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Ishmael Reed Interviewed
Boxing on Paper: Ishmael Reed Interviewed by Don Starnes [email protected] http://www.donstarnes.com/dp/ Don Starnes is an award winning Director and Director of Photography with thirty years of experience shooting in amazing places with fascinating people. He has photographed a dozen features, innumerable documentaries, commercials, web series, TV shows, music and corporate videos. His work has been featured on National Geographic, Discovery Channel, Comedy Central, HBO, MTV, VH1, Speed Channel, Nerdist, and many theatrical and festival screens. Ishmael Reed [in the white shirt] in New Orleans, Louisiana, September 2016 (photo by Tennessee Reed). 284 Africology: The Journal of Pan African Studies, vol.10. no.1, March 2017 Editor’s note: Here author (novelist, essayist, poet, songwriter, editor), social activist, publisher and professor emeritus Ishmael Reed were interviewed by filmmaker Don Starnes during the 2014 University of California at Merced Black Arts Movement conference as part of an ongoing film project documenting powerful leaders of the Black Arts and Black Power Movements. Since 2014, Reed’s interview was expanded to take into account the presidency of Donald Trump. The title of this interview was supplied by this publication. Ishmael Reed (b. 1938) is the winner of the prestigious MacArthur Fellowship (genius award), the renowned L.A. Times Robert Kirsch Lifetime Achievement Award, the Lila Wallace-Reader's Digest Award, a Guggenheim Fellowship, and a Rosenthal Family Foundation Award from the National Institute for Arts and Letters. He has been nominated for a Pulitzer and finalist for two National Book Awards and is Professor Emeritus at the University of California at Berkeley (a thirty-five year presence); he has also taught at Harvard, Yale and Dartmouth. -
Every Goodbye Ain't Gone
Every Goodbye Ain’t Gone An ANTHOLOGY of INNOVATIVE POETRY by AFRICAN AMERICANS Edited by Aldon Lynn Nielsen and Lauri Ramey Every Goodbye Ain’t Gone You are reading copyrighted material published by the University of Alabama Press. Any posting, copying, or distributing of this work beyond fair use as defined under U.S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. MODERN AND CONTEMPORARY POETICS Series Editors Charles Bernstein Hank Lazer Series Advisory Board Maria Damon Rachel Blau DuPlessis Alan Golding Susan Howe Nathaniel Mackey Jerome McGann Harryette Mullen Aldon Nielsen Marjorie Perloff Joan Retallack Ron Silliman Lorenzo Thomas Jerr y Ward You are reading copyrighted material published by the University of Alabama Press. Any posting, copying, or distributing of this work beyond fair use as defined under U.S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. Every Goodbye Ain’t Gone An Anthology of Innovative Poetry by African Americans Edited by ALDON LYNN NIELSEN and LAURI RAMEY THE UNIVERSITY OF ALABAMA PRESS Tuscaloosa You are reading copyrighted material published by the University of Alabama Press. Any posting, copying, or distributing of this work beyond fair use as defined under U.S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. Copyright © 2006 The University of Alabama Press Tuscaloosa, Alabama 35487-0380 All rights reserved Manufactured in the United States of America Typeface: Janson Text ∞ The paper on which this book is printed meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. -
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. -
64 Doi:10.1162/GREY a 00219 Poster for Aldo Tambellini, Black
Poster for Aldo Tambellini, Black Zero (1965–68), 1965. 64 doi:10.1162/GREY_a_00219 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00219 by guest on 01 October 2021 The Subject of Black: Abstraction and the Politics of Race in the Expanded Cinema Environment NADJA MILLNER-LARSEN Midway through a 2012 reperformance of the expanded cinema event Black Zero (1965–1968)—a collage of jazz improvisation, light projection, poetry reading, dance performance, and televisual noise—the phrases of Calvin C. Hernton’s poem “Jitterbugging in the Streets” reached a crescendo: 1 TERROR is in Harlem A FEAR so constant Black men crawl the pavement as if they were snakes, and snakes turn to sticks that beat the heads of those who try to stand up— A Genocide so blatant Every third child will do the junky-nod in the whore-scented night before semen leaps from his loins— And Fourth of July comes with the blasting bullet in the belly of a teenager Against which no Holyman, no Christian housewife In Edsel automobile Will cry out this year Jitterbugging in the streets. 