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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. -
The American Voice Anthology of Poetry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Kentucky University of Kentucky UKnowledge Creative Writing Arts and Humanities 1998 The American Voice Anthology of Poetry Frederick Smock Bellarmine College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Smock, Frederick, "The American Voice Anthology of Poetry" (1998). Creative Writing. 3. https://uknowledge.uky.edu/upk_creative_writing/3 vice ANTHOLOGY OF POETRY EDITED BY FREDERICK SMOCK THE UNIVEESITT PRESS OF KENTUCKY Publication of this volume was made possible in part by grants from the Kentucky Foundation for Women, Inc., and the National Endowment for the Humanities. Copyright © 1998 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 02 01 00 99 98 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data The American Voice anthology of poetry / edited by Frederick Smock. -
Alternative Perspectives of African American Culture and Representation in the Works of Ishmael Reed
ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED A thesis submitted to the faculty of San Francisco State University In partial fulfillment of Zo\% The requirements for IMl The Degree Master of Arts In English: Literature by Jason Andrew Jackl San Francisco, California May 2018 Copyright by Jason Andrew Jackl 2018 CERTIFICATION OF APPROVAL I certify that I have read Alternative Perspectives o f African American Culture and Representation in the Works o f Ishmael Reed by Jason Andrew Jackl, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English Literature at San Francisco State University. Geoffrey Grec/C Ph.D. Professor of English Sarita Cannon, Ph.D. Associate Professor of English ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED Jason Andrew JackI San Francisco, California 2018 This thesis demonstrates the ways in which Ishmael Reed proposes incisive countemarratives to the hegemonic master narratives that perpetuate degrading misportrayals of Afro American culture in the historical record and mainstream news and entertainment media of the United States. Many critics and readers have responded reductively to Reed’s work by hastily dismissing his proposals, thereby disallowing thoughtful critical engagement with Reed’s views as put forth in his fiction and non fiction writing. The study that follows asserts that Reed’s corpus deserves more thoughtful critical and public recognition than it has received thus far. To that end, I argue that a critical re-exploration of his fiction and non-fiction writing would yield profound contributions to the ongoing national dialogue on race relations in America. -
Publishing Blackness: Textual Constructions of Race Since 1850
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE publishing blackness publishing blackness Textual Constructions of Race Since 1850 George Hutchinson and John K. Young, editors The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. 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 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Publishing blackness : textual constructions of race since 1850 / George Hutchinson and John Young, editiors. pages cm — (Editorial theory and literary criticism) Includes bibliographical references and index. ISBN 978- 0- 472- 11863- 2 (hardback) — ISBN (invalid) 978- 0- 472- 02892- 4 (e- book) 1. American literature— African American authors— History and criticism— Theory, etc. 2. Criticism, Textual. 3. American literature— African American authors— Publishing— History. 4. Literature publishing— Political aspects— United States— History. 5. African Americans— Intellectual life. 6. African Americans in literature. I. Hutchinson, George, 1953– editor of compilation. II. Young, John K. (John Kevin), 1968– editor of compilation PS153.N5P83 2012 810.9'896073— dc23 2012042607 acknowledgments Publishing Blackness has passed through several potential versions before settling in its current form. -
The Progressive Stages of the Black Aesthetic in Literature
Notes 1. TOTAL LIFE IS WHAT WE WANT: THE PROGRESSIVE STAGES OF THE BLACK AESTHETIC IN LITERATURE 1. This was the problem of nomenclature that had bogged down some of Douglass' thoughts toward the correction of racism. He was tom, as was true of many black leaders, between a violent response to white violence and arrogance, and his own Christian principles. Yet this dissonance did not lead to inaction: cf., the commentary preceding The Life and Times of Frederick Douglass' in Early American Negro Writers, edited by Benjamin Brawley (New York: Dover, 1970). 