10 10 650 https://digitallis.isg.siue.edu/files/original/5271182e76188c156db6bfb1054c0e30.pdf e5be06a1c82d778c250de2266ab2c60f PDF Text Text l DRUMVOICINGS: THE MISSIO N OF BLACK POETRY (overview-outline) by Eugene B. Redmond This book is designed as a general and handy reference to augment courses in Black Poetry/Litera ture and t o co mplement related areas of study including American Literature, Black Studies, African Literature, Th ird World Literature, American Poetry, English Poetry, Humanities, English Poetry, Music, History, etc. Additionally, it is prepared with community-oriented persons in mind: Those desiring to develop writing or literature clubs, Black History study groups, poetry societies, theatrical companies, forensic and sp eech workshops, special symposia and semina~s for community gatherings or to cormnemorate an impo r t ant event or person. �DRU11VOICES: THE IvTISSION OF BLA.CK POETRY (ov~rview-outline) by Redmond ~ugene B. / / This book is designed as a general handy refer:ance /and to aug'--- .. .. ment courses in B}ac~Poetry(or Black Literature). It"' can also com- ,, plement relate_¢( ar~JiS of tudy: AmE:lrican Literature, Black ~tudies, !frican Literaturt or Third w~qrld Literature, American Poetry, Human;li'.es, "nglish Po try, Music, History, etc. Additionally, it is prepared wi develop community-oriented I iting or literature cl irsons in mind: Those desiring to History study groups, poetry societies, theatrical c workshops and semi- nars for community gathering an ·mportant event Outline I. Introduction(including problems, range, Black identity, needs, etc.J II A cursory critical introduction to Black Poet (including an outline o t .e chronological developmen; a discussion of trends, structure, major subject matter and meaning; a running account of the literary/ social background of major periods; and brief critical reactions to major poets of each period.) I j I I III. The Dynamics of Black Poetry: Reeding and Riting A. Detailed discussion of meanin an0 form, with emphasis on reading the poetry silently and aloud i.e.,staging or dramatizing) B. Commentary/explication using a representative selection of poems(i.e., songs, sayings, oral epics, etc) to reinforce theories and statements already advanced. C IV. v. Suggested exercises for school, home, church, cultural festivals (including a list of recording artists and orators whose works can be looked at in conjunction with the literary poetry) Appendix(including questions, topics, themes, approaches and other suggestions -) Selected Bibliography(including a note on specific prohJefls f , cod by per ons looking into Black Poetry and the B ck ~xperience. I I I I j I I �i ~!rF fv OIC ES p. 2 NOTE: This handbook is intended to establish some critical framework and methodology for looking a~9flood of Black Poetry that resulted from the new renaissance of the sixties and seventies. But the over-riding thesis is that the new poetry cannot be understood unless it is seen a gainst the long tradition of Black writing and culture in general. Of all the cultural components, poetry is the most popular and the one most often used to convey the diverse messages and emotions. And a handy guide to Black Poetry-in view of the countless anthologies and single collections, and high interest in the subject--is top priority among teachers, stud- ents, drama people and casual readers/lovers of poetry. �I I II .\ _ 'DRUt•NOICES p . 2 NOTE: This h andbook is intended to establish some critical framework and methodology for looking at?f1ood of Black Poetry that resulted from the new renaissance of the sixties and seventies. But the over-ridin g thesis is that :the new poetry cannot be understood unless it is seen against the long tradition of Black writing and culture in general. Of all the cultural components, poe t ry i s the most popular and the one most often used to convey the diverse messages and emotions. And a handy guide to Black Poetry-in view of the countle s s anthologies and single collections, and high interest in the subject--is top priority among teachers, stud- ents, drama people and casual readers/lovers of poetry. J �DRUMVOICINGS: THE MISSION OF BLACK POETRY Table of Gontents I 1. Introduction Folk Poeti-y a. o '"""S'eculars(incluAin chronolo~·~ 1 development) b ;;;;piri tuals (including dev lonm nt. of rP1igious music) I, • Liter ry Poetry a. Early Black Poetry and the Plantation Tradition b. The Dunb Era c. New TrAnds and Defiance d. Blrck Poets of the Harlem Henaissance e. Back Poets of the Post-Renaissance Period(through WWII & Korea) f Contemporary Black Poets and the Black Arts Movement(and beyond) ~xploring Black Poetry: Form and Meaning a The dynamics of reading/reciting Black Poetry b. Use of Black Poetry in Ritual Drama 5 Appendix a. Questions b. Topics c. Themes d. Approaches e. Suggestions 6 Sel~cte~ibliography a. 7:IToliography b. Notes on specif'ic problems faced by those looking into Black Poetry or the Black ~xperience ·' � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_14 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, overview-outline Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/165cec22e0561fed86c6c0510d019be9.pdf b9bcab0f29607c2577c131a5e0a1b620 PDF Text Text \ DRUMVOICINGS: THE MISSION OF BLACK POETRY (overview-outline) bY,_,, ~ugene · a. · ~edmond This book is designed as a general and handy reference to augment courses in Black Poetry/Literature and to complement related areas or ' study including American Literature, Black $tudies, African Literature, Third World Literature, American Poetry, English Poetry, .Humanities, Engl i sh Poe t ry, Music, History, etc. Additionally, it is prepared with con:rrnuni ty-oriented p ersons in mind: Those desiring to devel op writing or literature clubs, Black History study groups, poetry societies, theatrical companies, forensic and sp eech workshops, s pecial symposia and seminaDs for community gatherings or to commemorate an import Bnt event or person. Outline I. Introduction(including problems, range, Black identity, n ee ds, etc.') II. cri tica.l introduction to Black Poet (including an ou tline o e c rono ogical developmen; ad scussion of tren ds , st r uc ture , major subject matter and meaning; a running account of t h e l ite rary/ social background of major periods; ann brief cri ti cal r ea c tion s to major po ets of each period.) III. The Dynamics of Black Poetry: Reeding and Riting A. Detailed discussion of meani n g an0 f orm, with emphas is on r ea di ng the poetry silently and aloudJi.e.,staging or dramatizing ) · .,,. B. Commentary/explication using a. representative selection of poems(i.e., songs, sayings, oral epics, etc) to reinfo rce theories and statements already advanced. c. Suggested exercises for school, home, church, cultural fe s ti vals (including a list of recording artists and orators who s A works can be looked a.tin conjunction with the literary poe t r y ) IV. Appendix(including questions, topics, themes, approaches an d o rh er suge;estions) V. Selected Bi bliography(includi ng a note on spec:i. fi c prob] er1!:' '1 cu1 by persons Jooking into Black Poetry and the F ,.., c k .c.xpe r i ence . �NOTE: This h andbook is intended to establish some critical framework and methodology for looking a~?flood of Black Poetry that resulted from the new renaissance of the sixties and seventies. But the over-ricting thesis is that the new poetry cannot be understood unless it is seen against the long tradition of Black writing Rnd culture in general. Of all the cultural components, poetry is the most popular and the one most often used to convey the diverse messages and emotions. And a handy guide to Black Poetry-in vi ew of the countless anthologies and single collections, and high interest in the subject--is top priority among teachers, stud- . ents, drama people and casual readers/lovers of poetry. �DRUMVOICINGS: THB MISSION OF BLACK PO E'rRY Tabl e of ~ontents 1. I ntroduction 2. , Folk PoetQ: a. Fo lk ~eculars(including chronological development) b. ~pirituals(inoluding develo pment of religious music) ., Li te rary Poetra 1 a.. Early Back Poetry and the Plantation 'l radi tion b. The Dunb a r Era c . New Trends and Defiance d . Bl a ck Po ets of the Harlem Henaissance e . Black Poets of the Post-rlenaissanoe Periodtthrough WWI I & Korea) f. Cont emporary Black Poe t s nnd the Black Arts Movement(and beyond) ~xploring Bla ck Po e try: Fo~ and Meaning a . The dynamics of r eRalng/reci ting Bla ck Poetry b. Us e of Black Poe try in rlitual Drama Appendix a. Que s t i 0ns h. To pics c. Themes d. Appro a ches e. Suggestions 6. Sel ected Bi blio e;raphy , a. Bibl iography b. Not e s on ·s p ecific problems faced by thos e loo kin g i n t o Black Poetry or the Black .l!;xpe ri ence I I I I I I I I I I I I I I I . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_15 Title A name given to the resource Copy of Drumvoices: The Mission of Afro-American Poetry: A Critical History, overview-outline Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/62bc4de175ed9d95772e97f2590d645f.pdf 36611c2cbaf7b702c752523b9bc4cd27 PDF Text Text ACKNOWLEDGMENTS Many thanks are due the following poets, editors, publishers and survivors of poets for use of cited material. for each selection. All efforts have been made to secure the proper pennission However, if some of the selections are not prope r ly acknowledged, please' contact Doubleday &·Company, Inc., in order to clarify the situation. 1lA, ~ L~m-f¼l'C 1'_ ,l:tn,d s Al QXiRder for 1i nes from "Nocturne Vari a ~Je,~ r copyright Cc) 1949 , 1970.1 by An-n a L. Thomps on. Company, Inc. v1 /'1i,~~) /(rom The Poetry of the Neg ro, Published by Doubleday & Reprinted by permission of Mrs. Ann a L. Thompson. Margaret Wa lker Ale xander for lines from "Bad- Man S agolee," "Fo r My Peopl e:'' "Pappa Chicken ," "The St ruggl e Stagg ers Us," an d 11 \fo Have bee n Beli ever s 11 from For My Peopl e , copyrigh t © l 942 by Margare t Wa l ker and Yale Uni versity Press. Reprinted by ermis sion of Marga re t Ha l ke r Al exand er . J. Mo rd All en for li nes f rom "The Psa lms of Uplif t . :, " from ~ gro Poets and The i r Poems, edited by Robert Thoma s Kerlin. Associated Publishers, Inc. Copyri ght (f.)1923, 1935 by thi: = Reprinted by permission of the Associated Publishers, Inc. - 5J,,11.:t'l All\-'.Yt. Samuel Allen (Paul Vesey) for lines from "To Satch, 11 copyright@l962 by im~ t J:f1l1:.- Reprinted by pennission of Samuel Allen (Paul Vesey) . . . .· �11 Russell Atkins for lines from . At War:r 11r which first appeared in American Weave, • copyright© 1962 by Russell Atkins, and "Irritable Song" which first appeared I in Naked Ear, copyright© 1958 ' by Russell Atkins. Reprinted by permission of the author. Imamu Amiri Baraka for line,s from "Black Art," "Black People., 11 "leroy," and V 11 Sterl i ng Street September 11 from Black Magic: J © 1969 by LeRoi Jones. ~ • 1 Poetry 1961 1967, copyright Reprinted by permission of the publisher, The Bobbs- Merril 1 Company, Inc.· Austin Black for 11 ASEXUAl FLIGH~ 11 from The Tornado in My Mouth: Black, co pyright© 1966 by Austfn Black. Poems by Au st in Reprinted by permission of Expositi on Press, Inc., Hicksvil)e, ~Yr, 11801. Arrw Bontemps fo r li,es fro~ "Golgo tha is. ·nountain/ from Personals, copy .... ight © 1963 by Arna Bonttmps.<· Reprinted by permission of Ha ro ld Ober Associates. t / Gwendolyn Brooks fo; lines fr~n "The· Anniad, 11 "The Ballad of Rudolph Reed, 11 ~V\ ~ ~'tb L\ .n... · ~ t'a.e>!.t\ v.=f!Ul~use't- verly Hills, Chicago," 11 the children of the poor," 11 0f De W1ll lilliamsA , ''d~N>t'beo.~~ 0-~ no," "The Last Quatrain of the Ballad of Emmett T111," ) ·:: .. l "Negro Hero," "The Preacher: "we c::;;:::::r --- Ruminations Behind the Sermon, 11 and all of Real Cool, 11 fro~ _The World of Gwendolyn Brooks, copyright@l971 by ~u~.., ,~t ,. -- - Gwendolyn Brooks ;/' Langston Hughes, 11 11 Ri ders to the Blood-Red \-lrat~11 and "Of Robert Frost/ from Selected Poems., by Gwendolyn Brooks, copyright@) 1963 by Gwendolyn Brooks. Reprinted by permissi on of Harper 2 & Row, �Publishers, Inc.; for lines from "Speech to the Young/ ' from Family Pictures, copyright@l970 by Gwe ndolyn Broo ks Blakl ey. Reprinted ·by pennission of Broadside Press. Sterling Brown for lines from "Memphis Blue~" from Southern Ro ad, Beacon Press c~pyright@l975, and."Old Lem," copyrig ht@l975 by Ste rling Brown. rep;.tnf Used by permission of Sterling Brown. Benjami n nurre ll for li nes from 11 ·A Negro Mothei: " from Negro Poe ts and The i r Poems, ed ited by Ro bert Thomas Ker li n, copy r i gh t {!} 1923, 193~ by The Associated Publishers , inc . / Repr in te d by perm i s sion of The Associ ated Publishers , Inc. Ma rc us B. Christi an for l i ne s from "McDonogh Day in New Or l eans " from The .J - Poetry o_f__the Ne<1rQ_, copyright© 1949 by Langsto n Hugh es and Ar na Bon t emp . Co pyri ghtr; 1970 by Arr,a Bon t ernps . Rep rin ted by permi ss 1on of Doubl eday &Compa ny, Inc . . , 11 Lutille Clifton for lines from "Lately" and - Mary 11 from Good News About the '} Earth, copyright@l972 by Lucille Clifton, and "God's MoodJ' from An Ordinary Woman, copyright©l974 by Lucille Clifton. , ;i Reprinted by per- mission of Random House, Inc. I Sam Cornish for 11nes from "Middlecl ass Girls with crippled fing ers waiti ng fo r me to light t he1r ci garette~" fr om Peop l e Bene ath the ~/indow, copyrig ht@ 3 ' I �. ... 1968 by Sam Cornish. Published by Sacco Publishers. Reprinted by permission of the author. Jayne Cortez for lines from "Festivals and Funeral~" from Festivals and Funeral s , copyright©l971 by Jayne Cortez. Reprinted by pe nni ssion of the au tho r. Joseph Seamon Cotter, Sr.J for lines from "The Don't Care Negro: Chil d/ and Joseph Seamon Cotter, J r .0 for li nes fr om "Rain 11 and "The Negro MusicJ " fr om Negro Poets and Their Poems, edited by Robe rt Thoma s Ker li n. Copyr i ght © 1923, 193~ by The Associated Publis he rs , Inc. Reprin ted by permiss i on of The Associ ated Pub lis hers~ A~D Countee Cull en 1or li nes from "Heritage ," "Scottsboro , Too , Is l~ort and "Ye Do I Ma r ve1" f rom On The se I St nd . Haq,~r f.i Re,, , Pub li shers , Inc . Its Song," Copy rig ht(s)l 927, 195 5J by Reprinted by perm i s:; ion of Harper & Rov:, ...... . • Publ ishers , Inc. Waring Cuney for lines from "Hard Times" and "No Images II from Storefront Church , J , .., copyright©l973 by Waring Cuney. ·· Reprinted by permission of Waring Cuney. James Cunningham for lines from "St. Jul1en's Eve: __ For Dennis Cross 11 from Jwnp Bad, edited by Gwenqloyn Brooks. :·· · ,: ·.·· Copyr1ght©l971 by Bro: dside Press: :- ) ~:~)'.>< Reprinted by permission of Broadside Press. 4 �Wa.lter Delegall for lines from "Psalms for Sonny Rollin~" from Burning Spear,; An Anthology of Afro-Saxon Poetry. copyright©1963 by the Dasein Literary µ I. Society. Reprinted by permission of Jupiter Hammon Press of Oasein Literary /) Society. Alexis Deveaux for lines from Spirits in the Streets, copyright ~ l973 by Alexis Deveaux. Reprinted by permission of Doubleday & Company, Inc. Charles Dinkins for lines from ·11 1nvocation 11 from Negro Poetry and Drama, J _copyright (§.)1969 by Sterling Brown. Reprinted by permission of Atheneum . Owen Dodson for lines from "Countee Cu11en, 11 Divine Comedy. 11 Guitv.r , 11 "Jonathan 's Song, 11 "Lament, " "Open Letter" and Poems for My Brother Kenneth from Powerful "I long Ladder, copyrigh t© 1946 by Owen Dodson') ~ copyrig ht@ renev,e d 1974 by . ~C"'--' Owen Dodson" r?~ printed by pE:rmission of Farrz.r, Strau & Giroux, . Inc .\ l ines 1\-,t~ f rom "The Co nfess-ion Stone/' "Let me rock him again in my trembling ann, " 11 t·lary Pass ed This Morning; • from The Confession Stone yolume 13 in the Heritage Seri es, published by Paul Breme~, London, 1970. Copyrig ht© 1970 and : •I: .' .