press and mimeograph revolutions. The present collection came into being after the owner “became obsessed with the secretive nature of the works contained in the exhibition’s catalog.” Using the book as a guide, he assembled a singular library that contains many of the rare and fragile little magazines featured in the NYPL exhibition while adding important ancillary material, much of it from a West Coast perspective. Left to right: Bill Margolis, Eileen Kaufman, Bob Kaufman, and unidentified man printing the first issue of Beatitude. [Ref SL p. 81]. George Herms letter ca. late 90s relating to collecting and archiving magazines and documents from the period of the Mimeograph Revolution. Small press publications from the forties through the seventies have increasingly captured the interest of scholars, archivists, curators, poets and collectors over the past two decades. They provide bedrock primary source information for research, analysis, and exhibition and reveal little known aspects of recent cultural activity. The Archive from “A Secret Location” was collected by a reclusive New Jersey inventor and offers a rare glimpse into the diversity of poetic doings and material production that is the Small Press Revolution. -
Death, Redemption, and Memory in Bob Kaufman's Poetry
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2019 "Woven Into the Deeps of Life": Death, Redemption, and Memory in Bob Kaufman's Poetry Peter Davis Follow this and additional works at: https://scholarship.claremont.edu/pomona_theses Part of the Literature in English, North America Commons, Literature in English, North America, Ethnic and Cultural Minority Commons, Modern Literature Commons, Other Music Commons, and the Poetry Commons “Woven Into the Deeps of Life”: Death, Redemption, and Memory In Bob Kaufman’s Poetry Peter A. Davis __________________________________________________ Submitted to the Department of English of Pomona College in partial fulfillment of the requirements for the Senior Exercise. Aaron Kunin, Faculty Advisor Will Alexander, Faculty Reader April 29, 2019 Acknowledgments: I want to convey immense gratitude to Prof. Aaron Kunin, always generous and patient, without whom this project would have been less interesting, less complete, and far less fun. Special thanks to Will Alexander, whose mind, passion, and kindness inspire me to read Kaufman the way I have enjoyed so thoroughly for the past year; and to Elaine Kahn, whose words and efforts have allowed me to live with poems in a new way. Many thanks to my fantastic English professors during my time at Pomona: Kevin Dettmar, Jordan Kirk, Jonathan Lethem, Paul Mann, Sarah Raff, Nina Revoyr, Colleen Rosenfeld, Valorie Thomas, and Kara Wittman. I am deeply indebted to each of you. i ii Contents: Introduction . 1 “THE FOUNT OF THE CREATIVE ACT”. 5 “This America’s Own Secret Deaths”. 29 “Jazz, (Don’t) Listen To It At Your Own Risk” . -
Bob Kaufman 1925-1986
Bob Kaufman 1925-1986 Bob Kaufman was born in New Orleans in 1925 to a German Jewish father and a black Catholic mother. He was one of thirteen children. As a child, Kaufman took part in both Catholic and Jewish religious services; he was also exposed to the voodoo beliefs of his maternal grandmother (Poets.org). As a young man, he joined the U.S. Merchant Marines. Kaufman was a jazz-inspired street poet who adhered to an oral tradition—he proclaimed his poetry in coffee houses and on the streets, seldom writing his poems down (“Bob Kaufman”). Much of his published work survives by way of his wife Eileen, who wrote his poems down as he conceived them (Knight). He was a Beat poet, and founder of the journal Beatitude, with Allen Ginsberg and others. According to the writer Raymond Foye, Kaufman is the person who coined the term “beatnik,” which, according Merriam-Webster, is a person who participated in a social movement of the 1950s and early 1960s which stressed artistic self-expression and the rejection of the mores of conventional society. His life was filled with a great deal of suffering: in San Francisco, he was the target of beatings and harassment by the city police, and his years living in New York were filled with poverty, addiction and imprisonment (Foye). His poetry made use of jazz syncopation and meter. The critic Raymond Foye wrote about him, “Adapting the harmonic complexities and spontaneous invention of bebop to poetic euphony, [pleasing to the ear, especially through a harmonious combination of words and meter] he became the quintessential jazz poet” (Foye). -
Free Speech Movement Participants Papers, 1959-1997 (Bulk 1964-1972)