2. Although I have chosen as the focus of my inquiry Major, Baker, Gayle, and Baraka because of the quantity and quality of their comments, and because of their association with Reed, it is still an arbitrary choice which excludes many other critics who were import ant to the formation of the new black aesthetic. Certainly Hoyt Fuller, the former editor of Black World, deserves his place among the leading black aestheticians, as does Larry Neal. An excellent reference for a more full discussion of other personalities in the new black aesthetic is Propaganda and Aesthetics: The Literary Politics of Afro-American Maga zines in the Twentieth Century, by Abby A. Johnson and Ronald Mayberry Johnson (Amherst: University of Massachusetts Press, 1979). 3. This method of delivery was one of the mainstays of effective communication for those obsessed with the power of the word in the 1960s: Baraka, Cleaver, Sonia Sanchez, even Jane Fonda. Ntozake Shange would write in 1980 that blacks had so claimed 'the word' that it hardly mattered who spoke or what was said; the listener was immediately comfortable with simply the grace and rhythm of the words issuing forth. -
The Demographics and Production of Black Poetry
Syllabus Week 1: The Demographics and Production of Black Poetry Resident Faculty: Howard Rambsy Visiting Faculty: James Smethurst, Kathy Lou Schultz, Tyehimba Jess, Brenda Marie Osbey Led by Rambsy, the Week 1 readings, activities and lectures will address significant recurring topics in the discourse on African American poetry—black aesthetics, history, cultural pride, critiques of anti-black racism, music and performance—and concentrate on major trends, popular poets and canonical poems and genres. We will identify and discuss several major poets, including Amiri Baraka, Jayne Cortez, Nikki Giovanni, Carolyn Rodgers, and Dudley Randall whose works began circulating widely during the late 1960s and early 1970s. We will consider how the BAM intersects with and distinguishes itself from other related poetry movements like the Beat Generation. We look at the configuration of contemporary black poetry, as poets become identified by subject matter, region, movement and/or collective like Cave Canem Poets, the Affrilachian Poets, and the National Poetry Slam Movement that began in 1990. Rambsy, Kathy Lou Schultz, Smethurst and Graham will give lectures that provide NEH Summer Scholars with an overarching sense of poets in the field as well as major events and circumstances that have shaped African American poetry. As specialists who have written about poetry and literary history, Rambsy, Schultz, and Smethurst will collectively provide foundational concepts and material for understanding and teaching black poetry. The week will also include discussions and readings by poets Tyehimba Jess and Brenda Marie Osbey, which will give NEH Summer Scholars chances to consider persona poetry and the presence of history in contemporary poems. -
Here May Is Not Rap Be Music D in Almost Every Major Language,Excerpted Including Pages Mandarin
ENCYCLOPEDIA OF THE BLACK ARTS MOVEMENT ed or printed. Edited by istribut Verner D. Mitchell Cynthia Davis an uncorrected page proof and may not be d Excerpted pages for advance review purposes only. All rights reserved. This is ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 18_985_Mitchell.indb 3 2/25/19 2:34 PM ed or printed. Published by Rowman & Littlefield An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 istribut www.rowman.com 6 Tinworth Street, London, SE11 5AL, United Kingdom Copyright © 2019 by The Rowman & Littlefield Publishing Group Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Mitchell, Verner D., 1957– author. | Davis, Cynthia, 1946– author. Title: Encyclopedia of the Black Arts Movement / Verner D. Mitchell, Cynthia Davis. Description: Lanhaman : uncorrectedRowman & Littlefield, page proof [2019] and | Includes may not bibliographical be d references and index. Identifiers:Excerpted LCCN 2018053986pages for advance(print) | LCCN review 2018058007 purposes (ebook) only. | AllISBN rights reserved. 9781538101469This is (electronic) | ISBN 9781538101452 | ISBN 9781538101452 (cloth : alk. paper) Subjects: LCSH: Black Arts movement—Encyclopedias. Classification: LCC NX512.3.A35 (ebook) | LCC NX512.3.A35 M58 2019 (print) | DDC 700.89/96073—dc23 LC record available at https://lccn.loc.gov/2018053986 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
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. -
Angela Jackson