~ • 'r.· ,-' ·, r ~ :(. ~( by Owen Dodso~ Reprinted by pennission of Owen Dodson. . .. ( ~ , ·· ' J •. · ,•· • ...:!?,.~ ... - ~.'.:;.e ~,·: '.i, .. :~ . . • W.E.B. D o1 s for lines from "A Litany of Atlanta, D Bois, and 11 11 copyr1 ght © 1906 by H.E. B. ••• of Unc1 e Tom's Cabin, copyright© 1920 by W. E. B. oupoi s ;~i nes from "Song of Mrs. Shirley Graham OtBois. 5 Reprinted by pennission of • ·•. ~ ~ . . .4 t -.~ ) :. ; .. ~ •.._ ·.... -,.·.'<'.' :- \~ l Hymn of Hate/ ' from Darkwater: ,. ,The Twentieth Century Completion . the Smoke," copyright01899 by W.E.B. D Bois. • ; :· - . : _· · ;,;:· :1\ �Henry Dumas for "I Laugh Talk Joke" and lines from Jackharm1er," "Ngoma, 11 11 "Play Ebony Play Ivory," "Rite," "Root Song~' and "A Song of Flesh," from Play Ebony Play Ivory, copyright{s.)1974 by Loretta Dumas and edited by Eugene B. Redmond. Reprinted by pennission of Random House, Inc. Alice Dunbar-Nelson for li~es from "The Lights at Carney's Poin r from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. 1_93 1 by The Ass ociated Publi _shers, Inc. Reprinted by Copyright€}1923, pennission of The Associated Publishers, Inc. Ray D-urem for "Broadminded" from Take No Prisoners, volume 17 in the Heritage Series, published by Paul Bremen Limited, London, 1971. by Dorothy Durem . Reprinted by permission of Paul Bremen Limited. t,3.ri Evi,nS for 1·llws from 11 in10 Can Black Loman, copyright@1970 1970. s·. Reprinted Copyr ight@ l971 by 1 e Born Bluck" and by 11 Th e Reb Mari Evans and p blished )r from I _Am.}.. by Hi111am Morrm-1, permission of Mari Evans. Felton (Elmer Buford) for lines from "An Elegy to Eternit~" from Conclusions, copyright(f.)1971 by B. Felton and reprinted by pennission of the author. . Julia Fields for lines from "Aardvar~' from Nine Black Poets, edited by R. Baird ' Shuma11-a-tttJ- copyr1 ght -J © 1968 by Moore Publishing Company. Used by permission of Moore Publishing Company, P.O. Box 3143, West Durham Station, Durham, N.C. 27705. 6 ' .-· . ._ • • 1"', '· �Shennan Fowler for lines from 11 Thinking 11 from Sides of the River: _, A Mini-Anthology 1 of Black Writing, edited and copyright©1969 by Eugene Redmond. Reprinted by pennission of Black River Writers Press. Nikki Giovanni for lines from ••concerning One Responsibl e Negro with Too Much , Power, 11 c~/i i-t 11 0f Liberatiot1,t' 11 Nikki-Rost1,'\ 1... The True Imp ort of th e r. r esent " Dialogue, Black vs. Negr~ 11 from Black Feeling, Bl ack Talk, Bl ack Judgement, (.,it~ ~ copyright© 1968, 19701 by ~.,i kki Giovan ni; ~ Africa/ f r om My House, copyri gh t @1972 by Nik ki Gi ovan ni. r<fe pri nted by penn issi on of Will i am Morrow & Co . , Inc. ~ Oswald Govan for lines fro m '.'The Lynching" f rom Burn i ng Spea r : 'J . '-' An Antho l ogy of Afro-S axon Poe t r'l_, copyright@1963 by t he Oas e in Lftera.ry Soci e ty . Repri nt ed by permi ss i on of J up i te r Hammon Press of, Dase1n Liter ary Soci ety. f1nge li n:1 Gri ; ~ f or i·i n~s from edited i.i nd copyri gil t (9 11 Th::? Bl a ck Fi n9e ~11 f rom ft.m~r ican t:2oro Poctrv 1 1963 by I ma Bonicrriµs . Re pr int ed by pe riiri ~s i on of , . Farr~r , St ra us &Gi roux, Inc . Michael S. Harper for lines from 11 Dear John, Dear Coltrane. 11 Reprinted from -;; Dear John, Dear Coltrane by Michael S. Harpe~ by pennission of ~University of Pittsburgh Press. Copyright@l970 by University of Pittsburgh Press. '.:. . , , _1 :· ···,, r. • ? '; ·, •,, , • • : l -.::· :·,. .:·:-:_ './ ··~/: /· John Wesley Hollaway for lines from 11 Calling the Doctor 11 and 11 Miss Merlerle~11 from From the Desert, copyright@l919 by John Wesley Hollaway. Reprinted in The Book of America n Neg ro Poet ry, edi ted by J ames We ldon Jo hns on . 7 , ' • y . . ! .. :,. ·". <c • .•· 1. �Co pyrigh t @1922 , 1931 by Harcourt, Brace & World , Inc. Copyright(91950 , 1959 by Mrs. Grace Nail Johnson. · Source for reprint righ t s could not be found at publicat ion time . Lucy Ari el Willi ams Holl oway for lines f r om "Northboun ~' in The Boo k of Ame ric an '} Negro Poetry, copyr i g~t@1926 by Lucy Ariel Willi ams Holloway. Repr in te d by pennission of the Na tional Urban League . Langston Hugh es for l ines from 11 11 Mother to Son" and The Negro Speaks of Rivers/ from· Se1 ected Poems, copyright© 1954 by Langston Hughes ~ /e pri n te d by ~ ... pennis s ion of Random Hou se , Inc .; lines from . t th e Lash : 11 Har l em 11 J fr om The Panthe r and Poems of Our Times, copyright (9 1967 by La ngs ton Hughes" /epr i nted 11 by penniss~on of Random House, Inc .;~nes from "Ja zzoni~ from The We~ Bl ues , copyri gl1 t @ 1926 by Alfred A. Knopf, I nc ., and renev4ed by Langston Hugh s 1 fiµr in ted ·y permi ss·i c.1 n of J\l fred A. Knopf. Inc. Lance J effers for lines from 11 Bl ack Sou1 of the Land" and "My Blacknes s is th Beauty of this Lan~" fr om My Bl ackness is the Beauty of this land, copyright@l970 by Lance Jeffers. Reprinted by permission of Broadside Press. Charles Bertram Johnson for lines (no title given) from Negro Poets and Their Poems , edited by Robert Thomas Kerlin. Publishers, Inc. Copyright@l923, 193~ by The Associated Repri nted by pennission of The Associated Publishers, Inc. �Georgia Douglas Johnson for ·lines from "Dreams of the Dreame~ from Caroling Dusk, 11 edited by Countee Cullen. Copyright©l955 by Harper & Row, Publis·hers, I nc. Reprinted by pennission of Harper & Row,., Publishers, Inc. Helene Johnson for lines from "Magul~' from Caroling Dusk, edited by Countee Cullen. Copyright@~955 by Harper & Row, Publishers, Inc. Reprinted by pennission of Harper & Row, Publishers, Inc. ~ ,~ .,_ ..) 1 1i " " ~ for 1ines fr om "The Crea ti on" and "The Prodi ga 1 So n/ from God's Trombones by Jame s We l do n Jo hn so n, copyright 0 1927 by The Vi kin g Pre ss, Inc. Copyri ght@l 955 ren ewed by Gr ace Na i1 Johnson. A11 rights reserv ed. Reprinted by permission of The Viking Pr ess, Inc. Percy Johnston for li nes f rom Fitchet t ' s Baseme nt Bl ues , Opus 5" from Burning 11 I Soear : 5oci ety . An .t\nthol oav of f\fro - Sa:.on Po ~trv, copyri gh t (V l963 '.)y,. DJ5e i n Li te r ary Repri nt.1d by perm i ss iun of Jupit,..,r Ham:-non Press of Dusein Li terar/ ' I .t.:-• Soci ety . ..... • • j .' :,: \ ) ,t 1 ' • . .~rr·~ . I• ~ JI ',, ·. , ·"~-"' the publiihers, E.P . Dutton ·,:, ·: r:t~· Reprinted by penni ss ion of copyright €)1967 and 1971 by June Meyer Jordan. ..,. &Co.~ Inc. --- .;~w . ·•~ t <, ·· ,:r/.:·:,; _;".:i./-l-. '-! J\ Nonnan Jordan for lines from "High Art and all that Jazf from Destina,~Ashes, copyright ©1970 by Nonnan Jordan. i: ... -. . ,, . ' .,r•• , • ., ' J l :.k;. •. · . .· : 1"'~ ..... ~': ,'":' June Jordan for lines from "Uncle Bull-BoY." from Some Changes by June Jordan, · • _..{ .; "/ .' :· · , ;' · w_. 'C,,:, . .·.,,.._. Reprinted by pennission of Third ~Jorld Press, 7524 So uth Co ttage Grove, Chicago, Ill. 60619 . ~ l'irqri r't'=i.rl't ): .rrimn~ \·!f'lrlnn .J01rn ~vm f o r l i n0:s f rom " My 1 Lnd 'T' 9 J,.ln::i Arn Li ke d o :ln11cy 11 : nd 11 \l ·~ 1EH' 1' nnd \Jn ), nn .rn ;\ny• cls" i'r,Jm S o i.nt 1 e+;o 1· he lnL~!; o n t1 n r✓ l ,r, , ; 1t. )~/ ,r:, n'e:1 .r-l rl r, n ,1nt1 :1 ~ ,11 , cor,::, ~:i -,h t "1' 1""1,:1 r,- -y , ·1~-'fiyUn;'lnf!.. \1,~fd ,J-r1 .1 ~ii"i"?1 Y\, c:, , 11 :rr·i "ilL .a , r n rw1-1 o d 71 1 1. 3 hy •:roc o ,lrd 1 ,J o n ~1on. ii c1p rl nt -, d oy 1,,~ 1•11\l:i: ; i , Jil of' _i ih:irw :1: n , :uln , l r' c. . 1. >~ �Bob Kaufman fo r lines from "_Heavy Hate r Blue;" fr om Golden Sardine, copyright@ 1967 by Bob Kaufman. Reprinted by permission of City Lights Books. Etheridge Knight for lines from "The Bones of My Fathe ~" from Be lly Son g, copyright (Dl973 by Etheridge Knig ht, and "Haiku 911 from Poems /ram Prison, copyright© 1968 by Etheridge Kn ight. Reprin t ed by perm ission of Broadsi de Press. Pinkie Gordon Lane for lines from "Griefs of Jo1;11 from Wind Thoughts , co pyrigh t @ 1972 by Pinkie Gordon Lane . Pub li shed by South & ifost, Inc. Reprinted by permission of Pi nkie Gordo n Lane . Wayne Loftin for li nes from 11 Rea l it~ 11 from Si des of the River : '<A Mi ni -Antho l ogy of Bl ack Wr iting , edited and copyrigh t ©l 969 by Eug ene Redmond. Rep rinted by permission of Bl ack R·iver Hr iters Press . ' .. (__ (),J{; ~-·-) / O-ffO:!_~ -\.~,'-~\ t t1 fJ u.\J {; . ·'J _I Audre Lorde V. f::w 1ines frc :. " ,l ack ~~other \·Jo;-,::. n"; frcm £1:ef- Lend \/hqJ' e _Q_':r, ~r ?'::22l. !. .!:ive , copy ri ght©P73 by Aud ra Lord2 ;i1nd ,·-pr i nted by perm1~ ~ of Ilroadsid ~ Pres s;~ ··- ~J; !;_o~ nes f~ on-minded t h2 Sun" appea ring on pp (f'ill in }1 Sixes ., . ,_. _\. o.p 11.r:.t,. ·.,.: t >-1 f-',_, :; -- (1·::l and Seve ns , copyrigh t @l962 by Audre Larde, and "Rites of Passage 111/rom Cabl es 1- . ~ 1 ~» ·;, to Rage, copyright{s)1970 by Audre Lorde. ~.., . Used by permission of the author. · · . __ _.;.}: , _· : _;·t)~ ' ' 11 Claude McKay for lines from "Baptism," "If We Must Die" and "The Lynching1 ~rom ···_. , .. .·. . •,I s :--"<). Selected Poems of Cl aude McKay, copyright(gl953 by Twayne Publishers, Inc. Reprinted by pen111ssion of Twayne Publish ers, a Division of G.\K. Hall & Co. -. 10 ' ., �Haki R. Madhubuti for lines from 11 First Impressions of a Poet's Death; ' from Think Black, copyright~ 967 by Don L. lee, and "The Se 1f-Ha tred of Don l. Lee"· and "Don't Cry, Scream/ from Directionscore: (f) 1971 by Don l. lee. Selected and New Poems, copyright Reprinted by permission of Broadside Press. George Reginald Margetson ~or lines from The Fled glin g Bard and the Poetry Soci ety, copyright@1916 by George Reginald Margetson. Reprinted in The Book of American Negro Poetry, edited by James Weldon Johnson. by Harcou r t, nrac e & Wor l d. Copyright@ 1922, l93lJ Copyri ght@ 1950, 195] by Mrs . Gra ce Na il Johnso n. Source for repri nt rights could not be fo un d at publication ti me . G-jc . Oden for l"ines from 11 ••• s ~Jhen Emot ion Too Far Exceeds Its Cause" from Kaleidos co pe , edited by Robe rt Hayden. Copyright ~ 1967 by G.• Oden. Reprinted by permi ss ion of t he author . Pat Park r f or li r.~s frc:11 Parker. J;;) 11 Bro t he~11 from Child of Myse l.f., copyri ght © 1972 by Pat Re pri nt ed by permi ss ion of t he au t ho r. Dudley Randall for 11 / Iwo Jim;" from More/4 Remember, copyright© 1971 by Dudl ey A ~r / Randall. Reprinted by perniission of Third World Press, 7524 South Cottage Grove, Chicago, 111. 60619. Eugene Redmond for lines from "Invasion of the Nose . I 11 from River of Bones and Flesh and Blood, copyright© 1971 by Eugene Redmond, and "Inside My Perimeter" from In A Time of Rain & Desi re, copyri ght@ 1973 by Eugene Redmond. perm i ssion of Bl ack Ri ve r Writers f.,.t, (' . • 11 Reprinted by �Conrad Kent Rivers for lin es from "In Defense of Black Poets" and "The Still Voice of Harlem" and for "Watts" from The Still Voice of Harl em , Volume 5 in the J Heritage Series, published by Paul Bremen limited, london, 1968, copyright© ..:. 1972 by Mrs. Cora Mciver Rivers; "To Richard Wrigh r from The i ,. Wright Poems, Vol ume 18 in the Heritage Series, published by Paul Bremen Limited, London, 1972. Copyright © 1972 by Mrs. Cora Mciver Rivers. Reprinted by permission of Paul Bremen Limited. Sonia Sanchez for lines from Ma lcol ~ from Homecomi ng , copyrig ht © 1969 by Sonia 11 Sanchez. 11 Repr i nted by perm i ss i on of Broad side Press . Judy ?·othar.d Si nm1ons for li nes from Schizoph renia/ from Judit h' s Blues , copyri gh t 11 © 1973 by J udy Do t hard Si rrmo ns. Repri nted by pennissi on of Broadside Pres s. LeRoy Stone f or l ines f rom Fl umcnco Sketches 11 11 I from Burning Spea r : An Ant ol oav of J\f ro-Su."On P0e tr.. , cooyrJght 1c 1953 by t he Dase in li terary Society . - ·- - . ---. ~ by perm ission of J upiter H~,r:w-non Pre5s of Oast.: i n literary Soc-iety . - Reprint,.:d " Joyce Carol Thomas for lines from 1974 by Joyce Carol Thomas. 11 ··- ', , ., . .. Melvin Tolson for lines from "Rendezvous with America," "Dark Symphony" and "An Ex-Judge at the Ba5 from Rendezvous with Amer1 ca, copyright© 1944 by 11 Reprinted by pennission of Dodd, Mead & Company, Inc.; l ; ,., : Reprinted by pennission of Firesign Press. Box 12 •' :. 1 Know a Lad~" f rom Crysta l Breezes , copyri ght © 402. Berkeley, Calif . Melvin Tolson. . . •.~ / r �I for lines from 11 D0, 11 11 00 11 and 11 Tf 11 from Libretto for t he Repub lic of Liber i a J ' ~ -; by Melvin B. Tolson, copyright © l953 by Twayne P.ublishers, I nc . ; and '-li nes .~,.. "Alpha," / 11 Beta, 11 11 Eta, 11 11 Gallllla, 11 11 lambda, 11 "X II and "Ze t a/ 1 from Harl em Gallery; by Melvin B. Tolson, copyright © 1956 by Twayne Publishers, Inc. pennission of Twayne Publishers, f Division of G. . Hall Reprinted by &Co. Jean Toomer for lines from "Song of the Son/ f rom Cane , copyr ight @ 1923 by Bon i & Liveright; copyright renewed 1951 by Jean Toomer. Reprinted by permissi on r,, of Liveri ght Pu bli sh ing Co•peration . Jean Toome r f or ~.,,..51 li nes fr om •~Blue Mer i dian;' f rom Bl ack Writers of Ame ric a , edited by Ri chard Barksda l e and ~eneth Kin namon , co pyrigh t© l 97 2 by The ~~ ill an C~mp_a~y .;'!ep ~i nt~~ -bi ) 1 penni ss i on of W. I. Nor t on & Company , I n9 Company , Inc . Copyr i ght 1936 by ~i.\H. Nort on & Copyr i ght ren ewed 1964 by Lew i s Mumford , cofeditor wi th A1fred Kreymborg, of The New Carava n. -- , 'i .. ; -~·.,.: . '. Q\ Quincy Troupe for "White Weeken~" from Embryo, copyright © 1972 by Quincy Troupe~ . Reprinted by pennission of Quincy Troupe. Alice Walker . for lines from "Rage" from Revolutionary Petuni as & Other Poems, I copyright © 1973 by Alice Walker. Reprinted by penn ission of Harcour t Janovich, Inc. 13 Brace I• ' ~ . , ~~ . ' ;}~'",. �Romenetha Washington for lines from Rat Ractf from Sides 'of the River: -,., A Mini :: 11 Anthology of Black Writing, edited and copyright@l969 by Eugene Redmond. Reprinted by pennission of Black River Writers Press. Lucien B. Watkin5 for lines from A Prayer of the Race That God Made Blac5 from 11 11 Negro Poets and Their Poems , edited by Thoma s Kerlin. by The Associated Publishers, Inc. Copyri gh t © 1923, 193~ Reprinted by pennis sion of The Associ ated Publishers, Inc. Joseph White for li nes from 8l ack Is a Sou l 11 from Bur ni ng Spear: 11 ) 0 An Antho l ogy of Afro-Saxon Poe t ry , copyrig ht © 1963 by the Dasei n Li tera ry Soci ety. / by pennis sion of Ju pi te r HalTillon Pres s ~ Reprinted Das ei n Litera ry Soci ety . j Richa r d ~/right for specifi ed lines f rom "Between th e Horld and Mc , 1935 by Th~ Pz:rtisan nevieH, by · he Pa rt1s an Revi e~ . nd 11 11 n copyr ight © 1 Huve Seen Bl ack Hands , 11 copyri ght lc,1935 ,. Reprin ed by permission of Pau l R. Reynol ds, Inc . ~ ..: • I : l, • ~ '• ~ t ·. ~ I~ , ·.: · · -: : \,," ·• ,! .... . -. ,• � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_17 Title A name given to the resource Copy of Poetry Acknowledgements, typed manuscript with handwritten edits Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/1b8deb5946e86e3a0df9036c416f3865.pdf 6a7a3b4a705d4c675eb9f56794384dce PDF Text Text PO ...'T .Y CKNOU DG~I✓,.....::1-TI'S - • o 1c.e.s - Alex d r, Lewis: from The Poetrb of rrhe Negrd ( rughes J Doubleday, l~7. p. 158. J "Nocturne Varial 11 (2 lines): D 1) ~ Bontemps), I crone as a shadow, To dazzle your night. Allen, Junius Mordecai(J. Mord Allen): from Negro Poets and their Poems (Robert~. Ker lin, ed.), Washington, D.c.: Associated Publishers, 1935. P• 50. J."The Psalm of Uplift 11 (8 lines): Till sunset of eternity •••• To die--but gain an inch. ==' 5-- t Atkins, Russel : from American Negro Poetry(Bontemps), Hill cc Wang , 1974. J. "At War" (4 lines): sudden 1 d its appear • • fugitives •••• (>J.169) ;2. "Irritable Song 11 (6 lines): Or say upon return ••• in today? (p 170) Baraka, Imrunu Amiri : from Black Magi c Poetry, Bobbs-Merrill, 1969. / 11 Black Art 11 ( 34 lines) : Poems are bullshit unless they are ••• or LOUD (p 116-117) ). "Black People" (4 lines): ••• let 1 s get toge t her the fruit •• your tomish ways. (p.225) :J 11 leroy"(5 lines): when I die, the consciousness I carry I will to ••• alone. {p.217) �4". "Sterling Street ;;jeptember" ( 3lines): We are strange in a way beca use we lmow ••• a tortured passage of flesh. (p.177) Black, Austin: from The Tornado in Hy Mouth , .llixposition Press, 1966. j "Asexual Flight 11 (2 lines): a man 1 s last wish ••• instead of remiss. (p.11). Bontemns, Arna? from American Negro Poetry, Hill~ Wang, 1974 J. "Golgatha is a Mountain" ( 2 lines): One day I will crumble ••• I think it will be Golgotha. (p.79) Brooks, Gwendolyn: from Family Pictures, Broadside Press, 1970 ]."i:>peech to the Young 11 (2 line s): Live not for The-~nd-of-the-~ong. Live in the a long lP• 23) from ~elected Poems, Harper & Row, 1963. :).. "The Anniad 11 ( 7 lines): Think of sweet and chocalate •• The minuets of memory. "] "The Ballad of Rudolph Reed 11 (3 lines-}: Falling like fat rain ••• And a beastly butche r knife. '-(- "Beverly Hills, Chicago 11 ( 2 lines): •• not tha t anybody ••• •• beautiful banner • �>' "the ' ch'ildren of the poor" H4 ( 2 lines): For having first to civilize a space Wh erein to play your violin with gra ce. ~ "Of De Witt Williams on .dis Way to Lincoln Gemetery 11 (6 lines): Swing low swing low sweet swe e t chariot ••• Plain black boy. 1 "do not be afraid of no 11 ( 2 l-ines): It is b r ave to be involved, To be not fearful to be unresolved. "6 "Langston Hughes 11 ( 2 lines): Yet b is right of twisting free ••• Till the air ia cured of its fever. Cf "The Last Quatrain of the Ballad of Emmett Till 11 (2 lines): Chaos in windy grays through a red prairie. l O "Ne gro Hero" (lli lines): tndeed, I'd rath er be dead; Than saved by t h e drop of a black man's blood. f( "'f ue Preacher: Huminates Behind the Sermon 11 ( 2 lines)• Buy him a Coca-Cola or a beer, Pooh-p ooh 1is politics, call him a fool? /2 "Riders to the Blood-Red ~rath 11 (15 lines): My scream! unedited, unfrivolous ••• We lurch, distribute, we ext end, be gin. (3'POf Robert Frost 11 (2 lines): Iron at the mouth •• With a place to stand. ('f 11we Beal Cool" ( 8 lines): We real cool. We Die soon. �Brow.n, Sterling: from Southern Road, Beacon Press, 1974(1932). 