http://oac.cdlib.org/findaid/ark:/13030/kt3p30030s No online items Guide to the Free Speech Movement Participants Papers, 1959-1997 (bulk 1964-1972) Processed by Elizabeth Stephens; additions by Alison E. Bridger The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 2002 The Regents of the University of California. All rights reserved. Guide to the Free Speech BANC MSS 99/162 c 1 Movement Participants Papers, 1959-1997 (bulk 1964-1972) Guide to the Free Speech Movement Participants Papers, 1959-1997 (bulk 1964-1972) Collection number: BANC MSS 99/162 c The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Processed by: Elizabeth Stephens; additions by Alison E. Bridger Date Completed: July 2001; additions March 2006 Encoded by: Xiuzhi Zhou © 2002 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Free Speech Movement Participants Papers, Date (inclusive): 1959-1997 Date (bulk): (bulk 1964-1972) Collection Number: BANC MSS 99/162 c Extent: Number of containers: 16 boxes, 5 cartons, 2 oversize boxesLinear feet: 13.45 Repository: The Bancroft Library. Berkeley, California 94720-6000 Physical Location: For current information on the location of these materials, please consult the Library's online catalog. Abstract: Consists of small collections and single items donated by participants in the Free Speech Movement (FSM) to the FSM Digital Project over a three year period, 1998-2001. -
Gay Outlaws: the Alpine County Project Reconsidered Jacob D
University of Massachusetts Boston ScholarWorks at UMass Boston Graduate Masters Theses Doctoral Dissertations and Masters Theses 6-1-2015 Gay Outlaws: The Alpine County Project Reconsidered Jacob D. Carter University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/masters_theses Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the United States History Commons Recommended Citation Carter, Jacob D., "Gay Outlaws: The Alpine County Project Reconsidered" (2015). Graduate Masters Theses. Paper 307. This Open Access Thesis is brought to you for free and open access by the Doctoral Dissertations and Masters Theses at ScholarWorks at UMass Boston. It has been accepted for inclusion in Graduate Masters Theses by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. GAY OUTLAWS: THE ALPINE COUNTY PROJECT RECONSIDERED A Thesis Presented by JACOB D. CARTER Submitted to the Office of Graduate Studies, University of Massachusetts Boston, In partial fulfillment of the requirements for the degree of MASTER OF ARTS June 2015 Department of History © 2015 by Jacob D. Carter All rights reserved GAY OUTLAWS: THE ALPINE COUNTY PROJECT RECONSIDERED A Thesis Presented by JACOB D. CARTER Approved as to style and content by: ________________________________________________ Vincent J. Cannato, Associate Professor Chairperson of Committee ________________________________________________ Timothy Hacsi, Associate Professor Member ________________________________________________ -
Sex and the Radical Imagination in the Berkeley Barb and the San Francisco Oracle Sinead Mceneaney
Radical Americas Special issue: Radical Periodicals Article Sex and the radical imagination in the Berkeley Barb and the San Francisco Oracle Sinead McEneaney St Mary’s University, Twickenham; [email protected] How to Cite: McEneaney, S. ‘Sex and the radical imagination in the Berkeley Barb and the San Francisco Oracle.’ Radical Americas 3, 1 (2018): 16. DOI: https://doi.org/10.14324/111.444.ra.2018.v3.1.016. Submission date: 28 September 2017; Acceptance date: 20 December 2017; Publication date: 29 November 2018 Peer review: This article has been peer reviewed through the journal’s standard double blind peer-review, where both the reviewers and authors are anonymised during review. Copyright: c 2018, Sinead McEneaney. This is an open access article distributed under the terms of the Creative Commons Attribution License (CC BY) 4.0 https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution and reproduction in any medium, provided the original author and source are credited • DOI: https://doi.org/10.14324/111.444.ra.2018.v3.1.016. Open access: Radical Americas is a peer-reviewed open access journal. Abstract This paper looks specifically at two influential newspapers of the American underground press during the 1960s. Using the Berkeley Barb and the San Francisco Oracle, the paper proposes two arguments: first, that the inability of the countercultural press to envisage real alternatives to sexuality and sex roles stifled any wider attempt within the countercultural movement to address concerns around gender relations; and second, the limitation of the ‘radical’ imagination invites us to question the extent to which these papers can be considered radical or countercultural. -
Reclaiming the Legends [Long]
