Photographic Series on Black Marching Bands

Total Page:16

File Type:pdf, Size:1020Kb

Photographic Series on Black Marching Bands BRN-FALL-2014-COVER.indd 1 9/24/14 6:41 PM cover art by Lezley Saar, Lady Calantha, 2012 (from Glenavron by Lady Caroline Lamb) Acrylic and digital photographs on fabric on board 36 x 27 inches back cover art by C. Michael Norton, Split Kick, 2009-2010 Diptych acrylic on linen 103 x 126 inches Black Renaissance/ Black Renaissance/ Black Renaissance/ founding editors Renaissance Noire Renaissance Noire Renaissance Noire Manthia Diawara Institute of is edited and published is published three times Clyde Taylor African-American Aairs by the Institute of a year. Walter Mosley New York University African-American Aairs A Washington Mews, at New York University. 2014 subscription rates editor th oor e following is subscription Quincy Troupe New York, NY All material copyright informattion for - by New York University Black Renaissance Noire assistant editor and the authors. Megan Goins-Diouf telephone Preferred Payment Method () - All rights reserved. and Currency: creative director / Cesar Cruz fax All opinions expressed in () - Black Renaissance/ membership rates: arts editor/ Renaissance Noire Yearly Individual editorial assistant e-mail are the responsibility of Domestic/Int’l ( issues): Margaret Porter Troupe [email protected] the individual authors and ( )/ (’ ) do not necessarily reect copy editor the view of the editors, the Yearly Institutional Marlon Swai New York University Institute Domestic/Int’l of African-American Aairs, Subscription ( issues): editorial board or New York University ( )/(’ ) Jerey Renard Allen itself. Manuscripts in English, Individual Issue Purchase: Houston A. Baker Jr. should be sent in double- Kamau Brathwaite spaced format, in a Microsoft Mbye Cham Word-compatible electronic International Maryse Condé le to the main e-mail address; Shipping Charge: Angela Y. Davis manuscripts in African . ( )/ ( ) Martín Espada language, French or Spanish Kimiko Hahn will be considered if All Available Versions: Allison Adele Hedge Coke accompanied by an English Print Victor Hernandez Cruz translation. Robin D. G. Kelley Black Renaissance/ Kobena Mercer Renaissance Noire Walter Mosley is indexed in Humanities V. Y. Mudimbe International Complete Alexs Pate Ngugi wa iong’o printed by Angelique V. Nixon Oset Impressions, Inc. Alain Ricard Patrick Rosal Clyde Taylor 2 Kitia Toure Abdourahman A. Waberi BRN-FALL-2014.indb 2 9/24/14 1:31 AM Contents | 4 86 My Take Poems quincy troupe meha semwal 36 128 Miles Davis: A New “Madwoman in the Revolution is Sound Attic: The Femail kofi natambu Gothic in 19th Century 6 92 Literature” “Be My Brother Symposium on the lezley saar Forever”: Maya Angelou Recent “Mammy” & the Invention of a Sculpture of 134 Friendship, 1970’s-Style Kara Walker Poem eugene b. redmond 40 paul carter harrison cynthia dewi oka carol diehl The Musical Legacy brenda marie osbey clyde taylor 8 of Amiri Baraka: dennis kardon The Eruption: The Modern Jazz Critic barbara lewis Excerpt from Tahrir as Cultural Historian, Suite, Section 1 Creative Artist, 104 matthew shenoda Social Theorist, and Poems 136 Philosophical Visionary tyehimba jess The “Electronic Stimulus 14 kofi natambu for a Black Revolution”: Fon. A short story, Black Journal and the from Echo Tree: 1960s Public Television The Collected Short jane rhodes, phd Fiction of Henry Dumas henry dumas 106 46 Sterling Brown and the 20 A-Legba Poetics: Reading Browning of My Life Poem Komunyakaa e. ethelbert miller derek walcott aracelis girmay 152 110 Gypsy & the Bully Door 58 Poems nina angela mercer Poems aracelis girmay yusef komunyakaa 112 22 62 Poems St. Louis Cemetery No. 1 Why The Thirty Two- ekere tallie john pinderhughes Year Assault On Some 166 Black Male Writers? Jules Allen’s 30 ishmael reed Photographic Series on Poems Black Marching Bands allison hedge coke gail reid 116 “Be Vewy Vewy Quiet” 174 hermine pinson Caliphate Colonialism 74 — The Taproot of the The Temptation of Space 126 Trouble with Nigeria 32 richard vine Poem part 1 & 2 Thelonious Monk: sterling plumpp chinweizu BLACK RENAISSANCE NOIRE The Jazz Composer as 80 Visionary Poems 198 