1 / "Memphis Blues 11 ( 2 lines): De win' sing sperrichals Through deir dus• •••• (p.59-61) from Black Writers of America(Barksdale & h.innamon), Macmillan Company, 1972, 2- "Old Lem II l 3 lines): They donrt come by ones •• But they come by tens. (p.633-34) Burrell, Benjamin: from Negro Poets and Their Poems(~erlin) . / "To a Negro Mother" ( 2 lines): Create anew the captains of the past, Build in your soul the Ethiopian power, ••• (p.303-304) Christian, Marcus B.: from The Poetry of the 'iegro (H & B). /"MclJonogh Day in New 0rleans 11 (2 lines): But few would know--or even guess this fact: • • • is black • (p.157) Clifton, Lucille: from Good News About the tarth, Handom House , 1972. ( "Lately" (4 lines): I 1 m 25 years old •• are younger than me. 1 ( p. 8) .l-"Mary 11 ( 10 lines) : this kiss •• i see a tree 'J ( P. 39) "God's Mood " (4 lines): He is tired of bone, •• adamis whining ways. (p.15) �Cornish, ::;am: from People Beneath the ~'indow, ::;acco PubJ_ishers; 408 Park Avenue, Baltimore, Maryland. n.d. l 11 MIID LE CLASS GIRLS \JITH CRIPPL~D FINGERS WAITING FOR ME TO LIGHT THEIR CIGARETTS 11 (13 J_ines): / your fingers •• with restless stares. Cortez, Jayne: from J:testivals and Funerals, Phrase 'rext, 1971. ( "Festivals and Funerals 11 (8 lines): They winged his spirit & ••• festivals and funerals ••• Cotter, Joseph Seamon Sr.: from Negro Poets and 11 / 'fhe Don't 0 'l 1 heir Poems (E.erlin) are Negro"(4 lines): Neber min' your manhood 1 s risin 1 • • ~o you have a way to stay it. 2... 11 (p The Negro Child 11 (3 lines): 237) ••• be your food, your drink, your rest, • Your head and hea rt to dare. (302-303) Cotter, Joseph ::;eamon Jr.:from Negro Poets aid Their Poems( Kerlin). /" "Rain Music 11 ( 3 lines): Now a whispered murmur, ••• • • • drumsticks • Cullen, C0 untee: from The Book of American Negro Poetry(James Weldon Johnson,ed Harcourt, Brace & World, 1959. ( "Her:rtage 11 (( 2 lines) : "Doff this new exuberanc e Come and dance t he Lover Is ~~a~ t II ~ "Heritage 11 ( 6 lines): • Father, Son, and Holy Ghost, ••• Do I play a double part ( 224) l �from On These I ~tand, Harper Row, 1947. & ] "Scottsboro, Too, Is Worth Its Song 11 (2 lines): ••• sharp and pretty • • • sacco and vanzetti'{l~O) from Caroling Dusk(Cullen, ed.}, Harper & How, 1927, 1955. t(_- 0 Yet Do I Marvel 11 ( 2 lines): Yet do I marvel at this curious thing: To make a poet black and bid him singJ (182) Cuney, Waring: from The Negro Caravan(Brown, Davis, Lee, eds.), New Mork: Arno Press, 1970. / "Hard Times Blues"(3 lines): Great-God-Am.ighty ••• Lost all they ever had. (375) 2..."No 11 Images (3 lines): • • • thinks her brown body ••• ., Has no glory. And dishwater gives back no images (375) l Cunningham, James(Olumo): from Jump Bad(Gwendolyn Brooks, ed), Broadside Press, 1971. 11 St. Julien• s .l:i:ve: For flennis Cross 11 ( 3 lin~ s): the wind-man tearing at the brigge ••• float up to the sky •••• (129) Davis, Frank Marshall : from Understanding the New Black Poetry(Stephen Henderson,ed ), William Morrow , 1973 / "Jazz Band" (2 lines): Play that thing you jazz rra d fools! ••• Plink plank plunk a plunk. (lL~) �7 DeLegall, ~valter: from ~urning 0pear: An Anthology of Afro-~axon Poetry, Washington, D.5., Jupiter Harmnon Pr~ss, 1963. / "Psalm for Sonny Rollins 11 (4 lines): Absorbed in the womb of the sound ••• I am the sound. (B) Deveaux, Alexis: from ~pirits in the Streets, Doubleday, 1973. / paragraph excerpt(8 lines): Lord why he beat that woman so? and them ••• word. (107) D~nkins, CharJes: from Negro Poetry and Drama(Sterling Brown), Atheneum, 1969. f "Invocation 11 ( 2 lines) : Forgive thine erring people, Lord, Who lynch at home and love abroad. (52) f Dodson, Owen:from The Confe s sion Stone: Song Cycles, Paul Bremen, 1971. 11'.riie Confes s ion .::>tone 11 (2 lines), Shushhh, you need the rest (i) 2--- 111'lary Let me rock him again in my trembling arms (v) Passed This Morning" (8 lines): Martha ••• 0igned Joseph }from Powerful Long Ladder(Dodson), 1946.(fa..v-rO..\'"l)S1;'av!.S'tj"Countee Cullen 11 ( 2 lines): We hear all mankind yearning f For a new year without hemlock in our glasses. (73) Divine Comedy(9 lines): Cancel us ••• This shall not be for ev er. 6,'ratJx) �Dodson( contd) 5 "Guitar"(4 lines): Aini t had .4obody ••• Where I rorun (5) {, "Jonathan I s Song" t 3 lihes): Jew is not a race •• I am a part of this. (89) 7 "Lament 11 ( 10 lines) : Wake up, boy, and tell me how you died ••• o, 'b wake , up, wakel (3-4) "Open l,etter 11 (9 lines): Brothefs,let us discover our bearts again, •• • • • take our black hands in yours • (103) 7 Poems for My Brother Renneth(2 lines): There was no reply: You gave me a smile and re turned to the grave. (65) DuBois, William bdward Burghardt: from The Book of Nnerican Negro Poetry (Johnson), 1959 / "A Litany of Atlanta 11 (2 lines): Surely Thou too art not white, 0 Lord, a pale bloodless thing? (93) from Darkwa~er: The 'r wentie.th Cevtu1 Completion of Uncle Tom I s <Jabin. WasP.ington, D.C.: A. Jenkins o., 1920 • .) "Hymn of Hate 11 (4 lines) : I hate them,. • As J I hate hell! from Black Voices(Abraharn Chapman, ed ), New American Library, 1968 "Song of the Smoke 11 ( 6 lines): Souls unto me are as mists in the night, Hail to the black! (3 (, 0) �Dumas, Henry: from Play ~bony Play Ivory(~ugene Redrnond,ed), Random House, 1974. ( "I Laugh Talk Joke 11 ( 18 lines): i laugh talk joke cause I don 1 t play (50) 2,. 11 from Jackhammer 11 ( 2 lines): The jackjack backing back and stacking stone ••• echoes of dust(lB) 1 "N goma 11 (_ 13 lines ) : aiwa aiwa louder louder (8 -10) f "Play Bbony Play Ivory 11 (7 lines): for the songless, the dead ••• poison the hea rt of e a rth ) 11 U3) Ri te 11 ( 12 lines): Vodu green clinching his wrist,. •• I am not clean (5-6-,} ~"Root Song" ( 2 lines): Once when I was tree Flesh came and worshipped at my roots. (19) 7 "~aba 11 ( 7 lines): sx waterings ••• of flagella flucksing rite (130-131) Song of Flesh 11 ( 8 lines): When I awoke, • •• sea of your he a rt. (38 ) r �/() Dunbar~Nelson, Alice: from Negro Poets and rheir Poems(Kerlin) / 11'I'he Lights at Garneyts Point"(2 lines): And the sun laughed high in the infinite sky, And the lights were forgot in the sweet, sane ~~lm. (147) Durem, Ray: from Take No Prisoners, Paul Bremen, 1971. / "Broadminded" (4 lines): Some of my hest friends are white boys. • • • as if they was people • Evans, Mari: from I Am (11) A Black Woman, Willian Morrow, 1970 / 11Who 6an be Born Black" (4 lines) : Who ••• and not exult I (93) 2-- "'J:he Hebel" ( 2 lines): Curiosity/seekers (76) Felton, B.• from C0 nclusions, Monarch Printing Service, 1971. J 11An .c.legy to Eternity 11 (2 lines): Tear-ducts swell, bursting in a delight of flood ·and fury. Fields, Julia: from Nine Black PoetstR. Baird Shuman , ed ), Moore Publishing Company, 1968 ] "Aardvark" ( 3 lines)! Looks like Malcolm helped • ••• thought about before. (75) �Fowler, Sherman: from Sides of the Rivert~ugene ttedmond, ed.), Black River Writers(see Redmond 1 s address), 1969. J II l'hinking '1 ( 2 lines ) : vomiting tidings only v~e mind can hear (16) Giovanni, Ni kki: from Black ..t!'eeling, Black Talk/Black Judgment, William Mo rrovtl 97 0. J "0 0 ncerning One Responsible Negro With Too Much Power" (3 lines): your tongue must be removed to keep it in check )_ "Of Liberation"\ 12 lines): Dykes of the world ••• '} ••• your own black hearts . 11 Nikki-Rosa II t.5 lines): your biographers never understand. concerns you. • if "The True Import of the Present Dialogue, Black vs Negro 11 {12 lines): Nigger ••• ••• Black men from My House (Uiovanni), 1972 5 "Africa I 11 ( 6 lines): on the bite of a kola nut I of the suns tongue •••• Govan, Oswald: from Burning Spear: An Anthology of Afro-Saxon Poetry, Jupiter Hammon Press(D.C ), 1963. f "rhe Lyne ing" ( 3 lines): tle was soaked in oil and the match throim • • • fiery inhuman dance. (18) // �GrimkEf, Angelina: from American Negro Poetry;(Arna Bont emp s, ed. ) , Hill Wang, 19 63 • _, / "'fhe Bla ck Finger" ( 2 lines): Why, beautiful still finger, are you bla ck? And why are you pointing upwards? (17) Harper, Michaels.: from Dear John, Dear Coltrane, University of ~ittsburgh Pre SB, 1970 / "Dear John, Dear Colt r ane 11 (11 lines): Why you so black? a love supreme, a love supre me: ••• ( 75) Hayden, Robeet: fro m The Negro Caravan( Brown, Da vis, Lee), Arno Pres s , 197 0 / "Gm:bri el 11 ( 2 lines ) : Fr om fo r go tten gr aves ••• Never, n ever rest. (405) from Selected Poems , October House , 1966. 2-" Runagat e Hunagate 11 (.:;, lines) : Run s f alls r ises •• (one line ) And before I'll be a sla v e I 1 11 be buried in my grave(2 lines) Dead folks cant ••• you keep on going now or die , she s a ys . (2 lines ) from Words i n the Mourni ngtime, October House , 1970 ) 11 El-Ha j j Mali k El Shab a zz 11 ( 6 line s): He Xrd his n ame, b e came h is people ' s anger , f •• ice gardens of their s ervitude . (39) "Zeus Over Redeye 11 ( 10 lines) : a sacred phalli c grove • • us no relieving shade . ( -31 ) �/3 Hollo way, John Wesley: from '1:he Boo!f of American-ONegro Poetry(Johnson), 1959. 11 / Calling the Doctor" (4 lines): Blue-mass, laud-hum, liver ~ills, ant half-a bottle X. Y. 2.. 11 Miss z. (136) erlerlee 11 (3 lines): Sof 1 brown cheek an' smilin 1 face ••• 1'1 An' silky arm so plump ant bare. (134-135) Holloway,Lucy Ariel Williams: from The Book of American Ne gro Poetry{Johnson), 1959. 11 ( N6rthboun 111 ( 6 lines): .. ,. ,,---- ll_' it Is one long strip ••• I 1 m upward boun 1 • l288 -289 ) Hughes, Langston: from The Book of American ~egro Poetry(Johnson), 1959 / "Jazzania 11 (6 lines): Oh, silver tree! Oh, si. 1 v er rivers of t h e "IOUl I (236) from Selected Poems of Langston Hughes, Alfred Knmpf, 1970. 2,..."Harlem" ( 2 lines): What happens to a dream deferred? Or does it explode? {268) J "Mother to Sont' ( 2 lines): Well son I 1 11 t ell you: Life for me ain 1 t b een no cry st a l stair. f (1 87 ) 11 The Ne gro Speak s of Ri vers"( 8 line s): r 1 ve known rivers: ••• My s oul h as grown deep like the r ivers (4 ) �Hughes(contd) from Good v orning Revolution(Faith Berry, ep. . ) , Lawrence Hill 1973 • c: Company, .>"Goodbye Christ 11 ( 3 lines) ; You did alright in your day, I reckon-- ••• Mark Communist Lenin Peasant Stalin, Worker, ME-- Jeffers, Lance : from My Blackness i s the Beauty of This Land, Broadside Press, 1970 . / "Black Soul of the Land"(? lines ) : a secret spine • • •·• cease to be its name . ( 9) 2,_ 11 My Blackness is the Beauty of This Land 11 ( 3 lines): My blackness ••• ••• wounded and wise , • • (8 ) Joans, Ted: from New Negro Poets: u.s.A (Langston Hughes, ed.), University of Indiana Pre ss, i964 J 'The .38" ( 7 lines): I hear it coming faster than sound the • 38 Hellof,, 1 1 m here! ~ (83-84) Johnson, Charles Bet-tram: from Negro Poets andl Their. Poems (Kerlin), 1935. J We have fashioned laughter • •• Pain and tears again. t4 lines, no title given) Johnson, Fenton: from Black Voices(Chapman), 1~68 1 "Ti red 11 ( 3 lines); Throw the children into the river : •• • you are colored. (3'70) Johnson, Georgia Douglas: from Caroling Du.sk~Cullen), 1955. 11 1 ,,/' rhe Dreams of the Dreamer" ( 3 lines): Are tones that repeat ••• Till it ceases to beat ( 81) �IS Johnson, Felene: from Caroling Dusk(Cullen), 1955. 1 11 ~ . lines): Nagiq.1µ"(3 Would you sell the colors of your sunset •• ••• let you dance? Johnson, James Weldon: from Fifty Years and Other Poems, Boston: C0 rnhill, 1917. 1 "My Lady I s Lips Am Like de Honey" ( 2 lines): Felt her kinder squeeze mah han 1 , 1 Nuff to make me understan•. 2,. 11 0 Black and unknown Bards 11 ~4 lines): 0 black and unknown bards of long ago, ••• 0 black slave singers, gone, forgot, unfamed, •• from God•s Trombones: Seven Negro ~ermons in Uerse, The Viking Press, 1955. 3 "The Creation" (4 lines): Like a mammy bending over her baby, Till He shaped it in His own image, ••• t "'l 'he Prodigal Son" (3 lines): Young man-Your arm I s too short to box with tiod. Johnston, Percy: from Burning Spear(see listing above) ] 11Fitchett•s Basement Blues, Opus 5"(2 lines)~ I want 6oltrane or Sonny all I get is Brubeck, •• Jordan, June: from Some Changes(Jordan), E.P. Dutton, 1971 J "uncle Bull-boy 11 ( 6 lines): Bis brother •• • • • his folded arms. Jordan, Norman: from Destination:Ashes, Third world J "High Art an d all that Jazz"(5 lines): Fuck you and your ••• nasty and funkey ress, 1970. �16 Kaufman, Bob: from ijolden Sardine, City Lights Books, 1967(San Francisco) 1~ 'Heavy Water Blues" ( 6 lines): The radio is teaching my goldfish Jujitsu ••• ••• too much weight Knight, Etheridge: from Belly Song, Broadside .Press, 1973. 1, "The Bones of My Father 11 (2 lines): from the bottom of the Tallahatchie. from Poems from Prison, Broadside Press, lij68. ,2. "Haiku 9 11 ( 3 lines): Making jazz ijwing in ••• No square poet's job Lane, Pinkie Gordon: from Wind Thoughts, South and West, Inc.l Fort Smith, Arkansas, 1972. j,."griefs of joy" ( 11 lines): Mo nothing remains the same •••• interlocked like death. Loftin., Elouise: from Jumbish, l!;merson Hall Publishers,Inc., 1972. 