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Richard Wright Newsletter II II Richard Wright Newsletter II VoLume 6, Number 1 FalllWilller 1997-1 998 Richard Wright and Black Music In This Issue BY TORU KIVCHI Moreover, the town then reached Cover essay: NIHON UNIVERSITY the climax as the blues center Richard Wright and Black Music as Austin Sonnier, Jr. explain~ by Toru Kiuchi .... .. .................... (This essay is reprinted from the Jour­ in his A Guide to the BLues as Letter from the Editors ............. ...... 2 nal of the College of Industrial Tech­ follows: "Beale Street was at its ze­ nology, Nihon University, Vol 30, June Wright News and Notices ............... 3 1997) nith from around 1900 to around 1930, when, because of the com­ TEACHING RICHARD WRIGHT Black music has sent insight­ bined onslaught of economic, ... At Wyoming Correctional Facility ful messages to many African social, and political change, it by Robert Butler .............. ............. 4 American writers when they work began to collapse at a drastically on their novels, poems, essays, rapid tempo" (35). READING WRIGHT and plays. The music is an under­ Even more, Chicago and .. At Tougaloo College lying aspect of Train WhistLe Gui­ New York where Wright lived by Howard Rambsy, II .......... .. ..... 6 tar by Albert Murray. We hear from 1927 until 1937 and from echoes from Bessie Smith, Duke 1937 until 1947, respectively, ... At Wyoming Correctional Facility Ellington and Ma Rainey while were the major black music cen­ by Jonathan Edwards .............. .. ... 7 the novel's protagonist Scooter ters. Bruce Dick says in his es­ looks back on and narrates his say "Richard Wright and the BOOK REVIEW: Jon Panish's The childhood in the 1920' s. Imamu Blues Connection" that: Color of Jazz: Race and Representa­ Amiri Baraka's transformation of "[Memphis Minnie and Big tion iT! Posty,;ar American Culiiirt, jazz forms is wen known as in Bill Broonzy] and others fre­ by Diane Putnam.......................... 8 his BLack Magic: Collected Po­ quented taverns up and down etry, 1961-1967. Toni Morrison's Maxwell Street [in Chicago~ ... CONFERENCES & SYMPOSIA .. ,[6 latest work Jazz is like an artful One of Wright's favorite New jazz improvisation through writ­ York nightclubs was the Cafe Plus the latest Richard Wright ten words. Society Downtown .... the club ",-__B_ib_I'_'o_g,_a _p_hl_'c_S_up_'P_I_eme_' _n_t_!_.....J Richard Wright also, like other attracted some of the biggest sings in Native Son, to even com­ major African American writers, names in popular music, includ­ pose "King Joe Blues," and to use recognized the importance of ing [Count] Basie, Billie Holi­ play songs in Black Boy. black music, especially the blues, day, Lena Horne, Buck Clayton, It is reasonable that Ralph El­ because the places where Wright and Teddy Wilson ... " (395-99). lison, in his Shadow and Act lived during his earliest days were Thus, the blues and other should regard Wright's Black Bo; Delta blues towns such as Mem­ forms of black music had a seri­ itself as the blues, defining the phis, Tennessee, Helena, Arkan­ ous impact upon Wright's writ­ autobiography as "an impulse to­ sas, and Jackson, Mississippi. As ings. His familiarity with black keep the painful details and epi­ he writes in BLack Boy, there was music led him to compose for sodes of a brutal experience alive always around him "a saloon in the first time "Hearst Headline in one's aching consciousness, to front of which I used to loiter all Blues" in 1936, to incorporate finger its jagged grain, and to tran­ day long" (27), and from which play songs into his short story scend it, not by the consolation of many types of black music must "Big Boy Leaves Home," to philosophy but by squeezing from have been heard every night. have a Negro spiritual which the it a near tragic, near comic lyri­ Wright lived near Beale Street protagonist Bigger's mother cism" (78-79). in Memphis from 1925 until 1927 sings and a gospel song "Swing Low, Sweet Chariot" which Wright says in the 1946 inter­ when he was seventeen to nine­ VIew, referring to black music: teen years old and most sensitive. Mary's boyfriend Jan Erlone (cant. page J I ) FaJlIWinter 1997-98 Page 1 From the Editors The Richard Wright Newsletter is published biannually by At year's end we send greet­ rectional Facility. Both Edwards Northeastern University ings and best wishes for peace and Howard Rambsy, II, a stu­ Department of English and justice to our readers. As dent at Tougaloo College, invited 480 Nightingale Hall this issue demonstrates, the fu­ us to con temporize Wright, view­ Boston, MA 02115 ture of Wright studies is a bright ing his novels in relationship to Phone: (617) 373-4549 one. There is still much to be the psychological and cultural Fax: (617) 373-2509 discovered and debated about his landscape that defines America's E-mail: [email protected] legacy to