This program is partially supported by a grant from the Illinois Arts Council, a state agency. ANGELA JACKSON A renowned Chicago poet, novelist, play- wright, and biographer, Angela Jackson published her first book while still a stu- dent at Northwestern University. Though Jackson has achieved acclaim in multi- ple genres, and plans in the near future to add short stories and memoir to her oeuvre, she first and foremost considers herself a poet. The Poetry Foundation website notes that “Jackson’s free verse poems weave myth and life experience, conversation, and invocation.” She is also renown for her passionate and skilled Photo by Toya Werner-Martin public poetry readings. Born on July 25, 1951, in Greenville, Mississippi, Jackson moved with her fam- ily to Chicago’s South Side at the age of one. Jackson’s father, George Jackson, Sr., and mother, Angeline Robinson, raised nine children, of which Angela was the middle child. Jackson did her primary education at St. Anne’s Catholic School and her high school work at Loretto Academy, where she earned a pre-medicine scholar- ship to Northwestern University. Jackson switched majors and graduated with a B.A. in English and American Literature from Northwestern University in 1977. She later earned her M.A. in Latin American and Caribbean studies from the University of Chicago, and, more recently, received an M.F.A. in Creative Writing from Bennington College. While at Northwestern, Jackson joined the Organization for Black American Culture (OBAC), where she matured under the guidance of legendary literary figures such as Hoyt W Fuller. -
The Relationship of Black Power and Black Arts/Consciusness Movements to the Black Studies Movement
THE RELATIONSHIP OF BLACK POWER AND BLACK ARTS/CONSCIUSNESS MOVEMENTS TO THE BLACK STUDIES MOVEMENT A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Benjamin Jermaine Woods January 2009 © 2009 Benjamin Jermaine Woods ABSTRACT This thesis is an examination of three social movements that occurred during the 1960s and 1970s: the Black Power Movement, Black Arts/Consciousness Movement, and Black Studies Movement. This study acknowledges that each movement had its own distinct character and ideas, but had overlapping actors, ideas, and objectives. The thesis argues that the political nationalism of the Black Power Movement, and the cultural nationalism of the Black Arts/Consciousness Movement influenced African students in the Black Studies Movement. Therefore, the study centers on the Black Studies Movement. Each Movement was a response to the cultural hegemony of the dominant Euro-American society. The study traces the development of each social movement including influences originating from previous eras. The Black Power Movement helped students to understand the political purpose of education in the United States and that it must help to liberate African people from white oppression. The Black Arts/Consciousness Movement contributed to the student’s recognition of the importance of identity, history, and culture. The thesis demonstrates the dialectical and reciprocal nature of all three movements in the 1960s and 1970s. BIOGRAPHICAL SKETCH Benjamin Woods was born and raised in Oklahoma City, Oklahoma. His lineage extends to the All-Black Town Movement in Oklahoma. His Father was a student activist in the Civil Rights Movement. -
The Present Elsewhere: Theorizing an Aesthetics of Displacement in Contemporary African American and Postcolonial Literatures
THE PRESENT ELSEWHERE: THEORIZING AN AESTHETICS OF DISPLACEMENT IN CONTEMPORARY AFRICAN AMERICAN AND POSTCOLONIAL LITERATURES Mary Alice Kirkpatrick 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 English and Comparative Literature. Chapel Hill 2010 Approved by: Minrose Gwin William L. Andrews Pamela Cooper Rebecka Rutledge Fisher Trudier Harris © 2010 Mary Alice Kirkpatrick ALL RIGHTS RESERVED ii ABSTRACT Mary Alice Kirkpatrick: The Present Elsewhere: Theorizing an Aesthetics of Displacement in Contemporary African American and Postcolonial Literatures (Under the direction of Minrose Gwin) “The Present Elsewhere” investigates the aesthetic traits and political implications of displacement in contemporary African American, Caribbean, and Canadian works. Arguing that displacement resonates textually, I interrogate the degree to which artists purposely leave their works in states of flux. Framed through the lens of nomadic, transitional figures (including diasporic cultural orphans, child clairvoyants, and reincarnated ghosts), this project develops the notion of an aesthetics of displacement – that is to say, an aesthetics informed by political urgency. Writers such as Michael Ondaatje, Toni Cade Bambara, and Octavia Butler rearrange customary geographic and chronological placements, unsettle narrative lines, and challenge shared histories of oppression. Propelled into active engagement, readers are encouraged to adopt new roles as migrants and witnesses. The political significance of works that displace radiates externally, as readers are directed toward sites of change well beyond the confines of individual texts. By bringing together seemingly divergent traditions, “The Present Elsewhere” examines the specific historical conditions, cultural backgrounds, and geographic contexts that produce sites of displacement within the Caribbean island, U.