1 . ."Getting Caught 11 (13 lines): if they catch you ok J, "Rain thing Spread" l 2 • lines): Last night threw her legs open to me •••• J Loftin, Wayne: from Sides of the River, Black River Writers(Hedmond), 1969. "Reality"(4 lines): out of the cotton fi e lds ••• and sh a des of s lums �Lorde, Audre: from Sixes and Sevens, London: Paul Bremen, 1962. J_ "Moon-minded /7 the Sun 11 ( 2 lines ) : The light that makes us fertile shall make us sane. from From a Land Where Other People Live, Broadside ~ress, 1973. j__ 11 Black Mother Woman 11 (3 lines): I learned from you •• ·fhrough your denials. from The Poetry of Black America(Arnold Adoff, ed), Harper J "Rites & How, 1973. of Passage"(3 lines): Quick ••• . ••• through dreams. McKay, C1aude: from Selected Poems of Clau~e McKay, Harcourt, Brace~ World, 1953 J "Baptism" ( 2 lines): I will come out., back to your world of tears, A stronger soul within a finar frame. 2."If We Must Die 11 (2 lines): Like men we'll face the murdermus, cowardly pa ck, Pressed to the wall, dying, but fi ghting ba ckl J 11 The Lynching 11 ( 2 lines ) : And little lads, lynch e rs tha t were to be, Danced round the dredful thing in fiendish glee. Madhubuti, Haki R. (Don L. Lee): from Directionscore: ~elected and New Poems, Broadside fress, 1971, J "The ;:;;elf-Hatred of Don L. Lee" (3 lines): my light ••• outer. i -"Don 1 t Cry Scream"(3 lines)= i cried for billy holiday ••• the blues exhibited visions of manhoo d. �Madhubuti(contd ) from Think Black, Broadside rress , 1967. J. "Fi rst Impr>essions of a Poet ' s 0eath"(L~ lines) : seldom ••• overexposure . Marget son, George Reginald: from The Book of American .1. 'l'he l\l egro Poetry( Johnson), 195 Fledgling Bard and the r oetry ~ociety ( 8 lines): Some look to Booker T. Washington to lead them, ••• To marry and to mix in white society . Oden, G. C : from Kaleidoscope {R0 bert Hayden , ed.), Harcourt , Brace & World, 1967 • ..1.. 11 • • • 1hen .t:!.rnotion Too Far Exceeds Its Cause As 11 (3 lii;Je s): I, too, once trusted air that plunged me down . Yes, If Ojenk e(Alvin ~axon): from The Poetry of Black America(Adoff), 1973 • ..f. 11 Watts 11 (2 lines): assas sinating tin people and whole ••• some too-true , truth • • • • :J. Parker , fat: from Child of M self , Women 1 s Press Collective, 5251 Broadway, Oakland, Calif., 9 618, 1972. "brother " (2 lines): 4 is called a fist . Randal l, Dudley: from Black Voices(Chapman), 1968. t W. E. B "(19 s fro Third World -..Pre s, 1971 . )- "Iwo Jima 11 (2 lines) : Like oil of ~ exas My blood gushed here . �/9 Rivers, Conrad Kent: from The Still Voice of Harlem, Londonf Paul Bremen, 1972. / "In Defense of Black Poets" ( 2 lines): a black poet must remember the horrors • 1 • • to read you. "The Still Voice of Harlem" U lines): I am the hope •• of your unborn. } "Watts"(4 lines): :Must I shoot •• in his head? from The Wright Poems, London: Paul Bremen, 1972. 4 nTo Hi chard Wright 11 ( 3 lines)! To be born black ••• · ~, ~ ••• the grand adventure. 1 Sanchez, Sonia: from ::omecoming, Broadside r r ess, 1969. "Malcolm" ( 9 lines): Yet this men ••• • • • gun-filled nights. from The poetry of Black America\AdoffJ, 1973. 2 "definition for blk/children~ '.14 lines): a policeman ••• < oink~ Scott, Johnnie: from From the Ashes: ~ 0 ices of Watts(Budd Schulberg,ed.), The World Publishing Company, 1967. J "The Fish Party 11 (2 lines): The fish are ga th ering again tonight, ••• HPy,lool{? ~ldie has eaten Jesus up! •rA:"Watts, 1966"(2 lines): The man named Fear has inherited half an acre, and is angry. �Simmons, Judy Dothard: from Judith's Blues, Broa~side Press, 1973. ,..t. "Schizophrenia" ( 2 lines-): it won't come back inside of me. Smith, Welton: from Pepetration, Journal of Black Poetry Press(l971), 922B Haight Street, Sanfrancisco, Calif. J.. . Malcolm 11 11 ( 2 lines): in my heart there are many unmarked graves. Stone, LeRoy: from Burning Spear(see listing above), 1963. J. "Flamenco Sketches 11 (4 lines): Dissonant nostalgia of one kiss ••• Comment! Thomas, Joyce Carol: from Crystal Breezes, Firesign Press(l974), P.O. Box 402, Berkeley, Calif 7¾.701. 1., "I Know a Lady" t.5 lines): I know a lady ••• Fine thread of steel • • • Tolson, Melvin B.: from Rendezvous with America, D0 dd., Mead, 1944. J ."Rendezvous ·with America 11 (9 lines): Time unhinged the gates ••• America! Dar:\t Symphony II t 5 lines ) : Before white Patrick Henry's ••• J.." We advance! J "An Ex-Judge at t he Bar" (4 lines): d Bartehder, make it straight anA make it two-One for the l~egro ••• one for you and me. �'io son(contd) from Harlem Gall~ry, Twayne Publishers, 1~r5. 1 "Alpha 11 (4 lines): I travel from oasis ••• J:°' 11 ••• twilled is plain Beta (4 lines) : 11 one needs the clarity ••• swollen with rye b "Eta 11 13 lines-}: ( Across an alp of chitterlings, ••• an Iscariot or an Iago. 1 "Gamma 11 ( 9 lines): Between the dead sea hitherto ••• Catacombs of Bosio. 8 "Lambda" ( 2 line s ): I I d b e _the greatest trumpeter ••• r" if old batchmo had nev er been born XI" ( 8 l ine s ) : The ni ght John Henry is born an ax ••. •• a platter of pork and beans! /) "Zeta 11 (3 lines) : and infamy the siamese twin of fame. from Libretto for the Republic ofl Liberia, Twayne, 1953 /f "Do" (4 { 2 "Do" (4 lines) : You are ••• Without a hemidemisemiquaver in an Oxford Stave! lines): a tooth puller a pataphysicist in a •• ••• on a walk ) �Tolson(contd) { 7 "Ti 11 (5 lines): Q;uai d t Orsay ••• Again black Aethiop reaches at the sun, 0 Greek. Toomer, Jean: from Black Writers of America(Barksdale and Kinnamon), 1972. / "Blue Meridian" (-2 lire s): We• re al 1 niggers now--get me? .~. your choice. from Cane, Boni & Liveright, Inc., 1969. 2 "Song-of the Son 11 (4 lines): Pour o pour that parting soul in song, ••• a singing tree. Traylor, Mark: from Bla ck Poets Write On: An Antholog of Black Philadelphian POETS, Bl a ck Hi s tory Museum onnnittee, P.O. Box 1 0 7, Philadelphia, Penn., 1970. { "Cool Black Nights" l 9 lines): them h ard-loving ••• them fine soul sisters . Tro upe, ~ui ncy: f r om Bmbr yo, Barlenmir Hous e, 1972 . / "vJhi te "1 ee kend 11 ( 13 lines ) : They dep loyed military troops ••• The stock market went up 1~ points •••• Vesey, Paul(Samuel Allen): from Soon, One Morning(Herbert Hill, ed.), Alfred A. Knopf, 1963. /"To Satch,.(2 lines): And look over at God and say Bow about thR.t! Walker, Alice: from Revolutionary etunias & Other Poems, Harvourt,Brace, Javanovich, Inc., 1973. 11 / "Rage ( , lines): The silence be tween your words ••• like a sword �Walker, , Margaret : from For My People , Yale Uni verS""i ty .t'ress, 1942 . / "Bad- Man Stagolee 11 (2 lines): Till he k illed that cop and turned out bad • •• 2,.. Hid dat blade he wore unnerneaf his shirt ••• "For My People 11 ( 13 lines) : For my people everywhere ••• j • • • now rise and take control. "Poppa Chicken 11 ( 2 lines): Bought his pardon in a year; • •• f The gals cried Lawdy! Lawd! "The Struggle Staggers Us 11 (2 lines): Struggle between the morning and the night; This marks our years; this settles, too, our plight 11 ( we Have been Believere 11 (3 l i nes): • • • b eli eving in our burden s •• • • • • wi th a strange insistency. Wa shington , Romenetha: from Side s of the River(Redmond), 1969 . J. 11 .1:ta t Race 11 ( 2 l i nes ): Scurrying f rom sun ~ o sun •.. I protest but still I run. I Watkins, Lucien B. : from Negro Poets and Their PoemstKerlin), 1935 11 A Prayer of the Race That God Made Black" ( 2 lines J: . God save us in ~hy Heaven, where all is well! We come slow--struggling up the Hills of Hell! White, Joseph: from Burning Speartsee listing above), 1963 ..,,/ "Black s a Soul" (5 lines): Where black-eyed peas~ greens are stored •• 1 ••• & I'm from Look Back. �t Wrigh't", Richard: from 'l'he Negro Caravan(Brown, Davis, LeeJ, 1970. t,. "I Have Seen Black Hands" (3 lines): I am black and I have seen black hands, ••• ••• doubt and hesitation and irresolution. from American Negro Poetry, Hill & Wang, 1963,Bontemps) 2 "Between the World and Me 11 ( 18 lines): • • • dry bones ••• • • • hot sides of death. finis � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_18 Title A name given to the resource Poetry Acknowledgements for Drumvoices: The Mission of Afro-American Poetry: A Critical History, typed manuscript Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/6bc3d0603d251a9e3cbd18941283f0ba.pdf 9d69e1a35fad5c5ccb1d33163cefe27d PDF Text Text 'I A'E'KNOWLEDGMENTS { ? Many thanks are due the following poets, editors, publishers and survivors of poets for use of cited material . All efforts have been made to secure the proper permission for each selection. However, if some of the selections are not properly acknowledged, please contact Doubleday & Company, Inc., in order to clarify the situation. 1 -1 tw ~ · ~ines from "Nocturne Var1a? / a : ~ of the Negro, copyright @ 1949, 1970 by Anna L. Thompson. Company, Inc. Pub 1i shed by Doub 1eday & Reprinted by permission of Mrs. Anna L. Thompson. Margaret Walker Alexander for lines from "Bad-Man Stagolee, 11 "For My People, 11 "Pappa Chicken," "The Struggle Staggers Us, 11 and 11 We Have been Believers" from For My People, copyright © 1942 by Margaret Walker and Yale University Press. Reprinted by permission of Margaret Walker Alexander. ~ , ~ f~.x,..c,• ~ ~or 1ines from "The Psa 1ms of Up 1i f j e1 3,MJ ~) /(rom Negro Poets and Their Copyright (Q 1923, 1935 by 11,e Poems, edited by Robert Thomas Kerlin. • Samuel Allen (Paul V·esey) for lines from "To Satch, . 11 _)cJ-~~=~f ~ . 11 copyright @ l962 by Reprinted by permission of Samuel Allen (Paul Vesey). 1 W~t �I' ' I 11 Russell Atkins for lines from At War 11 which first appeared in American Weave, copyright © 1962 by Russell Atkins, and "Irritable Song" which first appeared in Naked Ear, copyright © 1958 by Russell Atkins. Reprinted by permission of the author. from "Black Art, 11 "Black People," Imamu Amiri "Sterling Street September" from Black Magic: © 1969 by LeRoi Jones. 11 leroy, 11 and Poetry 1961-1967, copyright Reprinted by permission of the publisher, The Bobbs-Merrill Company, Inc. >IAn. /1: t!n. f,4;,,J)~ (Y,a,Ji4 t - r ~or li:_ ASEXUAL FLIGHT" from The Tornado in My Mouth: Black, copyright © 1966 by Austin Black. Exposition Press, Inc., Hicksville, P#-~ © 1963 ' ~ f\ Poems by Austin Reprinted by permission of NX~11801. lines fro~ "Golgotha Is a Mountain" from Personals, copyright by Arna Bontemps. Reprinted by permission of Harold Ober Associates . ~ (4w?~ /J;rv.c, ~ wendolyn Brook~ / or lines f~om "The Anniad," "The Ballad of Rudolph Reed," I) ·':, OV\ ~\\ ~ -' 11 B:!_verly Hills, Chicago," "the children of the poor,i 1 11 0f De W1tt Williamsl\ '0-N>t·be,o.~~ G no, 11 "The Last Quatrain of the Ballad of Emmett Till, 11 Rumi nations Behind the Sermon, 11 and a 11 of 11 Negro Hero, 11 "The Preacher: 11 We Real Cool, 11 from The World of Gwendolyn Brooks, copyright © 1971 by Gwendolyn Brooks 11 ) ;~~s~ Hughes," "Riders to the Blood-Red Wrath" and 0f Robert Frost, 11 from Selected Poems by Gwendolyn Brooks, copyright © 1963 by Gwendolyn Brooks. Reprinted by permission of Harper 2 & Row, ~ 1 ~14 . �J:.Jijg ?~ ~ ~}jA ~~i9ti!.t:!~;aa~ .· for 1ines from 1~ ( Speech to the Young 11 Pictures, copyright @ l970 by Gwendolyn Brooks Blakley. from Family Reprinted by permission of Broadside Press. Sterling Brown for lines from "Memphis Blues" from Southern Road, Beacon Press b~9eri.Ji')~ copyright @ 197~, and "Old Lem, 11 copyright@ 1975 by Sterling Brown. by permission of Sterling Brown. ctt~ i ~---Y re.p;.1af Used -e ~:-;rom Negro Mothef1;r~ P ::::1heir "A Poems, edited by Robert Thomas Kerlin, copyright a) 1923, 1935 by The Associated Publishers, Jnc. Reprinted by permission of The Associated e.~-/ Publishers, Inc. \ ) ~ ~ ~ ~ ; ines fro "McDonogh Day in New Orlean:)'"t1i~fr'f1o-..im- T _h_e_ _ _ _ __ Poetry of the Negro, copyright© 1949 by Langston Hughes and Arna Bontemps. Copyright@ 1970 by Arna Bontemps. Reprinted by permission of Doubleday & Company, Inc. ((t,,~c~:.~ for 1ines fr~ e~ "Mary" from Good News About the Earth, copyright (s) 1972 by Lucille Clifton, and "God's Mood from An 11 Ordinary Woman, copyright © l974 by Lucille Clifton. Reprinted by per- mission of Random House, Inc. Sam Cornish for lines from "Middleclass Girls with crippled fingers waiting for me to light their cigarettes" from People Beneath the Window, copyright @ 3 �1968 by Sam Cornish. Published by Sacco Publishers. Reprinted by permission of the author. Jayne Cortez for lines from "Festivals and Funerals from Festivals and Funerals, 11 copyright © l971 by Jayne Cortez. Reprinted by permission of the author. ° [ ~ ~ ~-~ ~~lines from "ThelLDon't Care Negro" and "T; Child/ ' ~V asr Joseph Seamon Cotter, Jr ~ tor 1 Negro H.. Josep/1 )Mh14>1(ouer:J1', lines from "Rain Music,;, ram ? ? Negro Poets and Their Poems, edited by Robert Thomas Kerlin. 1923, 1935 by The Associated Publishers, Inc. ~ ~ ~ lines from r Heritage, and Yet Do I Marvel 11 11 Reprinted by permission of ]'/JlvC.-• The Associated Publis i Copyright© 11 11 Scottsboro, Too, Is Worth Its Song, from On These I Stand. Harper & Row, Publishers, Inc. 11 Copyright(s)l927, 1955 by Reprinted by permission of Harper & Row, Publishers, Inc. Waring Cuney for lines from "Hard Times" and "No Images" from Storefront Church, copyright @) l973 by Waring Cuney. [\ . -\\ft O~ -1a~~ ~ --- ~ Reprinted by permission of Waring Cuney. ~ .-~,.,',. 0 ~~o-..~~11.,,, for lines from ~•st. Julien's Eve: Jump Bad, edited by Gwen~ n Brooks. For Dennis Cross i~ ~-11 from Copyright@)l971 by Broadside Press. Reprinted by permission of Broadside Press. 4 �~ J ~ ili>()A,'-0) ¥\~~ f\ V'~~ Waiiia, ~@al':1 for 1ines from ~salms for Sonny Roll ins" from Burning Spear: An Anthology of Afro-Saxon Poetry, copyright <:&) 1963 by the Dasein Literary Society. Reprinted by permission of Jupiter Hammon Press of Dasein Literary Society. ~ t.~ ~ •fro~ Alexis Deveaux. tst ~ V ~ ~ts, copyright(al973 by Reprinted by permission of Doubleday & Company, Inc. Charles Dinkins for lines from 11 Invocation 11 from Negro Poetry and Drama, copyright @ l969 by Sterling Brown. Reprinted by permission of Atheneum. AI'-'•~ p~Yv,G Divfoe Comedy, 11 Guitar, 11 "Jonathan's Song, 11 11 Lament, 11 11 0pen Letter 11 and Poems for My Brother Kenneth from Powerful Long Ladder, copyright© 1946 by Owen Dodson and copyright © renewed 1974 by ,,rf!,boim Owe, ,dson. ~printed by permission of Farrar, Straus &Giroux, In J1i ,nes from f\'The Confession Stone, 11 11 7 Let me rock him again in my trembling arms 11 and 11 Mary Passed This Morning 11 from The Confession Stone, volume 13 in the Ll~tfeo Heritage Series, published by Paul Breme~ London, 1970. Copyright © l970 by Owen Dodson. Reprinted by permission of Owen Dodson. MIil,sLJ;G~ \)~ • VV, E-, e,,\)/~o~J for lines froml\_'A Litany of Atlanta," copyright © l906 by W.E.B . ~ois, .aa 11 Hymn of Hate II from Darkwater: The Tw~ntieth Cen5 of Uncle Tom's Cabin, copyright © l920 by W.E.B. the Smoke, 11 copyrigh~ l899 by W.E.B. D~is. Mrs . Shirley Graham D±_is~ 5 Completion D~)~~ ~f;Pj- Song of 11 Reprinted by permission of D J1 p_ cUJ,uYI 11 L �\-ot- andN i nes from "Jackhammer," "Ngoma, 11 "Play Ebony Play Ivory, 11 "Rite, 11 "Root Son~' and "A Song of Flesh;' from Play Ebony Play Ivory, copyright{s)l974 by Loretta Dumas and edited by Eugene B. Redmond. Reprinted by permission of Random House, Inc. ' W~~mt:a:r:a•fflm\ Atv-t~~ r lines froml\_The Lights at Carney's Poin1:J' from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. 1935 by The Associated Publishers, Inc. Copyright€)1923, Reprinted by permission of The Associated Publishers, Inc. ~ j ~f Ray Durem!~ "Broadminded/' from Take No Prisoners, volume 17 in the Heritage Series, published by Paul Bremen Limited, London, 1971. by Dorothy Durem. Copyright(s)l971 Reprinted by permission of Paul Bremen Limited. Mari Evans for lines from "Who Can Be Born Black" and "The Rebe~' from I Am A Black Woman, copyright@l970 by Mari Evans and published by William Morrow, 1970. Reprinted by permission of Mari Evans. B. Felton (Elmer Buford) for lines from "An Elegy to Eternit~' from Conclusions, copyright(t)l971 by B. Felton and reprinted by permission of the author. J-v~1~~ from f\'Aardvark" from Nine Black Poets, edited by R. Baird Shuman).8Jr!I copyright(s)l968 by Moore Publishing Company. Used by permission of Moore Publishing Company, P.O. Box 3143, West Durham Station, Durham, N.C. 27705. 