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Quare Poetics: Black Maternity and the Arc of Protest in the African American Elegiac Tradition

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Quare Poetics: Black Maternity and the Arc of Protest in the African American Elegiac Tradition QUARE POETICS: BLACK MATERNITY AND THE ARC OF PROTEST IN THE AFRICAN AMERICAN ELEGIAC TRADITION Leroy Lamar Wilson A dissertation submitted to the faculty at 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 (African American and Multiethnic American Poetics). Chapel Hill 2018 Approved by: Neel Ahuja GerShun Avilez James Coleman Fred Moten Ruth Salvaggio © 2018 Leroy Lamar Wilson ALL RIGHTS RESERVED ii ABSTRACT Leroy Lamar Wilson: Quare Poetics: Black Maternity and the Arc of Protest in the African American Elegiac Tradition (Under the direction of Drs. GerShun Avilez and Neel Ahuja) Quare Poetics argues that the African American elegiac tradition, often read through the surface valence of mourning, in fact, springs from writers’ resistance against their blackness serving as the prototypical marker of outsiderness, which a cadre of scholars have named queerness. This study draws upon the self-affirming exceptionality of the quare—a nominalism coined in the landmark text, Black Queer Studies (2005)—to propose a different natal lens for African American protest: the black maternal voice synonymous with the advent of African American literature and the American songbook. New epistemes eschewing the sexual identity politics and white and black male phallocentrism that shape most queer scholarship emerge as Quare Poetics focalizes on black women’s voices in canonical and forgotten African American elegiac texts from the mid-eighteenth century to the dawn of the Black Arts Movement. Historicizing the etymological importance of quare in African American poetics makes room for this dissertation to examine, one by one, the lyrics and lyricism of the protest tradition’s mothers and some of their literary daughters and sons. Covering more than 260 years of African American literature, Quare Poetics maps the ways that black women personae’s sexual and gender transgressions serve as insightful catalysts of dissent in the aftermath of chattel slavery and its cruel descendant, Jim Crow, throughout the global South. African American elegists make palpable the experiences that mark black women as forebears of a multiethnic American consciousness, complicating the relationship that their progeny, conceived under duress at best iii and by force at worst, have with their sexualities and what Hortense Spillers calls “the power of ‘yes’ to the female within” (Diacritics 17:2, 80). Two centuries before African American men such as Richard Wright and his scions foregrounded the black male psyche and its rage, Lucy Terry Prince and Phillis Wheatley Peters at once affirmed Puritanism and challenged its racist fictions about blackness. Like them, the nameless harbingers of the Negro Spirituals torqued Judeo-Christian narratives of slavery and oppression in poems of traditional meter and rhyme to create the African American blues aesthetic. Alice Moore Dunbar Nelson and Jean Toomer blended that aesthetic with a modernist, surrealist free verse that gave an unblinking view of the misogynoir that undergirded the sexual exploitation of the poorest women in the Reconstruction era in urban centers and the Deep South. Bob Kaufman and Nina Simone took that surrealist lens on black maternity to its multigeneric zenith and reframed the African American migration narrative, setting the stage for the gender- blending, racial hybridity, and sexual fluidity that countered a contemporaneous project to make “Black Art,” rooted in a charge to make “poems that kill … the nigger.” Quare Poetics culminates with a dissection of the homophobia and misogynoir that led Amiri Baraka to distance himself in that poem from the feminized, homosexual personae he fashioned as LeRoi Jones by parsing his troubled relationship to the black maternal, and it takes a glimpse into the oeuvre of recent U.S. Poet Laureate Natasha Trethewey, who exposes the fault lines in the “Black Art” project and heralds a quare futurity that is transforming the landscape of American poetics in this century. From the moment Terry Prince and Wheatley Peters exposed the mendacity of Christendom’s racist abjections onto indigenous Americans and Africans bearing the alleged “mark of Cain,” they posed the question Quare Poetics tackles: How does one love the “nigger,” the motherless child, the diasporic/multiracial Other, within? iv For Noretha Long Wilson, Edell Williams Barnes Smith, and other foremothers I never met, for Mary Elizabeth “MaMary” Long Wilson, the mother who raised Leroy Ebenezer Wilson Jr. and Annell Smith Wilson, guardian angels on Earth for me and so many, and for all God’s children, especially “the kids” v ACKNOWLEDGMENTS My committee members, past and present, have been patient and encouraging every step of this eight-year journey. Much gratitude goes to my directors, Drs. GerShun Avilez and Neel Ahuja, and Drs. James Coleman, Rebecka Rutledge Fisher, Minrose Gwin, Karla F. C. Holloway, Fred Moten, and Ruth Salvaggio. Even as your lives have taken you across the country and back, you have raised insightful questions to ensure this ambitious project doesn’t founder from cracks in its foundation and pocks in its arguments. I’ve had other amazing mentor- friends in my corner dating to my earliest encounters with African American literature. Drs. Genyne Boston, Mary Kemp Davis, Emma Dawson, and Beulah Hemmingway (FAMU); Gena Chandler-Smith, Virginia Fowler, and Nikki Giovanni (Virginia Tech); and Trudier Harris (The University of Alabama) have encouraged me as I traversed dark corridors and thorny terrain on the path to this plateau. You’re all the best; here’s praying this apple doesn’t land far away! To the intellectual giants on whose shoulders I stand, which includes far too many ancestors and senior scholars to name outside this dissertation’s citations, I owe my quest for integrity and rigor in every sentence to that which your work models. To Drs. Joshua Bennett, Duriel E. Harris, Meta DuEwa Jones, Keith Leonard, and their editing staffs, thank you for publishing parts of Chapters Three and Four of this dissertation in recent or forthcoming issues of Callaloo and Obsidian. To Anaré V. Holmes, Omilaju Miranda, and Drs. Destiny Birdsong, La Marr Jurelle Bruce, Lauren Cardon, Jameela Dallis, Joanne Gabbin, Wiljeana Glover, Hilary Green, Sharon P. Holland, Tracey R. Hucks, Cajetan Iheka, E. Patrick Johnson, Bettina Judd, vi Donika Kelly, Utz McKnight, Marie-Eve Monette, Mairin Odle, Jessy Ohl, Adra Raine, Robert Earl Randolph Jr., Riché Richardson, Sheryl McGriff Roulhac, Evie Shockley, Rachel Stevens, Cassander L. Smith, and Alex Weheliye, you’ve listened intently to my ever-evolving ideas— and the challenges of sorting them out—from this dissertation’s infancy to its defense. I’m eternally grateful. Dearest Randall Kenan, thank you for fine dining, hearty, irreverent laughter, and embraces of agape brotherhood. I hold memories we’ve shared very close when doubt and despair threaten to distract me. Gabrielle Calvocoressi and Alan Shapiro, it’s been great having fellow poets down the hall and up the street, sending love as only poets can. To my Affrilachian, Callaloo, Cave Canem, Hurston Wright, and Watering Hole kin, I see you. My profound appreciation also goes to the administration at Davidson College and The University of Alabama and the Institute for Minority Excellence and Graduate School at UNC-Chapel Hill for their generous support of research and conference travel throughout the United States and abroad, particularly Joel Brouwer and Drs. Shireen Campbell, Leslie Lerea, Hoi Ning Ngai, Robert Olin, Carol Quillen, Wendy Raymond, Roger Sidje, Kathy Wood, and Zoran Kuzmanovich. And the last shall be first, always, in my heart. Here, then, I honor my parents and dearly departed grandmother, great-aunt, maternal aunt, and mentor: Leroy E. Wilson Jr., Annell Smith Wilson, and the late Mary E. Long Wilson, Eldorado Long Smith, Margaret Smith Ledbetter, and the Honorable Judge Roy L. Roulhac. You have remained my most fierce, loyal cheerleaders here and Over There. When others count me out or act as if I’m a corpse they must inspect on occasion as a curiosity, you help me piece together life’s shards and demonstrate just how invigorated my blood and imagination remain. Any good I do on this side of forever, I aim chiefly to make you proud of your investment. To my beloved sister by blood, Twana R. Wilson McDaniel, and my prayer-warrior sisters in the Spirit, Carina Callier Brown, Katti Gray, Twyla vii Roulhac, and the late Regina Tyren Stone, you’ve created safe spaces for me to muse when I’ve all but given up on the possibility of completing this project. T, you opened your home in the summer of 2016 and checked in daily this past summer to make sure I was staying on task in my Montmartre perch, my carrel at La Biblotechque Nationale de France, and various sites in Atlanta and Birmingham, where final edits coalesced. I thank my other blood and soul siblings, too, for their well wishes along the way. Finally, I honor the Ones with So Many Names and all Their ambassadors, the Yahweh, Jehovah God, and Jesus of the Jews and Christians who raised me and the Supreme Beings my ancestors knew before they arrived on U.S. shores. I owe special gratitude to Babalú Ayé, who has helped me carry my many afflictions, and Olokun, who holds the secrets so many African bones in the bottom of the world’s ever-shrinking oceans and seas hold. May they drink until we thirst
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