3 kofi natambu colleen mcelroy Contributors BRN-FALL-2014.indb 3 9/24/14 1:31 AM Jules Allen’s Photographic Series on By Black Marching GAIL REID Bands Black marching bands are a marching history book of culture, keeping alive our connections to the past, ennobling the struggles and triumphs of everyday life, inspiring us to adapt, succeed and celebrate cultural potency. Every re ned gesture and high step is spiritual magic in a black marching band. e bands are grounded in American military and African tradition. ey are cultural path nders, which seize the public space, dramatically etching the inherited terrain with a transformational force, using archetypal metaphors of home. As an exemplary national institution of mythical dimension, founded and fueled by creative interchange, they link artists with a community vibrantly sensitive to the music and the ceremony. e rhythm and resistance of the bands is an essential American story. Black marching bands provoke us to demand everything they have to give: to mourn the dead, console the distressed, pay respects to our heroes and above all to celebrate victories! 166 BRN-FALL-2014.indb 166 9/24/14 1:33 AM BRN-FALL-2014.indb 167 9/24/14 1:33 AM 167 BLACK RENAISSANCE NOIRE 168 BRN-FALL-2014.indb 168 9/24/14 1:33 AM eir rhythmic repetitions of form and Today’s soaring travel costs now tone are nely structured articulations severely curtail long-established bands’ of the black tradition, which transform abilities to reach distant community the bands’ creative re and ignite a perfect parades. Diminishing public funding response. e crowd triumphantly has disrupted and even eliminated demands the whole story, the ancient respected school music programs, story as a path to the future. It’s fanfare, which have historically furnished a not a oor show. It’s an elegant, fertile ground for America’s new ritualized, witty village pageant, a musicians. Marching band numbers reminder that culture’s song is something have plummeted from thousands to a we carry with us all the time. e black few hundred in a decade. Continuity of marching band series’ timing is crucial. this indispensable centuries-old musical heritage is gravely threatened. BLACK RENAISSANCE NOIRE 169 BRN-FALL-2014.indb 169 9/24/14 1:33 AM Across the country, Professor Jules Allen’s images connect with the bands’ ourish and precision as explicit forms which embrace his signature style of photographing on the backbeat. In post-Katrina Second Lines, funeral parades, and regional festivals, Allen documents community and personal reconstruction as a process with a resonant visual aspect. Penetrating old boundaries, black marching bands oer geographic and culturally specic opportunities to erase barriers and celebrate heroism. e bands mark change. ey also drive and clarify it. e music is important, expressing the inexpressible. It surrounds, perturbs, knows no borders. It crosses the tracks, disturbing the old social order. Within whirlwinds of incomprehensible assault and changes in besieged communities, the way to go on living is to recognize the familiar architecture carried within us: the warmth, the cultural anchors, liberating ideals, and the resilience to release old ways. Contemporary parades have a new urgency, openly political themes, direct and powerful messages. ey help us build coherence within the disrupted world. Out of the 170 rupture marches renewal. BRN-FALL-2014.indb 170 9/24/14 1:33 AM BRN-FALL-2014.indb 171 9/24/14 1:33 AM 171 BLACK RENAISSANCE NOIRE 172 BRN-FALL-2014.indb 172 9/24/14 1:33 AM Jules Allen’s black marching band series pays tribute to the dignity and lasting legacy of black culture. It is a lens focused on the role that artists play in inspiring social change, in remembering and reecting on human struggle and achievement. e photographs challenge our assumptions about what we see in a mutating landscape. is series reveals to us the powerful ways in which black marching bands oer us all a critical opportunity to invest new information and imagine new potential. e bands build community solidarity, identity and yearning as revelation, as investment, and as construction. n BLACK RENAISSANCE NOIRE 173 BRN-FALL-2014.indb 173 9/24/14 1:33 AM.