6 �rmiaa-~oi,;ref for lines from ~ Thinking} from Sides of the River: A Mini-Anthology of Black Writing, edited and copyright © l969 by Eugene Redmond. Reprinted by permission of Black River Writers Press. - ·~ - : . ~ ~ - ---..;..-- I ~ · tJ~ G~~ or lines from f\,'Concerning One Responsible Negro with Too Much Power," "Of Liberation," "Nikki-Rosa," "The True Import of the i resent :; Dialogue, Black vs. Negro;• from Black Feeling, Black Talk, Black Judgement, ~C,nur:r-copyright (c} 1968, 1970 by Na kki Giovanni; ~ Africa" from My House , copyright © 1972 by Nikki Giovanni ~/eprinted by permission of William Morrow &Co . , Inc. J - ¢ / t : : : : io~ es from~ : = ;• from Burning Spear: An Anthology of Afro-Saxon Poetry, copyright @ l963 by the Dasein Literary Society. by permission of Jupiter Hammon Press o~ \-~~!,:~✓;:: Reprinted sein Literary Society . from~ ~ : ~ ~ from American Negro Poetry, edited and copyright © 1963 by Arna Bontemps. Reprinted by permission of Farrar, Straus & Giroux, Inc. 0 / l i ) , , J t ~ =for 1i nes fro~ K , o:~ ,[ ~1trane . " Reprinted from ~ Dear John, Dear Coltrane)by Michael S. Harpe) by permission of tile University of Pittsburgh Press. (~-¥<.;i re, d,q: Copyri ght @ l 970 by University of Pittsburgh Press. ➔ John Wesley Hollaway for lines from "Calling the Doctor" and "Miss Merlerlee" from From the Desert, copyright © l919 by John Wesley Hol laway . Reprinted in The Book of American Negro Poetry, edited by James Weldon Johnson. 7 �Copyright€} 1922, 1931 by Harcourt, Brace 1959/ by Mrs. Grace Nail Johnson. & World, Inc. Copyright (9 1950, Source for reprint rights could not be found at publication time. J..1~P(hb., ~ y ~ \1;,..\Lucy Ari e1 Wil 1i ams Ho 11 owa for 1i nes from "Northboj"' /\1 n The Book of American . Negro Poetry, copyright @ l926 by Lucy Ariel Williams Holloway. Reprinted by pennission of the National Urban League. ~~r~ •r 1i nes fri:;.t;~e~ ~:n" and "The Negro Speaks of Rivers" from Selected Poems, copyright @ l954 by Langston Hughes) /-printed by pennission of Random House, Inc.;~"'ines from "Harlem" from The Panther and the Lash: Poem o Our Times, copyright @ 1967 by Lan gs ton Hughe~ /epri nted ~ by pennission o Random Hou e, .r~-~ nc.; ines from Jazzoni ,- from The Weary 11 1 Blues, copyright @ 1926 by Alfred A. Knopf, Inc. and renewed by Langston Hughe/ 7°printed by pennission of Alfred A. Knopf, Incj f b w e ~r lines frol~ 11 Jeffe:.. J) Is the Beauty ofi'his Land, copyright @ l970 by Reprinted by pe.;ission of Broadsfde Press. ~~~l~V· V~l-..1) ~ Charles Bertram Johnsorrs o9lines {no title given) from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. Publishers, Inc. ~.e,,f.ff c; ~ ; . , .the Land" and "My Blackness t s the Beauty offhis l~nd from My Blackness ~i!(. ' f ~n;e ( Copyright@ l923, 1935 by The Associated Reprinted by permission of The Associated Publishers, Inc. 8 �' ffe~ ~-7 · 1~t,SMfJt:J@~~- ¥ g i a Douglas Johnson for lines frocli"Dreams of the Dreame~" from Caroling Dusk, Copyright©1955 by Harper & Row, Publishers, Inc. edited by Countee Cullen. Reprinted by permission of Harper & Row Publishers, Inc. -fJ.i~~~~ Helene Johnsoli for lines from Magulu from Caroling Dusk, edited by Countee 11 Cullen. 11 Copyright@1955 by Harper & Row, Publishers, Inc. Reprinted by of Harper~ Row, Publishers, Inc. ~ M.U-' UJ ~ ~"- ;=~-/ and "The Prodi ga 1 So~• from ~rdames God's Trombones by James Weldon Johnson, copyright01927 by The Viking Press, Inc. - Repr Copyright(E:)1955 renewed by Grace Nail Johnson. i rr ted -'oy i:)ermiss ion ohnsto Spear: Society. lines fro All rights reserved. Viking Press, 11 Fitchett s Basement Blues, Opus 5 from Burning 11 1 An Anthology of Afro-Saxon Poetry, copyright(t:>1963 by Dasein Literary Reprinted by permission of Jupiter Hammon Press of Dasein Literary Society. ~' June J ~ : : ~ ~ U n c l e Bull-Boy" from Some Changes by June Jordan, N1----- copyright@l967 and 1971 by June Meyer Jordan. Reprinted by permission of the publishers, E.P. Dutton & Co., Inc. \ ':_A~.~;Jo~~ ;~~orman Jordan} or lines from 'High Art andj11~at Jazz" from Desti,Wshes, \ copyright@l97D by Nonnan Jordan. Reprinted by pennission of Third 1/orld ' ~:-(place '.P~~tt~~~~=~~~~~~ ~~~~~~~ at beginnin : for lines from,\"My l Lady ' s Lips Like de Honey" and 11 0 Black an i Unknown Bard.s/ from Saint Peter Re tes an Incid~nt by James Weldon Johnson, co pyright@ 1917 , 1935 by ames Weldon J ohn on, copyright@ renewe d 1963 by Grace Nai l Johnson. printed by permission of .Viking Penguin, Inc. l �~~ b Kaufma lines from 11 Heavy Water Blue~• from Golden Sardine, copyright @ 1967 by Bob Kaufman. Reprinted by permission of City Lights Books. ' \ r i 1 ~dge K n i g ~ ~ "The Bones of My Fathef from Be 11]( Song, copyright (D 1973 by Etheridge Knight, and 11 Haiku 911 from Poems /rom Prison, copyright:(0 1968 by Etheridge Knight. I Reprinted by pennission of Broadside Press. Pinkie Gordon Lane for lines from "Griefs of Jo 11 1 1972 by Pinkie Gordon Lane. ·,fl~~ from Wind Thoughts, copyright@ Published by South &West, Inc. Reprinted by permission of Pinkie Gordon Lane. ;~.,\,~~~~ ~ - Wayne Loftin'~ or lines from 11 Reality 11 from Sides of the River: A Mini-Anthology of Black Writing, edited and copyright © 1969 by Eugene Redmond. Reprinted by pennission of Black River Writers Press. Lorde's or lines from "Black Mother Woman; from From/(Land Where Other People ----Live, copyright© l973 by Audre Larde and reprinted by pennission of Broadside s from._"Moon-minded the Sun" appearing on pp (fill inJ, from Sixes ~ and Sevens, copyright@ 1962 by Audre Larde, and "Rites of Passage) from Cables to Rage, copyright 0 1970 by Audre Larde. Used by permission of the author. RJ~ k"~t} laude McKay's or lines from "Baptism," "If We Must Die" and "The Lynching~• from Selected Poems of Claude McKay, copyright(g l953 by Twayne Publishers, Inc. Reprinted by pennission of Twayne Publishers, a Division of G.K. Hall &Co. 10 �- ~ ~~ ~ ~Ma_d_h-ub_u___ti'S~ " F i r s t Impressions of a Poet's Death;' from Think Black, copyright ~ 967 by Don L. Lee, and "The Self-Hatred of Don L. Lee'" and "Don't Cry, Screamy from Directionscore: (!i 1971 by Don L. Lee. Selected and New Poems, copyright Reprinted by pennission of Broadside Press. George Reginald Margetson for lines from The Fledgling Bard and the Poetry Society, copyright © l916 by George Reginald Margetson. Reprinted in The Book of American Negro Poetry, edited by James Weldon Johnson. by Harcourt, Brace &World. Copyright@ 1922, 1931 Copyright @ 1950, 1959 by Mrs. Grace Nail Johnson. Source for reprint rights could not be found at publication time. G.C. Oden for lines from 11 ••• As When Emotion Too Far Exceeds Its Cause;• from Ka 1ei dos cope, edited by Robert Hayden. ~;. _ ~ .~r-ltl Copyright Cr) 1967 by G. C. Oden. Reprinted by pennission of the author. Pat Parker for lines from 11 Brother 11 from Child of Myself, copyright © 1972 by Pat I Parker. Reprinted by permission of the author. ~ ~ ey Randad for "lwo Jima" from More(a Remember, copyright © 1971 by Dudley Randall. Reprinted by pennission of Third World Press, 7524 South Cottage Grove, Chicago, Ill. 60619 . ~~~.~ ~ Eugene Redmond or lines frdm "Invasion of the Nos7 " from River of Bones and Flesh . 5 and Blood, copyright © 1971 by Eugene Redmond, and "Inside My Perimete~• from Inj Time of Rain I & Desire, copyright @ l973 by Eugene Redmond. pennission of Black River Writers f..US. 11 Reprinted by �. ~,YN'-t-,o:P ~~~ onrad K-e-nt_R_iv-e-rs-' or 1i nes from II In Defense of Black Poets II and "The Sti 11 Voice of Harlem" and for "Watt~• from The Still Voice of Harlem, Volume 5 in the Heritage Series, published by Paul Bremen limited, london, 1968, copyright© 1972 by Mrs. Cora Mciver Rivers; ~ines from "To.....Richard Wrigh) from The Wright Poems, Volume 18 in the Heritage Series, published by Paul Bremen Limited, London, 1972. Copyri 9ht © 1972 by Mrs. Cora Mciver Rivers .~printed by permission of Paul Bremen Limited. ~~ 1 oni a Sanchei~~§ i ~i:fil ~ Sanche& z ~ ~ (qC,q ~ !'..,! i ~ :' - 1 r~) Reprinted by permission o~ Br,,o adside Press; ""; f,, ,~ !I/; 61#~:I ~ ~ ~ • f.P.✓._,VU,.._,'-le,C, l--o f ~ , r . _ oJ ~l))UA udy Dot ard Simmons' for © 1973 ~/!~~•; .;.om Homecoming, copyright_© 1969 by Soni a So,,t,Ut. >~~ h C.'1ff:!,,;,Jrci t --✓r W ~· ,- ines from "Schizophrenia;• from Judith's Blues, copyright by Judy Dothard Sinmons. !~P;inted b; pennission of Broadside Press. ~~~ IA)£ 1~ N hr C'\,~ ~ LeRoy Stone~~"Flamenco Sketch•?" from Burning Spear: Afro-Saxon Poetry, copyright© 1963 by .l!lf"Dasein An Anthology of Literary Society. Reprinted by permission of Jupiter Hafllllon Press ~sein Literary Society. -. from 1974 by Joyce Carol Thomas. II I Know a Lad~' from Crysta 1 Breezes, copyright© Reprinted by permission of Firesign Press, Box 402, Berkeley, Calif. ~~>1rNe,vin Tolson' or lines fr "Rendezvous with America," "Dark Symphony" and "An Ex-Judge at the Baf from Rendezvous with America, copyright© 1944 by Melvin Tolson. Reprinted by permission of Dodd, Mead 12 &Company, Inc.; �' : I • .t • from Do, 11 11 11 11 11 11 Do and TJ from Libretto for the Republic of ~ beria by Melvin B. Tolson, copyright @ 1953 by Twayne Publishers, Inc.; and , lines ~,.. 11 Alpha, 11 11 Beta, 11 11 Eta, 11 11 Gamma, 11 11 Lambda, 11 11 XI and Zeta from Harlem Gallery 11 11 11 by Melvin B. Tolson, copyright © 1956 by Twayne Publishers, Inc. Reprinted by permission of Twayne Publishers, A Division of G.K. Hall &Co. • -."H G~~v; • Af'IV J1~:::...--tt---",,___ , ean T mer'. or lines from "Song of the So')• from Cane, copyright ~ 1923 by Boni &Liveright; copyright renewed 1951 by ~ean ~mer. Reprinted by permission w·, X\l' NoWln.f:~7>vf~ of Liveright Publishing Co~p~ration) Je;; .. L ua&&/\or ~ 15N lines from "Blue Meridianj' from Black Writers of America, edited by Richard Barksdale and Keneth Kinnamon, copyright © l972 by The ~Millan Compan ~ permission of W.W. Norton & Company, Inc. Copyright 1936 by W.W. Norton & Company, Inc. Copyright renewed 1964 by Lewis Mumford, co-editor with Alfred ------ Kreymborg, of The New Caravan. ~ - - - - - - - - t ~~ I\::_ ~ \I\JNt\11..,.,...k aylor for lines from "Cool Black Nights/ fr!"" Black Poets Write On: An Anthology of Black Philadelphian Poets, copyright © l970 by A Philly Rig~nalski. Reprinted by ~~rmission of the publisher (Author dead at age 22.)J~P-~ 1 G· srwgi)m~MXU - - ___Ar Quincy Troupe for White Weekend;• from Embryo, copyright 11 ~~J . Troupe. Reprinted by permission of Quincy Troupe. Alice Walker for lines from Rage from Revolutionary Petunias &Other Poems, 11 1 copyright (§') l973 by Alice Walker. Reprinted by permission of Harcourt, Brace, Janovich, Inc. 13 �~ ,q o~Jrt-, ~ Romenetha Washington~ or lines from "Rat Race; from Sides of the River: A Mini- Anthology of Black Writing, edited and copyright © l969 by Eugene Redmond. Reprinted by permission of Black River Writers Press . ~ ci en B. or 1i nes from A Prayer of the Race That God Made Bl acl~ from II Negro Poets and Their Poems, edited by Thomas Kerlin. by The Associated Publishers, Inc. Copyright © 1923, 1935 Reprinted by permission of The Associated Publishers, Inc. Jc.~~ ~~~~~ ~ ~ ~oseph White or lines from "Black Is a Souiu from Burning Spear: An Anthology of Afro-Saxon Poetry, copyright © 1963 by ~ e Dasein Literary Society. Reprinted 0 by permission of Jupiter HaIT111on Press ol~Dasein Literary Society. ~)t "' kh r ~ ighl!, or specified line~ "Between the World and Me," copyright © 1935 by The Partisan Review, and I Have Seen Black Hands, 11 by The Partisan Review. 11 copyright @ l935 Reprinted by permission of Paul R. Reynolds, Inc . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_20 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, Acknowledgements, typed manuscript with edits, p. 1-14 Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, Acknowledgements, typed manuscript with edits, p. 1-14. Page 9 is unnumbered. https://digitallis.isg.siue.edu/files/original/17371cb4b43c1f22c3fb837607028d83.pdf aa833d528e91568db1606ff6b49519a0 PDF Text Text D V' v ,n v o It e.5 _. 1 1 from_ -~ ,; i •,) (;~ !..Y ___2..f_~ :_:: : uoubloduy, i '170. p . 1:)) . J " tiocl:urne VHrio.1 '' ( :-? l .\.n(::_;) : Al ex: n dcr , l ,r•vJ.~ ~· : (\ f' 1·0 ( : .u1) vs I came us a shadow, '110 dazz lo your ni 1:).1 t. Allen, JW1ins l·i<> fd c c ai_ ~ J l·io r·u 1_~ 1 l en ): fr~m. ,t~~n:o Po~ n~d trie:i r Poem s { Rob e 1 t .P • 1. e r 1 1 n , c d • ) , u .: hi n f ~ Lo n , lJ • C • . r I ti >J i r; h ,: 1· ~; , 1 p • •~ • 1 1 'l'o o.ic--tJut ,_.: ai.n Atkin s , t~u : ~el J: tt11 -' : ; : ; • , J,,1-r_ _ i 11d1. fr n rn Am8l."i c::rn l~t.wro l'c~et.!'.Y.( .)ontemps) , ] <)'() ~p J . "At 11 1 j n <.: 3 ) : sudden • tt its Wn r ( )~. fuf-'.i ti V , H ,~nur ... f:S • • • • - ( 11 .} ()<J) Or say upon re · ttl'll • • • in tocinyr( tn.]10) / " Block J\.rt"( ;,'1 Jines) : 1·oem:, nre bullshit unles~J they 11•·e • • • 01· l,1 J 1.J]J ( n . 11()- 11'() ) " l31nck !'corJe " (): li1ws) : ) II 1 C 1·0 y II ( 1,i ] j_ n u !3 ) : uJonc. ii i } ] ,:e \wng , �( . 11 ::>tcrlinf~ ::jtn:ct 0 epte1nber " ( j 1 in,3s) : We ore !3tr1,.nf',C: in a w·a y oo ce.use we l<now ••• :J a 4 t ortured pussa ~c of flesh . (p . 177) Black , Austin : from Pho l'r)r·nud_? in '.'-)' · 1 , ,uth , .c;x~iosi Lion 1-'ress , 1'J6h . J "A se xual r'Ji 1)tt"( :) Jines) : 1 inst1 :rt rl of 1·, ·mis~, . ( l ) . l J. ) • - - - - ---------- --· 1~ T'DIJ. 't lli11 1' I'O tn one dn-y 1 w i l J ' c ru iriblc ••• I ] . 11 Lt ii n \-: :it; \•JilJ tiu 1. ic, :1 ~:.otl.e . ( o . ·('J) ,.,pc:e;cli to the '(, ,1 111[: 11 l? l in , :: J : J,iv<: noL t'or ,'be--~n l l- 1J' - Ll1· ; - .:.,onl'., . 1j v c: in t·. 11 c 1 :. Jun ·· . tp . ?J ) 'l'hink of swc!et unci cl. oc o ·l nte ••• L'l1c m:i.1nl1 ·L!, of ••• • • g in t ,1'iO I':1 . not t h t anyLoJy ••• �:..J S:- "the cl1U.drf;n of the noor" ,F4 ( 2 lines): Por h v vln t~- nr:~t to civili:::e u space \Jh ,: re in to pln:1 y ,., ur violin Hi th gr1'.Ce. ~ "or JJe 'jitt \.DJiams on :. is 11 ay to Lincoln Gemetory"((, lines): :Swine; ]ow swine low sw e et SH · 0 t cl1ariot ••• l'l uin l>lack boy. 1 "do not be Hf'r·aid 01' no"(2 J_ines): It i:; b , uve to l.J e inv u lvetl, 'l'o be not f e:1 r.f'ul to b,~ unr·e~~o 1 vcd. i "J.nn g ston !i u h 0 s"(2 lines : : Yet lf 11 :i. ri riri:,ht of twi :, tine free ••• 'l'he Last ~ll! a tr n jn of the BE,llud of .urnmett 'rill"(:? lines): Chaos in wi ndy /'1· n ys ti :rou ;j1 o. r·ed prai:r·ie. lO 11 -Liegro Hero" (4 lines): !ndee·d, 1 1 d ra U1er be dead; 'I'han su veci by t : c drop of o bli-.ck mun I s blood. /f 11 'l 'he .i:'r() acl·1er: Huminates b ehind the :.:iermon 11 ( 2 lines): Euy him G Coco.-Colr: or· a beer, :i.s , oJ i t:i.cs, CFJll him o fool? Pooh-111)oll /2 "hiders to the o ]ood- 1 (cd 1•ia th 11 1·1y ncrcn1n ! unu , 1i t e d, (3 !Uf Hr) bert l''l'< ) :1t 11 (." lint-~~): Tron Ht tl 11: ,·1n ut11 ••• f{ 11 we 11oul Co,il"(l 1 lines): We ronl coul, he D.le ~won. (1 .'.- ; lines): unfri voJous .•• �1 Brown, ~torling: from ::.;,,uth n rn Hou.ct_, Bea con .Prer;s, ) ' 1'/l~(JlJ3?). / "Memphis P.lues '' ( .-'. lin c 8): . ,t De wid sin~ 3perrichels 'l'b rough nci r· du~' •••• (r • >) -,·.,l ) npany, l')'/2, '-.acrni lJn~ /Y 2-"0ld Lem"lJ l i nc · s): \ 'hey do11 1 t. c ome by CJll' : ~ • • • But tl1c~r come by tens. ( p. 1 , J , - 3L~) ! If; '. '' T'O l I • < J I, Ii: T· " ( r•1 J ; n c- :: ) : nuj J d in ::(rnr· :::: , it] t ~1e t.thiopian JJow ,:-; r, .•• ( !"• • Chri::,tian, l-.arcus d:: from 'l'he }•oP.try 0 1· 3 O .) - 304 ) the ,erro(H ·· H). / " J< cLJon oi_i;h voy in llc\J Orleans"(2 lin0s): But few \-1:rnld lmow--01· even c;uess this fact: • • • is blr, ck, Cli f'ton, ( 11 Lucj l le: t'rom Good l'-i ews About th e ~ r, rth, Lat l.:! 