Alex Assaly (ama67) & David Grundy (dmg37) Reclaiming the Legends Myth & the Black Arts Movement 17 January - 17 February, 2017 English Faculty Building, First Floor Lobby ————— Dropping his history books, a young man, lined against the horizon like an exclamation point with nothing to assert, stumbles into the dance. - “Death as History” by Jay Wright RECLAIMING THE LEGENDS: MYTH & THE BLACK ARTS MOVEMENT finds inspiration in the anti-historical world described by Wright. Its mysterious dance is the “cabinet of curiosities”: the defiance of categorical boundaries, the assembling of varied objects, the powerfully mythic rather than the historical, the rhythmic rather than the calculated. The exhibition also “plead[s]” like Wright’s dance. It asks visitors to abandon traditional epistemologies and participate in the microcosm it has created. This exhibition-world is a miscellany of anthropological & egyptological studies, revisionist histories, spiritualist & esoteric writings, books of poetry, and music record. It intimates some organizational principle, but finds time operating synchronically. Traditional chronology, here, is corrupted: Amiri Baraka, Sonia Sanchez, Lorenzo Thomas, Bob Kaufman, Ishmael Reed, David Henderson, and Marvin X appear alongside Gerald Massey, George James, and Theodore P. Ford. Like Wright’s dance, its form is ritualized and its theme is mythical. ◦ ◦ RECLAIMING THE LEGENDS: MYTH & THE BLACK ARTS MOVEMENT follows the example of its subject: it rejects historical fixity for the elasticity of myth. Most profiles of the Black Arts Movement (BAM), on the other hand, highlight and organize themselves by an opposite force: the historical-political. BAM occurred over a ten year period (from 1965 to 1975/6); the context of the Movement was one of major socio-political disruption; BAM was the aesthetic wing of Black Power politics. -
Surrealist Poetics in Contemporary American Poetry
THE CATHOLIC UNIVERSITY OF AMERICA Surrealist Poetics in Contemporary American Poetry A DISSERTATION Submitted to the Faculty of the Department of English School of Arts & Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Brooks B. Lampe Washington, D.C. 2014 Surrealist Poetics in Contemporary American Poetry Brooks B. Lampe, Ph.D. Director: Ernest Suarez, Ph.D. The surrealist movement, begun in the 1920s and developed and articulated most visibly and forcefully by André Breton, has unequivocally changed American poetry, yet the nature and history of its impact until recently has not been thoroughly and consistently recounted. The panoramic range of its influence has been implicitly understood but difficult to identify partly because of the ambivalence with which it has been received by American writers and audiences. Surrealism’s call to a “systematic derangement of all the senses” has rarely existed comfortably alongside other modern poetic approaches. Nevertheless, some poets have successfully negotiated this tension and extended surrealism to the context of postmodern American culture. A critical history of surrealism’s influence on American poetry is quickly gaining momentum through the work of scholars, including Andrew Joron, Michael Skau, Charles Borkuis, David Arnold and Garrett Caples. This dissertation joins these scholars by investigating how selected American poets and poetic schools received, transformed, and transmitted surrealism in the second half of the twentieth century, especially during the mid-‘50s through the early ‘80s, when the movement’s influence in the States was rapid and most definitive. First, I summarize the impact of the surrealist movement on American poets through World War II, including Charles Henri Ford, Ezra Pound, William Carlos Williams, and Philip Lamantia, and briefly examine Julian Levy’s anthology, Surrealism (1936). -
The Poetry of Bob Kaufman
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 When I Die, I Won't Stay Dead: The oP etry of Bob Kaufman Mona Lisa Saloy Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Saloy, Mona Lisa, "When I Die, I Won't Stay Dead: The oeP try of Bob Kaufman" (2005). LSU Doctoral Dissertations. 3400. https://digitalcommons.lsu.edu/gradschool_dissertations/3400 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. WHEN I DIE, I WON’T STAY DEAD: THE POETRY OF BOB KAUFMAN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Mona Lisa Saloy B.A., University of Washington, 1979 M.A., San Francisco State University, 1981 M.F.A, Louisiana State University, 1988 August, 2005 ©Copyright 2005 Mona Lisa Saloy All rights reserves ii For my sister Barbara Ann, who encouraged my educational pursuits, and for Donald Kaufman, who though dying, helped me to know his brother. iii Acknowledgments I must thank the members of my Dissertation committee who allowed my passion to find the real Kaufman to grow, encouraged me through personal trials, and brought to my work their love of African American culture and literature as well as their trust in my pursuit.