2 Hernton’s rendering of the 1964 Harlem uprising, originally published as part of the New Jazz Poets record, is gradually engulfed by a bombastic soundscape dominated by an archival recording of the National Aeronautics and Space Administration’s (NASA) Apollo 8 launch interspersed with video static and the familiar drone of a vacuum cleaner. Surrounded by black walls spattered with Grey Room 67, Spring 2017, pp. 64–99. © 2017 Grey Room, Inc. and Massachusetts Institute of Technology 65 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00219 by guest on 01 October 2021 slides of slow-rotating abstract spheres whose contours melt into gaseous implo - sions, viewers are stimulated by flashing television monitors, black-and-white projections from hand-painted celluloid, and video images of black children pro - jected onto a glacially expanding black balloon. -
Renegade Poetics (Or, Would Black Aesthetics by An[Y J Other Name Be
INTRODUCTION from Evie Shockley, Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry Renegade Poetics (Or, Would Black Aesthetics (Iowa City: U of Iowa P, 2011) by An[yJ Other Name Be More Innovative?) Though Maroons, who were unruly Africans, not loose horses or lazy sail ors, were called renegades in Spanish, will I turn any blacker if I renege on this deal? -"DENIGRATION," ·HARRYETTE MULLEN marronerons-nous Depestre marronerons-nous? (Shall we turn maro~m, Depestre, shall we turn maroon?) -"LE VERBE MARRONNER,'' AIME CESAIRE To speak of a Black literature, a Black aesthetic1 or a Black state, is to engage in racial chauvinism, separatist bias1 and Black fantasy. - "CULT.URAL STRANGULATION: BLACK LITERATURE AND THE WHITE AESTHETIC,'' ADDISON GAYLE JR. IN THIS STUDY, I build a case for redefining black aesthetics to account for nearly a century of efforts by African American poets and critics, beginning just after World War I with the New Negro Renais sance, to name and tackle issues of racial identity and self-determination on ·the field, of poetics. Deline~ting the contours and consequences of African American poetic innovation in an assortment of historical and cultural moments, I aim to highlight and resituate innovative poetry that has been dismissed, marginalized, and misread: first, in relation to the.Af rican American poetic tradition, because its experiments were not "rec ognizably black"; and, second, in relation to constructions of th~ avant garde tradition, because theywere.1 We might -
All Blues: a Study of African-American Resistance Poetry. Anthony Jerome Bolden Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 All Blues: A Study of African-American Resistance Poetry. Anthony Jerome Bolden Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bolden, Anthony Jerome, "All Blues: A Study of African-American Resistance Poetry." (1998). LSU Historical Dissertations and Theses. 6720. https://digitalcommons.lsu.edu/gradschool_disstheses/6720 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
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. -
Reclaiming the Legends [Short]
Alex Assaly (ama67) & David Grundy (dmg37) Reclaiming the Legends Myth & the Black Arts Movement 17 January - 17 February, 2017 English Faculty Building, First Floor ————— 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. Although the exhibition looks above and beyond “history” (“visionary-wise”), it is from there where we begin. The symbolic birth of BAM occurred in the spring of 1965. Not long after the assassination of Malcom X, LeRoi Jones [Amiri Baraka] (1934-2014) moved from Manhattan’s Lower East Side to Harlem, where he, Larry Neal and others co-organised the Black Arts Repertory Theater / School. -
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. -
Margaret Walker Center Archives and Records Division Dr. Julius Eric Thompson Papers Page 1 of 244 MANUSCRIPT COLLECTION Collec