1 y 11 ( l I- 1 in e s ) : •I 1 m 25 y c~ rs old ••• u re youn . 1:r t l 1an !no. ( IJ • ;__ 11 Mary 11 i ( l1, ) 1 0 J inc s ) : SO(J a Ll't!C ( 1, , :Y :) ) "God'~ 1-~, ,ud"(l1 1ine~;) : ndnm I s wliinin tz wny :1. (r.L; ) nanctom :i ou:ie , l CJ 7 2. �L - J Gorni sh, :::iam: from People !~;!n ,; :i th tlie "indow, ::i n cco l'l1t) li sh c rs; I ,.or, 1·:.t rk ~v-e11ur:-;--sa J.TI !110 r e-,-1Tn l 'Y 1and. n. cl. "MID ) LI~ CLJ\S:: . : T r~T ,S 1.-11 ·rJI CH ' 1-' PL ·<D 'rl!r•:JH CJ (}J\l<:~'l"l' :_; "(13 :J,. In es ): / r'] 1:G 1-:ns \JAI'J' IN , ; H~ '.PU l.I Ci-l!'l1 your fin r, ,: rs ••• 'w5 th re :,tless s t ares. l'rom 1•·, :; ti. v .:i. 1s :-- nd 1"1tnF:rals, Phrase 'l' xt, 1971. Uortez, Jayne: I ".r'e sti v als And Funera l n "( tl linE:s): '!'hey win ,·:,: d bis !; niri t cc. ••• Cott er , 2.."·rho ,. Jose:ph :., ,:arnon ~Jr·• : Ueber ini.n• y(Jur mnnhood•s r-isi11 , ..:>o you h:; v,--; a w:ly to :., to.y it. (p. :'J'/) ti o1_:ro Chi1cl"(3 lines) : 1 ••• ••• be your f · 1 od, your <!rinl{, your rest, ••• Your h C)fAu : nd be:", . rt to oare. t JO: ' - j\J j ) Cott er , Joseph ::;et:mon Jr. :from Negro .l-' net.~1 ,n d rp}10ir Poems ( i,erlin ). /'"Hain !-iu :.,ic "( J linen): l'~ C)\'1 n ,-,lii ~ipcred 111urmur, ••• .. . d r•u1n :: t j cl·: s • Cullen, C0 untco : t'rom 'l'lt1 : -oo l·: o f 1, ,,1 .. r.i<~1 i n !·:e ,· ro 1·01 ,~(Jnmes \Jo]don John8on,ed.} : ln1 ·court , l 1,1·nco--::-7,:or·]d , ]C1'. ?T. ( 11 l!erit.. nc;e" r,2 J:inc s ): ''LJoff Ll , i !: 11 n 11 ·:.,:ul ,·: r:l 11 ('.• ' Come ; , 11 d n : : 1<'. o t l I c· 2,. "I!e ri t n r.: o 11 ( () ·1 i n c o ) c l•'ut 1·1or , ~ ;>n, und itoly 1.;hos t, ••• l.Jo I plo.y u double pnr to ( . ·; 'l1. ) �from On 'Phe_~c 1 .::itanci, Ho. rpt; r ; "~cottsboro, 'l'o o, :1:s • 01•L JJ 1 ·: How, 1cJJ1.7. I ts ~oni-'' '( .') J i n es ): ••• shar,, und pretty ••• succo nnd vnnzctti,t 160 ) fron; Cn.rolinr.i: 1.Jusl<.(Cullen, ed.), llarper & ltow, 19 ?. 7, 1055. '{- "Yet Do I J·1arvel 11 (? lines): ~et do I Tn.[,rvcl nt this curious thing: 'l'o malrn a poet blHck rmd bid him sinc:J ( H :~ ) Cuney, ~1arinc;: 1'r·om ·i 'he Ne,~ro Carnv nn(: ~r own, D1 tvi s , Arno l're :: :-; , 1 9 7-() . Lee, eds.), New 'Mork: / "Jlard'i1imes LHues"(J lines): Grea t-Liod-Amj. i·: n ty .•• fa r 2,_ "No C_ • Imug<:s " ( J lines): , thinl: s her brown body ••• ••• Has no g lory. And dish wate r- gives b , ~ck no i,naccs . (37S) Cunninl'.,hnm, ,Jumcs(OJ.umo): from Jump Had(liwendol d roolrn, ed), Broadside Press, 1971. / 11:::;t. Julien 1s wve: li'or Bennis Cross"(J lines): the Hind-man t r,n r· ·i.nc; o. t the brj_p,~c ••• float u p Go tl1c :_;icy •••• Davi~, f•'run L 1 I! r:,hnl 1: from Ihde 1· :: t : nd:i. n ,n; tl tr' J·: c,1 1Hacl, J'o1: t1·y ( otophen li< n, l1 ,r~1on, c d), v1j J.J1run ,·u r i-- JH, l <'i /J._____ _ / 11Jnzz Band"{ . ' ·1ines): l'lay t i "' t V l:.ld.n i_: ~l •)tt juz.z nu d 1' n )} :: I... }'}jnJ< nln n J.: pJun 1c n i;J. unlc. ( 1 11! I ) t �l,a J t(:r : f'r·om urn.in!' 0ne1!r: 1-\n ,1n tho1n1 ·y or nf1·0-:.:ia.xon J'oetrv, \'iash:i.n [~ton, D:tr.·-;- Jupi t -;i~ - > 11~.non i'I'O:'. 3, l t)63 . / "l'salm fnr ::iormy HoJ 1ins" (!1. lines): Abso 1•be <.l in the of the sound ••• W•) Hlh I am the sound . ( (: ) - ----------Deveaux, Alexis: from .:::ini_12ts in tl !e ~trects, Doubl day, 1973. pa ru r~raph exc e: r p t ( [, lin es ) : / Lord why he bout ttu, t \-JU111 ~1 n so? ,: nd them ••• word. (107) I DAnkins, Clwi·JB s: from !.c ,' r o l'oetr-v L,ncJ JJrrunn(~ter·l ng Brown), Atheneurn, 19f.'). / "lnvocation" ( ;.-> lines): F'orgi ve thine , erring Lo 1·d, pr! O r> le, Ylho lynch ut ltomo lt!l<.l love nlJroud. (S~ ) Dodson, Owen: from 'L'ho Confo '.; ::iion Stone: ;Jon r~ C Jr, s ( "l'rrn Conf<~s :ii on ,Jtonc·" ( ? lines) ; Shusl 1Yil1 , you need the r·es t ti) Let me rock him a1~nin in my trcJ11bJing arms 11 '2,..- i·.1ary 1,as~; ed. 'l'lli s l\ ornin r::: -, I 11 ( ::, v) lines) : frCJ[ll J·o wt ; rf11 J _ ! ,i )r:1r: _Lo clck r ( JJc, d ::011), "(.;ount,:o (.;u l J 1;n" (:' line:~-) : \fo J1 0:i r l•'or 4 :1 n ] ·1 111:tn!d nd ~)·,<1 rnin13 nc\J ye· r 11.L Ll 1,> ut liornlocl( i11 l'/3) lJ:i vine c,)ll! Odl_( ', l:i n u :.,)= Cunccl us, •• o\tr' r.::;J.n~~ ::,. Paul Llremen, 1971. �1Joll3on ( c .,n Lu) 5 11 Uuit1.1r 11 (/~. J i w:s): r, J\.i n i_t h · d_~, l 0 .02_. ~ • 1 t ro t:c.111 \-.1 1 <: r· e l ( ~-; J "Jonathnn 1 s ~onc"t3 lines): ~ Jew is not a race ••• I am u pu.rt of this. (89) 7 11 Lament 11 ( 10 lines): ~lake up, o, boy, ;,ind tc11 J11 e how you died ••• wo.ke up, \! ~0 kc I U-\) i 11 Upen Letter''( ') J.in c:,): ••• to. Le our bl ~• c1·: l iun , s in · y () ur-s. (103) l'ocm~ f o r t·~ y Br·0 !;! / r· Ke nn 0 th (? lines): ( ';'h r· re h llS no re ply: You g i, ve rne n srn:i. lc :·nd ro turned to the era ve. (65) DuBois, \HJ]ia:n •JdHard ,\u1· r.:L urdt: (Johnson), 1 1) ~ ' ) . f "A Litany of 1~tl unta 11 ( ,') fr om '• 'he Pook of ,::, , r:i.cnn llcfTo l'oetry ------c---------- 1 lines): Surely ·1' hou too nrt not Hlli te, f O Lord, a pale bloodl ,: ss tLinc? ( '} 3 ) . ;2 from Uark 1-mt, :r: '•'l k ·1.\; (\ntieth Cr, ntur'.r C0 ,nnl r: tio1 in 1~ t ui~7Y.c·.-:--;;:-· -j~:n1< ins ,..,o-:, l ') ~-;11 J lintc (! Lh c 1:i , ••• from _Q~C:}·: ~ ?_i~_'.__:1_( .1~broJ1 : ,.in Cii ~qmmn, ed.), i ! cH :} 11 rt :[yrnn 01' Hate"( /! lines): Song of th c Smo l:c 11 ( 1\ :. 'l'ic :t11 J/ brary, 6 J.ines): ~ouls unto 111c nre us lllL.,;1..s in Ll1c n:i. c-,ht, Hail to tlio blnck I (::, : o) y ] 96U. �Dumas, llonry: from U_~ ___'.,\Jony .Play Tvo_E1.(~ur; ,·:ne H,; clm,:.nd,od), J CJ?) ~• ( 11 I lnugh 'r n1\.: Jol:e 11 ( 1f> lino s): co.u ::ie ] d on't r>:la y ( SO) 2,, 11 from Jackhwmnc r 11 (? lines): 'l'he .i ack j :.ick bnc '. dng bn clc 1ind s tnckin i~ stone louder l '> l1<kr l ,'. -1 0 ) f "Plt•-y ~bony J]:Yy lvor·y"('( 1htes): f o r th c s o n 1_r; 1 e :-: :J , 1, h l! o c :t d • • • ( 3) ~ " lii t c~ " ( 12 l j_n C! :i ) : Vodu r;r, : en cl incl d 111: h j s Hrist, ••• I u 1r1 n o t c J. ,: 11.n · l :; - (, J ~"Hoot Song"( ~ lines): Once when I was tr r1e 1',lesh co.me and worsh :i pped at my roots. (19) 7 110 aba 11 ( 7 lines): sx watorl n gs • • • of fln ge] 111 fl uclcsin g 1·i \., e (lJU-131) i,'hen I nwo l :c, ••• • • • r;utl rt . (j L ) of Y ' ) lll' li1 : : Ho.nctom House, �/() I 11.nd U !c ~nm Jnu)1c d 1·1i 1',I , jn tl11 , inl':initn si ·y , And tltc J i :_•) 1ts .1ur·e f'or·:~ot jn t.h o sweet , 1 snne f' r1 lm. ( 11: '1) Durem, Hay: from 'l'n!,e l: o l'r:i soncrs, p; !ul Bremen, 1171 . "Broadminded 11 / 01. lines): Some of my be:1t fri, _, ncls ar·c ,.m j tc bo y s • •• • ( 11) Evi -ns, Mnri: / 1 1 ~tho V fro 1n I Am!, ·n: cl: '., oman , l;i11ian l·!oJ•roH, 1970. tlan be .11orn BJ1 ck"(J.i l~ne s): Who ••• and not exult ! ( ') 3) ~ 11 1'he Hebel" t ? lines): Curiosi ty/seol cc rs (7( , ) Pelton, J "An n.: fr-0111 C0 _!1c] usio ns, !-,onarch .c.le •_~ y to i~t ,: rni ty 11 ( -' lines): 'l'enr -du c ts sHf'\ ll, burs tine; in a df~7 i :)it ] of flood 1,nd fur-y. 11Anrclvnrl< 11 ( 3 1inc s ) ! ••• tJ ,ou )1L t i bou t b,.; 1'01·0. ('( ·, ) ✓ �Fowler, 0h<:rmnn: from ::;i <le~ of the J ii v c rt ..:.Uf!,One 1kdmond , eel . ) , Black Hjvor \/r-itc1•sf::iel: Hccluiond 1 ~; o.rldress), 1 (,l). . l<1. ng J "1'h 1n 11 . ( , ' 1 1. n es ) : onl:t tne mind can lleur· ( 1 I, ) Giovanni, Ni. 1.l-:i : fro m J· lt,cl -: 1' c cJ.inc; , :.' l :, cl< 'l'alkJ S l n ck .Tud , :rncn t, William · ------·- --. ---------- - ----- - ·•'··- -l ''. 0 rroi·; l 9'/0 . J "C nn o , rninc: ,~mo Hc~pon:-· i bJ e lf egro With 'i1 0 0 Muc h to 1: ~:-: p J. j 'o wcr" ( j t :i.11 c ltcc 1: "Of' l.iu ,; y,1,1,jon "\l '• Jino:-1.): ( ••• your own b l : ck :.cortn., "} 11 l Hik ld -Hosa"t ~ lines): J y our l> .io r ropner~: never underst and ••• cone e rns yo u ••• l( lines): " 'l'he 'l' rue Import of t ho r'r .o~;c nt Dialoc,ue, Black f; Ne ro 11 (12 lines): from 1.l_l_?_u:-:~(u j n•n , ,111i), JC i'/2 . f:; 11 iifric n I"(r) J :i.ncs) : on t11,) b.i. te o f [1 1-:olo. nut I of th0 ~:1tn s tongue •••• - -- - - - -Gov an , o~n1,1ld : 1'1·,,r:1 l'- u)•ri:in ·· :Jn, :1 r: "n " ntr\olof_)' of i',fro -Saxu n 1·0_0.t~, Jupilnr j, :-~on 11·1: :·~\ (l).C.), J. •~l~J. / "i'hc Lyne in ['. 11 (.5 Jines) : 11 0 ••• , 1:13 :-10nked in oil : nd the rn:,tclL {'j ,,; J•y inl lUIIILUl dw1c e . (1 .'J ) Ll11•,J\!l1 . // �!\.:~-~-'.::.ri ~ :,n Grim Ju(, AnL~C: 1 i n a: J'r-um \-Jun e; , 19 1 .3. 11 / He f T r>()~ () t ~ ( 11.rnn )) ( )!"\ ti"!l'l! ,;, 'ed. ) , I !i 11 'f.he Bl u ck Fine; c r"(;~ lines): \"hy, b e uu i: iful still finc:cr, are you blacl<? , And why are y o u p ~)intinG u p ward s ? (17) Har pe-::' , Mich ae1s::rrom De o. r John, LJ flnr Co ltrnn e , Univ e rsity of ,eittsburgh ..Press, 19 70. / "D e ar John, u e a r Coltr·an e 11 (11 line s): ~·ihy y o n so Ll n ck? a love su o rc:nw , n lov e s u o r <.:rnc : ••• (7"5) - ~ - - - - - ~ ~ - - -- - - > --- -- - - Haydon, / Hobert: from •;1 l1 t~ :1e ' r·o Ga rn.v i,n( ·, rown, v a "Gabri el" ( ? line s ) : Prom for go tten fr, r n v c s , ••• IJr; v c r-, n e v 1.r r e~: t. r f. () ~0 0 ) from Sel ~~_t n d l 'o e m~ , Oct ,)hc r 2,.. 11 i ,ous e, F d)6. Hunv. 1~ate Htmn !· ~: te"(5 line :; ): nuns f [, ! l:"; r :i ses ... ( o n e lin e ) l\nd bof,H·C I 1 11 b e a s] n ve lJead 1'0·I 1.: n co nt ••• from \;orrlc. j 11 U 1e__!.'. 0 H r·ni 11 rr L:irr1e , cJ c t n b e r !: ou s c, 1 Y70. )"El-l!o.jj !·l n1i l: J~l ~ll D. bnz z''( 6 lin r: s): o f Lli d r Uf> no r· c :J:i 1· v:in c :·l 1n<.lo. (::,,.l - )1) sc rv j turl ,~ . u ,n Lee ), Arno Press, 1 97 0. �11 / Gu I ling thn Uoctor" ( /~ lin1.: s ): BJ u c -rn:.t::s, lnud-nwn, J.J v 1.:r 1i]Js , a.n• half-u bottle X. Y.. 7 z. (1 J6 ) L " Hiss 1•1 erlerlce 11 (3 lines): Sof • brown cheek nn I sr1:i lin I face ••• sil '. :y nrrn so t;lur·1p a.n 1 br! r-e . ( 131~-l ;,S) ---------- -: 1 { . -- ollowny,Lucy A1·iel ,1iLtin111::i: from 'l'lic !~ool< of Hl'Wri~::.n 1'f' f°I'') l'oetry lJohnson) , 19.Ssi . 11 llo r·thb oun 1 " ( r 1.i.ne s):. _ H , it I s one }onl~ ::tri r ••• '-- I 1 m upwnrd boun'. t 2Gl:i - :) l• ·,. ) , llur-r,hes, Lanc~>ton: from ':'1:c ·ook of Am,·-rjcan hce:r o 1'oetry~Jolm:;on), / "Jazz oni a " ( 6 1 in P- s ) : Oh, silv"r tr e e! Oh, mlv•·r river~: of r.l.0 "oull t :)}. 6) from ::,electect .1:'or:ms of L::m1~:, ton r~urhcs, 2, 1111 arl em" ( ? l:i.ne s ): ',J eJ.J non [ 1 1] tr ; J.] :;ou Life t'or me :dn 1 t b, ·, n no cryst :.1 ~,tn:ir . ( J . ·r l or li:i VO J 'S" ( l , l .LDl:[:) : X 1 vo J.:nown river:~: ••• !·I,',' !, , >ll} 11· • :; l_r,ro\!n Ui;<; l) 1il·: c t.i10 1·iver~, . () l· ) �Ilur110s ( con Lei ) You did :.. .lri c ht j n Y•J t1r dn y , 1 re c l-: on -- ••• 1-!o.r x C,.J11u,nmi st Leni n l 'e &. s :, n t 0tuJ. in , '-''ork er, ME - - Je ffern , Llll1ce : fr ·om My l.1Jn c l: n e sn fs t h o Fe m1ty of This f. nn.9.1__ '-' ro n dside Prens , 1 1 / 11 / /() . !:H ack '.~ouJ. of th o Lnnd 11 (7 l 5 nos) : a so c P1 · t :.:r , :1 n i) • • • ••• c r::1:.~(: to l) c it. :: 11. • • • ~FHtn d r-; d : J nd ( !:·: o . ( • I ) ) \•Ji [J ( ; , • • • ( (: ) ,Joun[; , J :J.' ed : fr r,;,1 i l r: \I 1~c 1' ro 1·,),.,t·. [l : U . S . A . (L u n [: :~t o n ·: u -;hc ::,, 1 of ln cl1 un 11 1-r ss , "). C)f,1+• - 1 '1 'he . JIJ 11 ('/ 1 h u, r ed. ), i L c orn in ;:_ · f :.:.:tc: 1· 1.l u n :rn t.md Lh o • JU 1, I _' m l :, . r ) 1/: - l:! 1) ' t/ 1. J.jnc s , no tit Jc John s on , li' o n t o n : 'l' irc d 11 (J lin e[; ) ; f' 1·01n '',l 1'- cl: :i v e n) '✓ n i. c c s ( G) 11q>ir,1 m) , 1 9 (){) . 11 'l'ltrow t. I 1, : ol1 .i1 dre n i n t o Lh u r .i ver : • • • y ,Jt, a re co J o r, ,d . (J 7U) John.s o n , (fco rr~:i111J<) U/ ;lus : frorn Gur•ol in :1 lJu: ;\.: \Cul.lon) , 1 ~ 1'he .IJrernns of tl1 0 Ur·onm c r" ( J 1 inu s) : Aro ton (: S tl1nt ror 1::1 t ••• 'Pj 11 i t c, : :?:; er.; to l.) .-, :, i..: . lI 1) v \. j 1' 01: rns 11 Uni v er·s i ty ·1in 1:f.i): • • • He :i J o J J ] 'i5S . (1. u rJin ), 1935 . ) �John:;on, llolene: from ~_cl_!_'.1,l_)nr. '{u:,H(~11 1 1011), )') 1;~, . 111 / ·ia r~n1µ 11 (3 IS lines): ~Jou 1 d yo 1 t n c 11 Ll 1 o cu 1 o r s o f yo 11 r ~-\ u n !"l , t ••• • • • let you danco? J·ohrtson, J n rne s Weldon: frO!'l Fifty Years n..nd 0thc1· J'oems, Boston: Corn.hill, ]_<)l'(. J "J.:y Lndy' s Lips Am Like de Loney •L ( ~~ 1 ines) : 1''elt lier l~indcr- squeeze mah b an•, 1 2- 11 0 il uff' to rn nk e me unocr~3tan 1 • Black nnd unlmo\•m i;nrds 11 \!;. lino s): O l>Juck :, nd un l~ n o wn bnrds of lon ;:r, ~1go, ••• O blue:-: :ilavr; sin1~ · rs, ;~one, f'or ,,:ot, unfarne d, .•• 'hc Vj_k j_ng Pross 1 3 "Tllo , Crention"( !~ line~): Li\-: e :, rntt1runy bcndi11 [~ over LAr b:_::_by, .f "' 'l'iJJ. He; ::!10.pe d l l i11 : 1 is own im::;_~ e, ••• 1't,o J·mcti r,"1 ~on" (3 l i nr, s): You.nv. man - - - - - - - ---Jolinston, ] .l:'c1·cy: f1 ·o w ·'. ur·rdn,: :,;1 )e ur(:..~c.:c- llstin 11I•'itchc:tt•s , :·, ::,, 111 ,• nt }lies, upue '.;:> 11 ( '~ r,L o \·c). Jjnon):, l want Ooltl'nnc or ~,;nny u11 Jurdan, J II l In C 1 e Jun(:: fr0in ! I u ·1 1 - l, 0 y II ( ,'_) Sorries 1j ne 1~\!ll l" 1 ~•:S(,lur,1: .n), :3 ) : ... ] 11 dic1t J\r-t;: · <1 r•'uc1{ :,ou :!Jl that ,Ja:.:~~ 11 (~ lino:,): :, 111: y ,i ur· ••• 1:: .1 · . ]Juttor:, ) I �lb 1. 'l'he r~tdio is tu;chin ;_- my ~oldfish Jujitsu • • 1 • • • too much wei ,_;ht • 6Jl ------- - - - - - Knic~t, btheridge: from ~cJJv Son r , 1. llroadside ' ' r ) 1 "l he ,5ones 01' My Fath,· r"(? lines): from the hott um of the ·1'nJ lah ;•tchie. · from Poems · from r'ri son , :J, 11 Lir·onds:i. de .t·re ~.: s , l A8. 9"(3 1Ln,: s.): i loj Jrn 1 No square roet s job Lane, Pin1'.ie 0or·dop : fr o m lvind Thou -,hts, So uth ;md 1,,est , Arlrnn: :as, 1972. j. "griefs Inc.l .b'ort ~mith, of joy" ( 11 line s) : Mo nothing remnins th 8 same •••• interlocked like death. Loftin, i:;1ouise: 1 . ."Getting from .Tu1nbish, l'.;merson '.i all Publish 21· s,Inc., 1')72. Caur·ht"(lj lines): .) if they cntch you ••• F) thins ok . , , "Ho.in .:ipri",o.d"( ') Jines): open to 111e •••• Loftin, j 11 1 :Jaylle: . from :Ji de:1 n 1' tlie J~j vc· r, ' ),ln cl: ll e~1]:l.ty "(.I:. ]:inc~~): out o .t · L: , ,1 co t, t, <>n f .i. , 7 , t :, ••• J �/7 I,orde, Audre: fr•orn !i ixes_ :,nci Jnvon s , l n ndo n: l'nu1 •' r c rnen, ) ·f.1hc Ji 1·j1t th: · t ma1:·c :'. u s fertile s h u] l mi. 1( c us s tn-l.e. from F'rom a La nd vJh, -i•e u th r J 1<)(,;: . l, eo ple Li_~ , ~ 11 u1 11 ck i·:oth ~r \·Jo mo.n"U Jjnc ::): I l our·n c d f'rorn yo u ••• rh r·ou )1 yo ur cil:.: ni 1, 1 :-~ . from '1 1he J "11; t c s 1' 0 c tr-y o f 1,1:': c l: h ·1< li H Pp o r ..: How, r :i. c n (Arn o ld 197 3 • of Pa s~::.1r: e "( J lines ): l-lUi ck ••• ------ McEay, C1nuclo : fr· om .Jc l e c ted l'ne ms of Cl oud!.e 1 " Bap t i s m11( 2 i ~u rc urt, Br a ce oc horld, 195 l i ne s ): I wi -1 J c om0 6u t , to b a c l{ ~,' OUI' world of te a rs, A stron rcr soul '.-iitl iin a finer fr nme. Li k e rrwn 1-,1e' 11 L ,cc the rnur· ae rd>us, cowu rdly pe ck, l''ress e cl to t i1 e wall, dyini::, but fi ,~.hting b l-i. CJ{! J "'l'h e Lyn chin e: " ( ;' lines) : And littJ c l n o s , Danc e d 1· 0 Madhubuti, l! n l-::i l y nch1 °rs th t. t we r e t ·o b e , tmd t he dr,· d ful thin g in fiendi sh {l.Jon L. Lee ): t (. r oc-m s, , 1 1 my 1 i :•,ht • • • o ut n r- • .2,."D,m• t C1·y :_j c fr·o rn Uir l:. ct ion sco 1· e : ;j elc te d :; n d Ne w 1 9'('.f~- - ,r-0 :i d ~; j_ d u 1,1-cs s, ] "·L'h e ::> cl 1'- 1 !n.tr· o d o f !J,_,n L. 1·e: , 111 11 (J l i n es ): glee. eo 11 (3 l :i. n o.:3 ): �/!J' Madh11l>uLl (contd) fr o m '.!'._!"1_:i.nJc Bl ~ , >." Lro :: d ~: i c1r • J.r os !.i, Fi r· n t Imp .,. . c ~ ~i ·i o n 3 o f a l o c L; • s LJ 1 e A.th 11 • (·(. 11 •( !1 J i n e R ) : s eluom ••• overexp os1i r-c. 'f'•:arr;c t son, li c· o t ·,ce Ho ;!,inald: f rom 'l'h e r:.00 lc of Am,'"' r _ c a n J~ e;".rO l·o c tr l Johnson), 195 ~(• L'. 11ushin [~to n to l 0n d th e1n, .:iome lo o k to ) •• I ,r a ce &. World, I I .1. T, t oo , o nce truste; d 3i r I I I that p l un ;_:e d me do H-n . Yes, II , Ojenhc (Alvin .,) axon): .J. 1967. 