Recommended publications
  • 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.
    [Show full text]
  • Allison Adelle Hedge Coke Selected Resume Advanced
    ALLISON ADELLE HEDGE COKE www.allisonhedgecoke.com www.hedgecoke.com www.rdkla.com www.reddustfilm.com [email protected] [email protected] 405.888.1574 SELECTED RESUME ADVANCED DEGREES/EDUCATION DEGREES IN LITERARY FIELD Vermont College / Norwich University •Postgraduate, Nonfiction/Creative Nonfiction, Merit Scholar, Completed December 1995 •MFAW, Poetry (Fiction), Merit Scholar, (Terminal) MFA Degree July 1995 (Creative and Critical Theses. Critical, a pedagogical paper on teaching creative writing in a cultural setting. Creative, manuscript of original work.) Institute for American Indian Arts •AFAW Creative Writing, Departmental Awards, Naropa Prize, Red Elk Scholarship, Edited two student anthologies: Voices of Thunder and It’s Not Quiet Anymore, (Creative Writing, Sculpture, Native American Studies Courses) Graduated 1993 •Note: Bachelor’s Degree waived upon graduate school acceptance, based upon GRE scores, publications, Professional Performing Arts graduation equivalent, and demonstrated excellence. ADDITIONAL ADVANCED EDUCATION Naropa University •MFA Program Summer Award Fellowships (2), Poetry/Fiction, Naropa Poetry Prize 1992-1993 Fellowship with Allen Ginsberg & Naropa Summer Faculty and Zora Neale Hurston Scholarship Estelle Harmon’s Actors’ Workshop •Professional Performing Arts (Graduated four year professional arts program, BFA equivalent, Performance in Stage, Television, Screen; Script, Directing, Dialects, Period Portrayal, Psychology of the Actor/Character, Camera and Stage Tech) Graduated PPADC 1988 Poverty
    [Show full text]
  • The Newsletter of the Creative Writing Program at the University of Houston
    The Newsletter of the Creative Writing Program at the University of Houston WWW.UH.EDU/CWP John Antel Dean, CLASS Wyman Herendeen English Dept. Chair j. Kastely CWP Director Kathy Smathers Assistant Director Maria Martinez Program Coordinator Glenn Blake Alumni Coordinator Undergraduate Advisor 713.743.3015 [email protected] 2004-2005 Edition Every effort has been made to include faculty, students, and alumni news. Items not included will be published in the next edition. From the Director... The academic year 2004/2005 was a particularly full one. We welcomed Claudia Rankine to the faculty; we participated in the inaugural course for the new Cynthia Woods Mitchell Center for Col- laboration among the Arts; and on April 16, 2005, we hosted a celebration of the UH Creative Writ- ing Program’s 25th anniversary. This year we will welcome Kimiko Hahn to the poetry faculty and welcome Patricia Powell in the Fall and Peter Turchi in the Spring as visiting professors of fiction. And 19 new students will join the program: 10 in poetry; 8 in fiction, and 1 in non-fiction. In 2005/2006 we will address the undergraduate concentration in Creative Writing; we will work with the Graduate Studies Program to reform our graduate programs; and we will continue our ef- forts to build a strong and effective alumni association. It was especially gratifying in April to visit with alumni and former faculty. It allowed us the op- portunity to recognize the special contributions of some of our former faculty, to acknowledge people in the community who have generously supported the program over the years, and to ac- claim the achievements of our alumni.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • THEMATIC UNITS and Ever-Growing Digital Library Listing GRADES 9–12 THEMATIC UNITS
    THEMATIC UNITS and Ever-Growing Digital Library Listing GRADES 9–12 THEMATIC UNITS GRADE 9 AUTHOR GENRE StudySync®TV UNIT 1 | Divided We Fall: Why do we feel the need to belong? Writing Focus: Narrative Marigolds (SyncStart) Eugenia Collier Fiction The Necklace Guy de Maupassant Fiction Friday Night Lights H.G. Bissinger Informational Text Braving the Wilderness: The Quest for True Belonging and the Courage to Stand Alone Brene Brown Informational Text Why I Lied to Everyone in High School About Knowing Karate Jabeen Akhtar Informational Text St. Lucy’s Home for Girls Raised by Wolves Karen Russell Fiction Sure You Can Ask Me a Personal Question Diane Burns Poetry Angela’s Ashes: A Memoir Frank McCourt Informational Text Welcome to America Sara Abou Rashed Poetry I Have