twentieth-century black male population, too many thought. of whom are found in America's EDITORS In our continuing effort to prisons. This convergence be­ Maryemma Graham, Northeast­ counter the notion that every­ tween real life situations and fic­ ern University thing has been said about Rich­ tional ones lies at the heart of the Jerry W. Ward, Jr., University ard Wright and offer new direc­ realist project, which Wright was of Memphisffougaloo tions for scho arly inquiry, we ever committed to. College have reprinted for our lead ar­ We encourage you to focus ticle TOfU IGuchi's "Richard on the 40th anniversary of The EDITORIAL ASSISTANT Diane Putnam, Northeastern Wright and Black Music," origi­ Long Dream in 1998. Please University nally written for a Japanese lit­ send information about activities involving the novel to RWN. erary journal. We hope you will INTERN Keisha Winston agree that the article offers valu­ Kudos to Diane Putnam who is serving a second term with the able insights into Wright's rela­ 1996-99 ADVISORY BOARD tionship to African American Richard Wright Circle. Diane' s Robert Butler expressive forms, requiring us to stunning achievements as a Thadious Davis rethink the commonly held view graduate student and now instruc­ Yoshinobu Hakutani that Wright was alienated from tor in the English Department at Keneth IGnnamon, Bibliogra- and indifferent to African Ameri­ Northeastern are only matched pher can culture. To put into broader by her stellar performance as a Alessandro Portelli perspective the impact of Afri­ two-term assistant editor. Thank Yvonne Robinson Jones can American music during you, Diane, for demonstrating Amritjit Singh Wright's era, we have also in­ that commitment to excellence is cluded Diane Putnam's review not a part-time affair. FOUNDING MEMBERS of Jon Panish's The Color of Next year will also bring sig­ Margaret Walker Alexander Jazz: Race and Representation nificant changes to the Richard Samuel Allen in Postwar American Culture. Wright Circle and the Newslet­ Ralph Ellison (1914-1994) Our section of Teaching and ter. It is likely that the FalllWin­ Michel Fabre Reading Richard Wright contin­ ter 1998 issue of RWN will be Maryemma Graham ues to yield a wide array of re­ published at a new institution. Jerry W. Ward, Jr. sponses. In addition to Jim We will ask members of the Circle Julia Wright Miller's new anthology of Ap­ to take responsibility for organ­ proaches to Teaching Native Son izing panels at CLA, ALA, and ©1997 RWC (a review of which will follow other professional meetings. You will receive details about changes The editors welcome all news in our next issue), both tradi­ relevant to the life and work of in the next newsletter. tional and non-traditional teach­ Richard Wright. The Richard ers/readers are represented in Wright Circle is supported by here. Bob Butler's informed the departments of African assessment of teaching in pris­ Maryemma Graham American Studies and English ons is complemented by a read­ Jerry W. Ward, Jr. at Northeastern University. ing of one of his own students, Jonathan Edwards, currently serving time in Wyoming Cor- FalUWinter 1997-98 Page 2 Wright News and Reviews NOTES ON PUBLICATIONS HURSTON / WRIGHT POSTAGE STAMPS FOR FOUNDATION PROGRAM WORLD LITERACY Approdches to Teaching Wright's Native Son, edited by James A. As part of its 1997-98 series On November 13, 1997, Miller, should inspire teachers to "Literature Live!" the Hurston! twelve of the most important fig­ extend discussions of Wright's Wright Foundation sponsored a ures in modern literary history masterpiece in new directions. The screening of the documentary were honored for the first time on book contains fifteen essays which Richard Wright-BLACK BOY at postage stamps in an effort to "describe strategies ranging from the Virginia Museum of the Fine promote world literacy in emerg­ textual analysis to consideration Arts (Richmond) on November ing nations. The first day of issue of [Native Son's ]: political and 15, 1997. The screening was ceremony took place at the Smith­ moral dimensions; discuss the dif­ followed by a panel discussion sonian Institution in Washington, ficulties of introducing the novel involving Julia Wright, Madison DC and featured a stamp unveil­ into the classroom; and provide Lacy, the film's director, and Jerry ing by the living honorees and specific approaches for classroom Ward. The panel emphasized the family members of those from the discussion, such as applying Fou­ enduring value of Wright's leg­ earlier part of the century. The cault's theories to Wright's fiction acy as a starting point for dealing event was organized by the Inter­ or examining how Native Son an­ with contemporary humanistic Governmental Philatelic Corp ticipates Spike Lee's Do the Right and political issues. J ulia Wright's (lGPC) along with the Smith­ Thing.
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