1 11 ·1~ at ts 11 ( 2 1 inc I fr o1n ·t'i1c !'o e t ry__o r .n a clc .1-1. !!:c r·1 c n ( Ad o ff), J SJ 73. } 3 ) : assrtssi n:, U .n L: tin pe o ple nnu 1Jho l e ••• some too- t ruo truth •••• Parker, Put:----rrom C: ii l , · of 1.1 ·vs c Jf', \io111 c n 1 s l)ak l o.n d ~J if., 9)~{~113"; l l) '{ :-> . J, 11 brother 11 ( 2 1inc :,): is cn1led Cl l'i :; t • Hondall, lJudJ c y: J )- fro rn 1-l.: •cl< Vo :ict··n(C h 1-q rn1an), 11 Bo ok er 11 Iwo J1ma 11 ( 2 lin1::.;): Lil<<' o .i 1 of ~ ux n s o l lective, ~25 1 Uro a dw a y, I I �Rivers, Conr•:1cl i,c nt: 1 <)7 2 . / from ·J'l1,~ LI Vo:i.ce of llarJ1 ·m, Loncl0111 Paul Bremen, "In vcfense of Blacl( l'oets"t2 lines): a black po<:t mu: ·. t :) ;_;,tj 11 rcmc1· 1b(.;r the horror • ••• to read you . 1 i'he ~till V0 ice oi' 11arlem 11 t3 lines): I run the hope ••• of your u · 1bo rn . l·lust I :;hoot ••• from 'l'liA 1•r:i , ·:1 t 't 11 '1'o tiich :-: rd 11 Jocr'ls , J,,1nclon : l'nul !3r·c men , 1 17-;i . r :L ·J1t"(J l:inc s) ! 'i'o be bo 1 ·11 blc ck ••• .. . the p·:.m d Cl.CW n t ur-c . Snncllex, :Sonia : frorn .'o meC ,)!_nin r~ , j 11 br·o r, d s ide r ess , 1 ,_; 69 . 11 Halcolm (9 l:i.nes) : Yet thi::i men ••• • • • gun-filled ni 1!)1 ts • from 'l'he }'oetry of black Arn0.rica~Adoff J, 2 1973. "definition for blk/childr0n 1.1 ·.111. lines): a policoinan ••• oinkJ Scott, Johmnc: ·I•11 c l' 11 rt:; fro m "or] d 11 i I r> \I , J n u k ? ~ ) ~ • 11 \ Jatt:::i , /{Yo i l j _11, :, ) : : , 7 ti i. c: l 1: , :.: n : . t 011 .J c s u :·; t .p ! l•)(· (;"( ;'' 1:in,, :.) : 'J'l1e m:·n n: ,m<-:1 i 1", ,n1· hn. :· :inll,··ri toct lw.lf nn 11c1·0, �Simnon::i, Judy JJ0L11n1·d : f1·o ir1 ,l u clitli'·· ._t. 11 ·1w·: :-, , Broad : ide: n·es '., , l':T3 • :3chizophrenio.."(? lines ·): it . won't como b: ; cl-: in sidu of me. Smith, Helton: from nm e trL1t:i on , JournL.J of ;.:ilac · l-'oet1,y Pr ess tl 9 71J, 9 2 2B Jlaif:',ht .Jtr· c ct , oLmf ranci c-co , CnJ.if J. 11 Mal r.olm 11 ( ? lines): in my hcurt tf <· Jc arc many 1 unm r1rl:1'd ,:rn v cs . from F~urn in :' S 1lc:~ r ( s ce l i :~ t inr; 1t11ove) , Stone, LeH 0 y: J., "1'':tamenco S1rntchcs"(li. linds) : Dissonant nos~nlcia of one kiss ••• Cormnent I Thomas, Joyce Carctl: from Crystal i.:. rcezes , Fires r;n r, -, c, T',-CC 1 1 oy, C 8. 1-1· f' • n! ·;.1. 70 1 • 1., 11 P.O. Gox )~02, 1 1<.now a Lady "l5 lines): I know a J.u dy ••• F'ine thr·cnd of 8tcel •••• 'l'olson, Me] vin E.: fr,)m J. ,~ndczvnus with J,,"Hen cte zvou s \-dth Amcrica "( c) lin es ): 'l'irnc unii:i n r_~ed the 1,,n.tcs ••• I-" Uar~t America! Symphony Before 3 11 1\.1 1 II l 1~ lines): l'n tr-:ic l, :.,' nry·s ••• 1!l1 i t (i ~x -,Jud 1__i;u n t u 1· 11 (I: l i nu t c 3 ): d Unt; J'u1· 1,11,: 11 c 1·0 ••• ont) for you ) �~ "id 1,h n" ti~ 1 j n c : :; ) : I tr n •JC•] fr o m l: H:,J :; ••• • • • t\/i]J e d is nlain. t' 11 L:. eta"()l l:in 0 s) : on f: ne · ds the c l o. ri ty ••• swoJlen with ry e . b" l!:tH"(J.3 line s }: Across nn alp of •·t:it terlin ('s , . .• nn lbc o riot or ~n lucn . 1''G r.. •· •o " (9 lj1 ws ): Cn t a c o ir111s of Lio s i o . 8 " Lnmbda 11 ( ;:' l :i n e::, ) : , if olcl ;.) a tchrno h :· d n e·.1 r b e en bo rn . 1" XI"( f}. line s): 'l'he n:i. ,•)1t Jolin i lun r y i:.:i b o rn an nx ••• ••• n p]a t te r of r, orlc :: nd b e: unsl /) "Zctn" (3 lin e;:, ) : the s i um,: s e twin of f u nw . fro m Li.or ct. t " _ t', )1' t h e_ { ( " Do 11 (L1 1 in e s ) : {2. 11 11 c r ,11hJ.j C or L \ \., r :i n , l'wuyn c , 'i' o u P r e ••• Do " ( L1 J in e s ) : A. t o o t h l' Ullor u p n tnnlt y sici s t in n ••• • • • on u ,mlk J 1,rSJ . �/ 'l "'ri 11 (5 lin e ;. ): Quai d, Urs uy ••• Ag ain h1 Pc 1c Ao th i op r .cu c he s at the s un, 0 Gr e ek. 'ro o rfl e r, J ean: f r om BJ :· c l{ hri t t~r s of 1\'.!1e r i c a ( Bark sd al e nnd 1\ inn nmon), 1 <)'( ;> .. 11 / P. 1uc j,1e ridi nn 11 ( ? l i re ~; ): .fo I r e ::l 1 n i :· ,;;. :r- s n o w - - : '. e t 1 2 ••• y , ur ch o ic e . fr o m Gane, Bo ni tc Live 1·LJ 1t, Pour o p ou r rn e ? J.nc., t h :, t •'P r-t i n i~ s -n 1l :i n so n g , 'rr n ylor, Mar i.: f r om BJ ,·: k 1 ot ! ts 1•,rj t-,~ u n: An An l_:2_.l_!?_:.::.Y.__C?.f__:_~ Ju c_!,':.,_thil acl.e J nh i a n Pu 1·,'l' ::; , !1.l ucl-: 1 ' i~; t ory Jv:us oum "C omsri i ttc , l' .0. P.ox 1'50.://, Phi l ade l phia, J' e n n . ,, 1 1) '(0. { "C o ol Bl u c k :,! i ; .h t :'l 11 l \l 1 in ·s ): '..;td TI'•) U [JC ' / 11 1·J l d J IC y: t e \, e c: b: r H l 11 ( 1 3 1 J n c s ) : 'l'he s to c k rna rl<c t we nt u p lU po ints •••• Vesey, ("'ro 1 I 'aul(S nrnu e l Al__}en)·. fr·om ~oon i'•lf re J A. h rw p f, l<)() J. , I O ' ! 1l I l ll V 11 1·' . l ) r•n1.·nrr( Jl i'Jl ed) e, Jie . r l ) t•rt , . • 1 Sut ch"( ' l ines ): wii.T1·:~ r, ;\] i-t:c _:_l; l ',)lil / l.,, n 1 iO'✓ u ·1uti r.n1 1 , r •y i C'l I , J ·11C • , J ,·t:1 1 l 1 1"'7':, • ilo ,:e''(3 1 1111: ::) : 1 'l l1 e :: :i :1 c: n c e b, : t 1 8. :'l .",: dt ,,. -· G 1-1. w1 _yu u r wo n i rJ ••• I' I �'l' iJl lie ki lled th:_, t \Ji d d :i t b l t~d c h e c op a n d t u1•ncd out bn ••• H 1,r-e un n e r ncnf his shir t •••• "Por My .Pe o r., le 11 (1 J lin1,;s ): For my peop l e e v ·r yw11e r e ••• 3 " i 'oppu ... now rise illld t al< c c,. int rol . Chi c lu m ''( ? l ines) : Bo ugh t hi s pardo n n yr : 11 r ; . • • j n ':'h e 1:~HJ. ~i c 1:·i nd l,aw u y I Lawd l 1 r ~ Stru vr:. lc b e tw (:; en Lli c rnornin ;:, :,nd the ni . t; 'l'h :i r; m1i rk~1 ou r .y< ~: rs ; "We !la v e b n en ]-nl ;i c v r; r e" ( J • • • bc] i nv in r t his s e t t1es , t o o , our- p li 1)1t . 1 lines ): in our burdens ••• • • • with a st 1·till f: e -Lnsi :; tency . Wa shington , J- 11 lwr: e ne t h a : from Sides o f the Hi. ver (F d.mond ), hn t l1n c e 11 ( ? l ine s ): Sc ur r y int f' r .) 1n sun ito sun •.. I pro t.:st bu t I "A Pray , r of t l ?e st i l l Ha c e I run. 1'! 1:, L <iod Had e n,lncl< " ( , God s av e u ~i in 'l'hy Henv e n , f .., vfl ii te , Jo~~c ·1} i : 11 1:: n :; iu J 1 ] :1 <..: I: 1 f 1, o rn 11 ( '.; ~ wl · P r- e 111 ·n in , . ;:; r, ,_yr-l :1, •,: l :i1l!::1) : :,11 7 j_ :~U . lin t:! s J: :: wo lJ I { l ')6<J. �I nm b l :, c h :! n d 1 111 , ve ~-\c.: Cn b l1 -c 1: n a n ds , ••• I • •• do ubt :trt d hu! .i t.utj on <.nd irresJ 1ut5 o n • fr o.n 1\1'.1 e ri c :.1n l'ic, 2 11 ;-,; \. i J ,,n t11c ' Y' r.J 1,u,-, Lr·-; , .•; iJ ·l l : :.ncl i .(; 11 (l . .. Ci n : :· , 11• .' ll". ,,_,. • . ) ' � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_21 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, Poetry Acknowledgments, with edits, p. 1-24 Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, Poetry Acknowledgements, typed manuscript with edits, p. 1-24 https://digitallis.isg.siue.edu/files/original/6d2870f99578e24cdd7ec92987e876c1.pdf e0f0bf5e4f52a7cda7742fc5b227f530 PDF Text Text P:ffil!l'A6E :e.. ·1 \DU .H.t this ~uncture in the ~ro-American cistory, on , wave o.£..., Bi-Centennial and in the midsh a jhird orld ve of HUI'lanism, Drumvoices comes as a partial answer to to trose who say poetry•s inpact on mankind 1 s cons ciousness has been insignificant . ih . . ~ ~ -.~~Blac!Trombones have historically blared through or soothed tqe •harsh end s • ~~ ((11.u I e 001 d.sA of realities of the Afro-AMerican Lxperience- /nd the cultural safe -~eposit boxes of as ever are as accessibie~to ~lleE!~ tCl tap~ • 1J._ -.>pir,(l.J Thes"{ spirits 1 r "roots" are what has Drumvoices ' 7 owes ~ debt to a S'1iri ts , 11 Known and unknown . " 71. As a reference mrk , Dru~voices attempts to fo l low in•~~--ll!t!~Si='• such important works as Vernon Log ins ' ~he Negro_ Author in Amori ca, Benjamin Brawley ' s ~arly 1egro Anerican •~iters ~nd The 1egro ~enius , j Sterlin lake -- Brown•s Ne 1 ro Poetry ~nd LJrama 1 J . Saund:re nectding ' ~ To I!: Poet Black he establishMent o~~ion end focus was · ~l"ed GeQYge msr · ton \ i 1 liams , Benj aMin E . Nays , b-p: imuortant dtudieP of W. E . B. DuT3ois , John Fope i•'ranklin , Lofton A Mitcl1 e ll and Dorothy Porter , to name just a few . Uf the cri~ics and }iterary historians , only Brown was concerned exrJusively with poets . Loggins I , lso include a checklist of Black poets . " '4' ID rk views~ Jjlack author-5,\until 190C;; and liedding, Brown, throughat the mid Dr umvoi ces 1930s. area of poetry--~ t,{J wi t h (/ Lucy J.'erry · S~ ~~ who wrote a poem 2?? years ar;o . 18tl-i abd Unfort unately, ~igni~icant studies of 19th century alack uoetry 7 ��' . ~ we re not availa~le to k..~o OF:liM1n• while chapters on these a r eas wer~ being written; h~vo~ , Jean Sherman's ~I~n~v~i~s~i~b~l~e~~~~P~o~e~t~s: _A_f_r_o_ _e_r_1_·c_a_n_s of the 19th Century and M.A. Richmond's Bid the Vassal Soar:Interpretive Essays on the Life and Poetry of .Phillis ·J heatley and cteorge rI_o_s_e_s_~-I_o_r_t_o_n_ provided gr e at insi gh t text. a J ~ J!~us ~specially some slight resh uffling of my ws.s Early Black American Poets, William Robinson 1 s i mportant antholo gy(with not e s)i.mi•lilHl'l-; at this writing , pvm ~ 4 f' it remains the best source . in the fioldw r holars"9 20th century fie ..--, Black poets, I . _ am indebted to Jean v a gn er 1 s Bl a ck Poets of the United From Paul Laurence Dunbar to Langston Hughes, S'rephel'l l-h~hdel"';(;,.-,l 1.1ndg 'U i' 1ligt:b e Nei+t(l¼l'-P•~) StatesjAArthur P. Davis i F'rom the Dark Tower:Afro-American Hri ters, 1900-1960, Donald Gibson's Modern Black Poets, B~l~a~c~k~P~o~e~t!r~y:_Ji~n:!_:Am~~e!r~i~c~a~~--- Thurman Blyden Hac k son 1 s and Louis Rubin's B. 0 1 Daniel 1 s Langston Hughes: Black Genius, George P. Kent's Blackness and the Adventure of Western Culture and Joy Flasch 1 s Melvin B. Tolson. A book does not just happen an d the fuel for this one has been pouring in over a number of years and from a great many sources. 9 1 students AC Ch@ f ~ srd • teecbsrs ,:n Bi zber sa:1sstj sr in Es t §t I211i a tbs serrsjrst · ~~ a i fl 602 tsa r Jtpu li:16110 t1112 &Plldif Germinating ideas came from li!ll orrfse.fsoir ces: students, fri® ds, teache r s , a nd most,import~antly, from collea gues at Southern Illinoim , \..!., university 1 s ~xpe riment in Hi gher ~du cation i n ~ast St. Loui s. The hundreds of po e ts a n d critics with wh om I h a w met and talked t h rough nights and days s tand now faceless and nameless, some ev e1b daad, but ~ ~ .~as much a part of this project as the autho ~+@~lellil!~helpful in this area were the critic.al 1(1-j C1yde Taylor, ~Orm.fr• teacher Ted Hornback .IRik LQ I ii L\'k 11.JlS~ i1s ki$ ~ 6harles Rowell. for thlt.,Gr p a tience, a ssistance and great stores of knowledg e I am indebted to librarians at California St a te Unive rsity, I R(New Yor).{ Public Li brar"M:) Sa cramento, the Schomburg Gent e r for eaearch in black Gultur~, the Moorland-Spingarn Hesearch 0 enter at Howard Univ e rsity, Oberlin Colle ge, �. . 3 and ~outhern University . Just as a book does not hap~en in the mind'-A; neither does it just hanpen on paper . Hours o f ~ and relentless work were invested by my g raduate assistant Julie compilation bibliog aphY, and textual problems . . sG · P-~ : ai ±er ~ similar matters,_:@il:J 11 tJ e · z .h.eith Jefferson and +t iu ev~ '('..> Rona ld 'fibbs . :B I il l ion ' s share of the load 1 / s:u~e1--v1.1ur- 0 fo t- fl' • i Otk p S 1 10 was assumed by Marie Collinsr J x~who type ;1 ii:!! 1'/ r ..,. otherwise committedAto the pro~ect . t- by (SUS sec..-!_I( ry jfr•fa...-?-r:~1•••••••-lll!!l!IJillill•z•J■·11111-11111•2•r•••••••s1••~Beve,!1Y Williams Finally , my editor , Marie Brown, deserves a a ilS.t II y; El I l gaA; f . izt 1@!1 l J !D r'llute for ·• □H QF7SH J I l&&&gl SM bwpsa; her I ? \en- couragement , concern , and iw■Pi!, .,.;,. continued suppo rt of the writing- research through to the end. Onward, the poets ! Eugene B. Redmond Febrµary 13 , 1975 ~acramento , California � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_22 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Preface Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Preface with a page 1 handwritten insert. https://digitallis.isg.siue.edu/files/original/e51234b35acd575953b4f9ae115119e2.pdf 20b92ec7e25752317e03fe04f976b2d1 PDF Text Text Wil? !id id,•:>•Jer 1 e r Ra i nbo w lr-ibjp . ,ou...'7. · .3.h ..:,hou li,6 Dc .u, v~ c l, ' r ~~mr ts 1 0 ,John . enry '.a.""1.nc r .:)on~ ~ FPL .:tsu .. ,, s t l tn? s a·r 17 I aeiatinf- • t _a s. o, r I 011 Li ., t I ll' e:::; /:I l"li t' I Ovr-rvi ei.i II ti-c e,..·~r':- ::::11 :1:1e 70 n r.Jok<iS J ...... ci n 7 e .- -' t m i T t1 ... ( .... e io r· : . .,.1hi le e s , I 1, ver·1io1.1 ::-1 ,J: I "3 o '1Q ,.:>,.,. ':!; i.: "\a ~ ;- tbP \J o\<.es -,n ~ 8 -'n Cl:!rl ,,.. c T'\3 14 \ )l. )n ,..,d .,,_, ..., / -1 ':; 7 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_23 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, copy of typed manuscript, partial table of contents Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/9d2563405437f3b198a16775de1116d4.pdf 1ad35d6d5980763968fcc17cd7917904 PDF Text Text .AND UN1(110 1:JN BARDS 'o black and unknown b2.rds of long ago, How came your lips to touch the sacred fire? - -James We ldon Johnson J. Black Expression: G_ this ~ t e r , as in~~i_'i.{ ores, ~lack creativ@ mind ::i:: will attel'lpt to ple.ce •·•~·!:!!!:::l}:~~me-,1111:11-=••wi~•~~La...- wi tti~the spirit and letter ~rican-Americ Unfortunately, many~~• early scholars played down or ignor~d ~ African influ~nccs ei t he r1' • This was c ertainly of on brief every- mince most antholo vl!k:!t~~. . . . becausel\one will e of Black literature and poetry omit these items; and 'lc,_...,. hard-pressed to understan l:.J:! I a a rut 0 Dunbar use of folk matoria.fts(see,(J. ohiison, v Walker and others). Bronm, �(} wt 4 ~ olr! . a .J discussing <l/1- t h e origins of Black expression, . 12&£!g'?: + • 0 it,(, ment i on,,.,.illl!-lliiil(h~the role of the pre-industrial African(and other) societies . ~ grio . t s-s t ems f rom th e group o f ar t i. sans kn own as lillDi,: --=:-.-:--- h lore. -~ ._ a, ' r • • • • •.'· ~- • human1';'.:~•i~ of iMlll!IIIIIIII family and national~ ~ .. Originally ~ e d to recite--without flaw--the geneologies , eulogies, victories l. cal ami tie s~:m:f::::l:i::i:ee:::=ll:c:t::::i;J;1:::t;i11@1-e~~~mm- of the folk, the griot(like the •11111• lead his reportage with iiiilliim'ii"ftE singer of Spirituals) had to spice itementM.1~~.~ ,~;,,iµ~c,-,,~ iia:IB:i1111a~Hardly a Black younsgter grew up ( even in recent times) without input from a .Ac-et °(j griot(uncle , grandmother , big brother or sister , mother or ~ather, job preacher, etc) . The ,__,_ of the griot, like that of the mater-ceremonial . ~ t societies a#mistake drumrner;R wa s so , t). , i mportant that in many 4 ~ could sost~•---- life. 1· - very · j 7. early ~ -ef ~~,~~~.:~~~5£::1'.!l:lr~e . adjustment r. griot life his ii • nu mastery of technique and inf0rm- Like the drumm~r, he ------1.w•~ undevstud~eJ, ~ .l. a••••BY t(is trainingje,.a:;:t;;1.;ax:l,:-'!!!l!!'J!"'!!"'e-iiiei• a certain psychological '/, ~ to ;;,;gd J?eali!la'6ioP I i i !!Hlln the significance of his job-- o 11 contain(anr,1dvi~e o~ the and centuries passed, this heirloms 11 of the community. -Om. ~ A.s years 'factual" information wa s conve rted into a lore, cosmologyA web of racial consciousne ].¥-, and legend; it became a part of the vast emory. It became the legacy with which ev e ry new born bhild learly , then, the myth- a nd legend-building poet has a past to dip and a future to predict, project and protect. ~ ''.' any violation of the pas~present or future constitutes a serious crime against one 1 s ancestors--against one's parents, a gainst one's blood, against one I s god.;,'t that the poet --griot --}s not some haphazzardly ~ arrived hipster or slick-talk er P#fl J1!f1J simply l!!F6.c:w.w:i~tired old phrases. ~ To the/lgriot-sing er-poet the job of unra veling the complex network of his past and present-future worlds is a painful but rewarding labor of love. �.ttf J';(n· 1/,Ti, A: 1e B a.ck Experience n the United States continues via the African Continuum: a complex (~cJ,.