a Dream Martin Luther King, Jr. Argumentative Text The Future in My Arms Edwidge Danticat Informational Text UNIT 2 | The Call to Adventure: What will you learn on your journey? Writing Focus: Informational Stopping by Woods on a Snowy Evening Robert Frost Poetry 12 (from ‘Gitanjali’) Rabindranath Tagore Poetry The Journey Mary Oliver Poetry Leon Bridges On Overcoming Childhood Isolation and Finding His Voice: ‘You Can’t Teach Soul’ Jeff Weiss Informational Text Highest Duty: My Search for What Really Matters Chesley Sullenberger Informational Text Bessie Coleman: Woman Who ‘dared to dream’ Made Aviation History U.S. Airforce Informational Text Volar Judith Ortiz Cofer Fiction Wild: From Lost to Found on the Pacific Crest Trail Cheryl Strayed Informational Text The Art
    [Show full text]
  • Transcultural Intertextuality: Reading Asian North American Poetry
    TRANSCULTURAL INTERTEXTUALITY: READING ASIAN NORTH AMERICAN POETRY by Xiwen Mai A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2010 Doctoral Committee: Associate Professor Susan Y. Najita, Chair Professor Laurence Goldstein Professor Shuen-Fu Lin Associate Professor Sarita See © Xiwen Mai 2010 To My Parents ii Acknowledgements This project would not have been possible without the unwavering support, encouragement, and advice of my dissertation committee. My greatest intellectual debt is to Professor Susan Najita, the chair of my committee. She has not only ushered me through every step of graduate school—from the coursework of the very first semester to the completion of this dissertation—but also challenged me to think deeply about my position as a critic. Her incisive questions and invaluable comments on every draft of my chapters have sharpened my thinking and made this project a better one. Professor Laurence Goldstein has been a thoughtful and thorough reader whose passion for both studying and writing poetry inspires me. For his generous investment in this project‘s development, I owe him more than I can say. I am also fortunate to have Professor Sarita See as a committee member. It was during her seminar on Asian American literary criticism that the thought of studying Asian North American poetry first occurred to me. Our numerous conversations ever since have always brought me a renewed sense of purpose. For her wonderful humor and energy, I will always be grateful. Professor Shuen-Fu Lin has been a great source of inspiration for me as well with his vast and profound knowledge of poetry in both English and Chinese.
    [Show full text]
  • Annual Report 2008-2009 INTRODUCTION
    annual report 2008-2009 INTRODUCTION WE’RE PLEASED TO REPORT that despite a very challenging economic environment, Poets & Writers was able not only to maintain, but to improve and expand, its programs during the year ending June 30, 2009. Last year, we published six issues of Poets & Writers Magazine, which included special sections on independent presses, MFA programs, literary magazines, and writers retreats. We were especially proud to continue Agents & Editors, a highly popular fea- ture, which presented interviews with a number of top publishing professionals. We also launched Bullseye, a column that offers invaluable advice from literary magazine editors on submitting work to their journals. Circulation to the magazine remained steady at 55,000, and advertising revenue grew to over $1.2 million. Traffic to our Web site grew as well, to over 80,000 unique visitors per month. We continued to add new features to pw.org throughout the year, including Writers Recommend, in which authors talk about the books and art that inspire them to write. The site’s Speakeasy Message Forum continued to be a popular destination for authors to exchange advice and information on top- ics ranging from poetry contests to book contracts. And our databases of literary magazines and small presses received a high volume of visits from writers looking for places to submit their work. Our Information Services staff continued to provide a personal response to hundreds of e-mail and phone queries from writers, and we were pleased to be able to continue to offer this service free-of-charge. Staff also reviewed and approved applications from over 500 writers applying for listing in our Directory of Writers, which now includes over 8,000 poets, fiction writers, and creative nonfiction authors.