Margaret Walker Center Archives and Records Division Dr. Julius Eric Thompson Papers MANUSCRIPT COLLECTION Collection Title: Dr. Julius Eric Thompson Papers Dates Covered: ca. 1968-2007, n.d. Collection Number: AF040 Creator: Dr. Julius Eric Thompson, 1946-2007 Volume: Approximately 165 linear feet Language: In English Original (x) Duplicate (x) Microcopy(x) Photocopy (x) Provenance: This Collection was donated to the Margaret Walker Center by Ms. Lee Ethel Thompson, sister of the late Dr. Julius Eric Thompson, on January 23, 2008. Summary: The Dr. Julius Eric Thompson Papers contains, letters, manuscripts, personal items, newspaper clippings, books, teaching material, research material and other items that document the life and work of scholar, teacher, poet, Dr. Julius Eric Thompson. Information Regarding Access: This collection is open for research. The collection is located on the first floor of the Margaret Walker Center in Ayer Hall, Jackson State University. Ownership & Copyright Copyright Warning: This Material may be protected by Copyright Law (Title 17 U. S. Code) The Dr. Julius Eric Thompson Papers are the physical property of the Margaret Walker Center and copyright to Dr. Thompson’s original work belongs to the Margaret Walker Center. Literary rights, including copyright, to the creative works of others contained in the Dr. Julius Eric Thompson Papers belong to the authors or their legal heirs and assigns. For further information, contact the appropriate author or estate. Cite As Dr. Julius Eric Thompson Papers, Margaret Walker Center, Jackson State University Page 1 of 244 Margaret Walker Center Archives and Records Division Dr. Julius Eric Thompson Papers DR. JULIUS ERIC THOMPSON (1946-2007) Creator History: Will replace Weems bio with bio prepared by Alex Morphew Excerpted from Robert Weems’ tribute to Dr. -
285 & 287 East 3Rd Street
April 8, 2021 Hon. Sarah Carroll, Chair NYC Landmarks Commission 1 Centre Street, 9th Floor New York, NY 10007 Dear Chair Carroll, Re: Request for Evaluation re: 285 & 287 East 3rd Street Dear Chair Carroll, I am writing to ask that, in light of the Landmarks Preservation Commission’s new “Equity Framework” for considering new landmark designations, you reconsider our proposed landmark designation of Nos. 285 & 287 East 3rd Street in Manhattan, two highly intact Greek Revival “sister” row houses dating from 1837. No. 285 was the home for decades of Steve Cannon and his “Gathering of the Tribes” organization. Both Cannon and the Gathering of the Tribes were incredibly important to the African American cultural life of the East Village, which was a vital center of African American life and culture in the 20th century, with roots extending back centuries earlier. Very few of those vital African American sites of this great cultural flowering in this neighborhood of the last century, which included homes and gathering spaces of prominent artists, writers, musicians, activists, and actors, have been recognized by the Landmarks Preservation Commission. With Mr. Cannon’s passing in 2019, we think it is time to revisit and reconsider this past rejection. As per our prior submission to the Landmarks Preservation Commission, these twin structures were built on land originally owned by the prominent Fish family. The only houses ever to stand on their lots, both have miraculously survived nearly 200 years of neighborhood change, and stand today in excellent physical condition. 285 & 287 East 3rd Street African Americans have lived in the East Village since the mid-17th century. -
Expanding the Repertoire: Continuity & Change in Mrican-American Writing - Expanding the Repertoire: Continuity and Change in African-American Writing 5 F- Contents
t 5 Expanding the Repertoire: Continuity & Change in Mrican-American Writing - Expanding the Repertoire: Continuity and Change in African-American Writing 5 f- Contents Editor.s' Notts issut' l·o~II.!UUI Renee Gladman & giova nni singleton t'<liu:d by Yr..M~ l\l•uttllln 6( ll~ .,111•1•1• ~ lnrroducri on 1 ISSN: 10 N .!I 'II "Catch a Fire" : The Ro le of Innovation Rt ncc Gladman $8 Introduction $15 IV.tll IICI Nathaniel Mackey (Outsidt of U~, piU\C' "''\' $~ j>< I I ut} Expanding the Rcpenoire Harl)<e tte Mullen Untitled II Wanda Coleman Covtr Jrt by Amnld j. l..;cmt• A\·am-Garde with Mainstream Tendencies 15 O ur thattks w the I ll htuu,!Jtuut,lht \Ju ,, .. ,.._ .... ,. A.tt,( mnm•·•wn. Discussion 32 and Snull Prtu luOk. lor gcnthm' ~upj~trl nl lim tuuc. " Kindred" : Origins of the Black Avant-Garde tripwi re mvnn ~ubmw1nnt nl nwv• u.m•IJIIufll, llltn\'tl"W1 . .an & book reviews. bullnin\, ltncu ~IN.Iittl.ng "' p•n"•um ... u,· , 6: "'"uJI Erica Hunt art. Visual .m ntbmisMOm ~hould IK' rtjllu,luohlc 111 hiJd~ & ,,.!Juc; (In re:) Sources of the Black A\•a m-Garde 35 visual anisu .uc tnLourJgcd to indude J \IJttn•t•u .Jho111 ditlr work M :nk McMorris At this time, wt ut not JCCtpting unsolicited pocuy lor puhltt.~flon Sinctriry and Revolt in Avam-Garde Poetry 4 1 All ~ u b mi~io n s should indu,lc .1 ho~rd copy. Lorenzo Thomas Dc:ull inc for l upwin· 6 is J:uuwy I, 2002.