    [Show full text]
  • Schedule of Events
    Schedule of Events Wednesday, February 28 Thursday, March 1 12:00 Noon–7:00 PM 8:00 AM–5:00 PM W100. Conference Registration. R100. Conference Registration. T h u r s d a y , Lobby Level Lobby Level Attendees who have registered in advance may pick up their reg- Attendees who have registered in advance may pick up their reg- istration materials throughout the day at AWP’s registration desk. istration materials throughout the day at AWP’s registration desk. On-site registration passes are available for purchase. On-site registration passes are available for purchase. 12:00 Noon–5:30 PM 8:30 AM–5:30 PM W101. Bookfair Setup. R101. Bookfair. Exhibit Hall, Lower Level Exhibit Hall, Lower Level The exhibit hall on the lower level of the Hilton Atlanta will be open for exhibitor setup. Only those wearing an exhibitor badge, 9:00–10:15 AM M a r c h 1 , or those accompanied by an individual wearing an exhibitor badge will be permitted inside the exhibit hall during setup hours. Book- R102. Evolution of a Writer: On Ekeing, Emerging, and Be- fair exhibitors are welcome to pick up their registration materials coming Established. in the registration area located on the lobby level of the Hilton (Matt Roberts, Steven Church, Adam Braver) Atlanta. Salon B, 2nd Floor How does one move from trying to eke out a place for themselves 5:00–6:30 PM in the pages of literary journals to the New York Times Bestseller List? This panel will address the professional development of writ- W102.
    [Show full text]
  • 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.
    [Show full text]
  • Graduate Courses in English 2021-22
    GGraduateraduate CCoursesourses iinn EEnglishnglish 22021-22021-22 Course Title FFallall WWinterinter SSpringpring Eng 403 Writers' Studies in Literature GGibbons,ibbons, Reginald TTretheweyrethewey, Natasha Fall: How to Work MMondayonday 110:00-1:000:00-1:00 WWednesdayednesday 22:00-5:00:00-5:00 Winter: Poetry & Creative Nonfi ction Eng 410 Introduction to Graduate Study FFeinsod,einsod, Harris Historicism Uses and Abuses MMondayonday 22:00-5:00:00-5:00 Eng 411 Studies in Poetry WWilson,ilson, Ivy Poetics of Dissolution (6) WWednesdayednesday 22:00-5:00:00-5:00 Eng 422 Studies in Medieval Literature PPhillipshillips, Susie Chaucer (1) TThursdayhursday 22:00-5:00:00-5:00 Eng 434 Studies in Shakespeare & Early Drama MMastenasten, Jeffrey Early Modern Sexualities (2) WWednesdayednesday 22:00-5:00:00-5:00 Eng 441 Studies in 18th-Century Literature TThompson,hompson, Helen WWolffolff, Tristram Fall: Realism/Antirealism (3) TTuesdayuesday 22:00-5:00:00-5:00 TTuesdayuesday 22:00-5:00:00-5:00 Winter: Green Materialisms (7) Eng 455 Studies in Victorian Literature JJohnsonohnson, Rebecca Literatures of the Global 19th Century: The Nahda (4 or 5) TTuesdayuesday 22:00-5:00:00-5:00 Eng 461 Studies in Contemporary Literature MMannann, Justin sec 20 Black Speculative Fiction and the Black Radical Imagination (7) MMondayonday 22:00-5:00:00-5:00 Eng 461 Studies in Contemporary Literature GGottliebottlieb, Susannah sec 21 Hannah Arendt: Poetry, Politics & Thought (5 or 7) TThursdayhursday 22:00-5:00:00-5:00 Eng 465 Studies in Colonial and Postcolonial
    [Show full text]