-4) ~ · ) (5ee~ 1 ~ h ~ J . ) . of mythica\, linguistil' gestura\, psychological, sexual,M~ phvsical and religious forms. - 11 }l. This complex is e~idenced in M~4 the day-to-day attitudes~of Blacks: their sacred and secular (~ expressions, their physical appearances, their dress patterns and their family life. Jot only in the United States, but , in the Caribbean, lrtbe West Indies, in Latin America, in all WlrJitl IM\,~~ (J4 th t-l«' lM J) J-it'.l •. ~ r n,,..,..Jr,. ,.,_ - -tfiey areas of' tbel\ :t:ie:opePS.i'\~-~~-A£ri-ean--e-.xffae-tJ • ~ Aexbi bit �~~t~ ~ '-1 ( I ;r:; t characteristics peculiar to the nature of indigeno s Africans. /J • }..,,.,,.,._ -jJlllmu-J'!!. , 1 fl ac,-,-,pmtlm~ ~ eral Black 1/xP.ression~ 'fi~::· :; ,.. · "'/\Black ,ulture; and {-OfMl) p ft~) (Aiu r,'\ the art~st c "expression--tradi tional Black Jommifni ties did people·--is a more sophis- not separate ~ l i f e ticated form boned from the '""eneral "storehouse." No one bas yet put their hands on exactly what moment in time and where the first African sounds or movements were incorporated into nwhite" or Western frames of references or vice versa; but we do know that it did happen. Unfortunately, inept reporting on the Black Experience has muddied the waters so much that one is repulsed and horri.fied by eem:e- of the observations and conclusions of some Black and white 11 "" researchers.n In an unflinchingly brilliant analysis of Black African Oral Literature, presented at the First World Festival of Negro Arte4 (1966) in Dakar, Senegal, Basile-Juleat Fouda , noting that 11 oral literature is as old as creation, 11 Archival Literature of Gesture." revelations, Fouda said: 11 coined the phrase Concludinc his important "Thus in the Black Africa of tra- dition, literary art is an anonymous art because it is a social art; it is a social art because it is a functional -rtt; and it is functional because it is humanist. is not bounded by color. 11 t:t29J, ~esearch Black sociologist E. Franklin Frazier (Black Bour~eosis) h e i ~ there were no significant carry( ~ l.1/ t N\,ll.,~~TI.l,Q~ overs~from ~frica to tbe United States. (Slavery, Frazier said, "stripped" the African of his culture and "destroyed" his personality.) White anthropologist Melville Herskovits (The Myth of the Negro Past) proved without a doubt that 41 �there were African nsurvivalisms" operating daily in Black Ameri?ans culture. (fo (!J; lR'-9. t<,M,.., 1..J. ~. -To.. ?, 1,1,. 1 IvvA1, • I~ • •'f ) , 0 ..,.. ,.,.t _ w1.>.,".mt T>-J. •• >Vhlk oc ~ If ,, ,,.,,flu '1 , 6!8¼112:ft I -- p . ~ Rudimentary Black/x~ression~Na.... a~ ~ w erous . l folk forms it produced (field hollers, vendors shouts, chants, worksongs, Spirituals~teflues Gospels, JAzz, }{hythm 'n ,Blues, ~ '-.!~£~ ~oul Music) f~~ ases for,lBlackA:5cetry. S<>11~ ~ The N f":"' .;::,/ ,~~{ · r.f early tM-clstle~fo~Ms ~ere almost always accompanied b y what we have come to call __J.. _ .(J,,r1~ 11 \.!,I dramaticl ideogra1!1s "-ir-o~c~._ :1~.P:.:ld lr;-/-<rtk~. ~ three basic~ ar istil°"~odes/\lfu~ and Drum. ';; ~ ~ M.t li~ ~ " 4 . · Ol1 ~eans or communicati-, over distances, the dr~yed~ar?'-i~~ role in t ~ e s of traditional ,8") 1 . .i\.frican peoples. -1 The career drummer, like the BlacK~musician today, went through years of grueling practice and preparation-·learning not only drumming techniques but the legends, the myths, ' the ~P-~nin~s and symbols of which the drum was derivative. Dance always accompanied song--Fouda refers to the "acoustical phonetic alphabet 11 --sp that the complex web of ora.l nuances ~ was tµ h. IT~ate ,J. .. ,,.,J Obv1ously, when teaching or entertaining , the artist/teacher had to present his material in interesting make-up, props and i mportant subject matter. A Jn..t ~~, n<YtrtvicariousAbut one of the act and �'lche #8.m'i .time: T '-lile such a prospect boggles the mind, a serious study of these forms and the general tradition will \~ ~ye-opening for many a disbeliever. Early Black American oral and gestural art forms init.t ~ ~ LJ.u,., - • heri ed the~above mentioaed ~ri±t-t'e. In lang~~§e in (<.iui«, ) dance, and, more importantly, in points of view~toward time, -i,, . life and death, the cosmology of Africa ~ ('4~~~~-~4) "continue~in the Black efulture o- the Western Hemisphere. Specifically, in- 1 for mation was conveyed by~.a of aphorisms, riddles, parables, tales, enigmatic dances an jokes and poetry. 01,'.\~t ,>(.o(.(,' ) §o"'ill'ld~o J ··.nL'!O--·• que~utte ances, puzzles, t rfunt~ The pattern remains in tact today. -- .Jahn ments many examples of the African ncarryovers 11 and "survivalisms 11 operating in the Western Hemisphere. One can f nd the tradition -' ' · 4.t1-ni6' 1, 1/; ~ "vw 4(ru{t in Black poe s,~inistevs and~family,._,ga~herings. The scintillating Black po'et I'olson operates ~ 1 the old eni gmf'l t i c ( ~ ~ ~ frame when in "An Ex-Judge at the Bar 11 'be says: Bartender, make it straight and make it twoOne for the y~u in me and pn~.frp. tpe me in you. t" ~ N ~ i-fc · 'JI ,Ju.,kd t £ti.•, ~ . « > t.W Ar ·AIMlft~ ~ ..-.~~:.<, ~-. '', e''t. N _ I .1~ Tolsonl\.ends the poem~ ith n equallw en· gmat·c rn c : '~ <) Barte n er , make it straight and make it threeOne for the Negro ••• one for you and me. /, . ~UJ ' I n t he Sp rituals (t:5.e.:.:::~n~ml'?3"S't'ttmi /4 '~ Bi ..............,""-¥·) one finds s milar debts to the African tradition of song, dance and drum. ~ ::. r- So too in the shouts and hollers where (J f:.M n NOTe:it ~ actual African ·wor ds and phrases were iftnii,ie.11-, used. A Hence we can say that the traditional African phonology and ritual, modified on the anvil of slavery, were operating and continue ' . ~ " " " ~ ~;r nu.~~· [r;, to w 6 . . 9· ' �1t vi .lviJ 1.,, ~ ~ ' fA"t--- J for ms of Black American ,,E'xpression. The African slave, forced to acquire functional use of English and to re j ect surface aspects of his reli gion, went "underground tr so to speak and became bi-lingual and bi-psychical. Hence, while much of the thematic material of the Black /o1k tradition is taken from the harsh difficulties the sl ve encounte r ed in America, A:frican. tonal scale and the employment of the blue tone, the development of a distinct body o:f folklore and a rich language to convey the lore--all represent the African's resourcefulness. Cross-cultural ¢As however, in--for example--the Spirituals which, in many cases,.. ~~, were influenced by tbe English tiym t• j Other consicteratio~ .., include t h ~ e o~ European instruments ~araka points out in 1 Black Music, that the piano was the last ·, nstrument to be td' mastered by the Black musician!f The reason ous ht to be obvious.), the Black adaptation of songs beard in t h e 11 bi g house," the continual re-styling of American fads and the employment of B.blical imagery and language in songs and sermons. Langston Hughes noted that the Blues usually dealt with the theme of the re j ected lover and personal depression. Hughes/ first volume o:f poems, in fact, was entitled The Weary Blues. ~ however, the Blues, like the §pirituals, . ' I. , .,.,~• I ,,i,.ll J., l( r 1 ,f.x, 11 ,~ �I ., I . • �Rather, as 3 ~ and Howard Thurman (The Negro Spiritual Speaks of Life and Death) note, underneath the complaint is a "plaint": things must get better or change! For as the slave said: Freedom, ob Freedom, bow I love thee! Freedom, oh Freedom, how I love thee! And before I'll be a slave I'll be buried in my e;rave And go home to my aker and be Free! �I ,1) nA.,k. ;~ ..;--F"e, 11<!&1.4 __::j( t'w:,, , ~~~~ . . '\~ht / -- �"Tryin I to get home 11 -~~For many reasons , the use o~e word 11 spi r i tual 11 Black reli gi osity is a misnomer . Current h ·"'-U-vwcn..1 new information an rch into I': us that the entire BJa ck world i s 11 responsible to a tai~IIIMQ.....~ili::Bi•c~~~~•~ , ida~ 11 . spiri tua~ 11 : i . e ., informed by and hi~er orde r"--the order of God or the "gods . 11 The e.xhuberance , the spontaneity, the ecst a s , the trances , the t~lking and flair in tongues , the racial flavor/ in dress(church and nightclub) , al~ point up the interdependence and t h e integrat ion of v arious modes and points of view in the Black community . Professor\1'ork describeS • · 11 it as r this difference and this oneness . " The contemporary Black poet l2B1 11 Hayden understands this integration when, in a poem to Ma~lcolm X, he excf laims the "blazing oneness" of Allah. Further proof is seen in the emotional abandonment of church secula r picnics , socials and othe r events of merriment . One has only to "---:::-~a~lft~e~rJn~a~t~e~~~~~ listen to Arebha Fran lin -..-. Gospel and ~ pues to see this unity of expr") ssion pe rating todayf ...nd c ertumly it is cl ear in the , work_s, of t ~ ~ ~l .e.....s~ S""'infe::::.; ~w5d,Hawkins~ g e rs. a n ~ a !' fs a more vulga :r:dzed manner i n Blip \•ilson(Rev~ Leroy) . ,\_Btill , it mmportan and break-doi-m that we offer the tra ditiona :gortrait/of Black folk expression --so as not to confuse or invade notetJ4(chapt er II) W J ~· 1·~ ~~lll'!l!I...Q that t he most ( .liant\ intimately }influent i alQnd b ~ ~ Black poets have ;understood this a s pe ct of Black cu lture. Almost 11i thout exception(and Ke rlin, Br01.-m and others 1.mrn young Bl a ck writers to follow exarnnle) Black poets since the Civil Uar have avai led themse lve s of i n te gral folk rudime1 ts--even when they did not use them in poetry. It is still a fact that Black culturefdespi~e the r a cist and technolo gi cal barrages of the ~es t) still remains mo~"o/lt;_te at ed' than other JC I I: cultura l uni t ll in America. �5hou.lJ l �.' ��I I I ' J Chapter I :(.I insert(pl2) .... Professor Work 1 s 191.5 study was remains a l and mark in the study of African and Black American songs . His work provi des many.: answers to questions and issues that h a d b e&. z * been ( and contmnue to be) muddied by the waters of insensi ti v i ty and careless research . j P'f!o:cSr)::\;?,,. W;;; l I iii"- hi efforts , "undertaken for the the love of our fathers ' songs , " gives clear connections between the African ~nd Afro - American f olk song. ::::is main concerni.' is for the reltgious songs--although his s commen~on form and style are of general value: In America we hear it(the song) and see it acted in the barn dance , on the stage , in the streets among the children; in fact , many an occasion is enlivened by this spec ies of mus i c , the interest in which is intensifi ed by the rhythmical patting of hands rhythm and feet. This / !l\DlIXU is mout strikingly and accura tely broughtlll!IB out in their work songs . ' t 1 " " he emotionalism and uongifi ed ilat intensity of ~ Black Amerio ~ ays "He worships not s o much because he ought , the as be - I c ause he loves to wor@hip." Th "worship , " of course , is the kind we reintegration of into the ferred to earlier : the~!lliii.lQ~ id::u sensu e c stasy sweeping ritual is "as natural to the American Negro as his breath" : Indeed, it is a portrayal of his soul , and is as characteristic as a re his physical features. Hear him sing in his church, hear him preach, moan, and give 1 gravery 1 in his sermon , hear the washerwoman .' .. singing over her tub, hear the laborer singing his accompaninent to his toil, hear the child babbling an extemporaneous tune_aallfitl!!IIIM!,'1!!111~ been educated and who have been influenced by long study , find it difficult to express their musical selves in any other way . �.' possesses both pure song(the Black song , as is readily observable , verse ahd chorus plan) and chant(use of interjection s and expletives) qualities : Poor man Laz 1 rus, poor as I , Don't you see? Poor man La z 1 rus , Poor as I , Don ' t y)u see? 1:·Jhen he died he found a home on high , Be had a home in dat rock , Don ' t you see? the deeper , more psych?logicalf ..._, meaning of th es e songs , Professor Work ~ a s r;rw,,t. . " there are closer relati ons betwe en the soul and musi cal expression~ than have been satisfac tmrily explained. These relations can be felt , but any accurate description s ,:;ems beyond the grasp of man ' s mind . 11 Nevertheless this important study goes on to :pim..Rirrxm:mll classify and number th es e songs of : J oy , Sorrow, Sorrow with Note of ~oy , F aith , Hope , Love , Determination , Adora tion, Patience , Courage and Humility. Pir o f esso 1 U e !Fli:J k ke most scholars of the Spirituals , ~ i n t s out that the re is no hate , :fowe v e r , resentment or vi~dfct~r;rss i n them./Dr. Thurman , theologian and f p h i l o s o p h e r ~ ~ n n i n g s of turbulencetf:~drllll!ll::llllili!R ~ M WJA~~~He--lft'Tm~:;i!!tl;M'1311 , Dr . Thl2mna ¥gr the slave. Li of anxiety and fear , the slav ~ developed a rather stoic such an atmosphere attitude in which he saw death as inescapable a.nd as , possibly, the only remaining ____ p lant a tion lords ~ Vehicle for media ion · i th t h e ~. The s1 a ve could take his 01.m life , if ~ •ranted to--as he did many times in preference to slavery or separation f r om family andi or l oved ones . Dr . Thurman ' s brilliant analysis must be r ead by any serious student of Black thought a nd culture . �. /JI J Folk Seculars 1')wt I( insert ffl l I I wdi. Al 0:. II I I \l , 1 ~0, I, 1 I f;:'oLL--}-( ~ ive~~~~ll:9a~ observed t hat t he re is a thin line betwee secul a r world,._f a ck This is true for many reasons--some of t hem stemming from the African tradition of inter-rel a ting all aspects of life. As John M' Biti (African Heligions . < and Philosoph1 ) , Gabriel Bannerman-Richter and others point out, the African takes his religion(his beliefs) with him where ever he goes. eTls st -'ild~NliilQPii{ Jahn, 11T 1 Bi .L"frican ti and others) also remind us two languages a»e inseparable. Again ,...--,. the ways of i-i.frican peoples(see Mphahlele's i hi~lwind) i Black .8.rneri ca are expressed in 11 inte grated 11 terms . True, th7r'fl._.-;.,__~ tension between and religious communities-~but so often(and most different hats on different occasions. 0 tudy, Re v. Jesse Jackson or a rlev. I k e or a ,iC,t,n We have also observed tha 'T'ba t is, ,.., a gain, th e c as e of a Lev. Ada~ Clayton Powell J ' r (~ many motis;> o :~ip re ssion are interchangeable. song{, designed for -a....church or other reli gi ous be re-cu t(modified) for a s e cular--so ground has be en the training/a91!l!M.-.1Ai~ ~1:::~=~ if you will; see Frazier's The Negro Ch urch in .americ for most in Black popular music as well as for important orators, race le a devs an~ community businessmen. I Against the fore going al part of the ri ch storehouse of Black folklore. Through songs, aphorisms(my 1 y 11 You don't believe f a t meat s greasy. 1 and "If you grandmo ther!U e to ain't gon' do n othing get off the pot ! " ), f ables(see Aesop), jokes(s e e minstrelsy and the Black comed (over) tra~tion), blues and other enduring �..• insert for seculars p~l ! Then:e are numerous examples of the this practice. During the Civil rtights era, we would sing I woke up this mornin with my mind stayed on £reedom church though we were fully aware that olk szi-. were used to singing · this way: I woke up this mornin with my min~ stayed on Jesus strongly 's(and the Impressions') songs Many of Curtis songs sung in Black churches. Even Mayfield 1 s 11 1 f there, s A Hell Below") c 8 rry the Black church societal destruction, fla.-,vor--wi th their warnings, admonishments pleas for love(s e e also Nargin Gaye's pieces like 11 ::::iave The Wild 11 ) by the femptations ·sto ri cal theme of "searching" •~ p,r, ,, . ~~~1 Up This Mornin" is a blues idea expr e ssed above in the II ...~.iii!l:l!t!l:~&0 $~premes singing religious ~ 1# j the -i.;;.o.,;;;;..i.J,,W" Spiritual: "I Woke Up this mornin . 11 Stop in the Name of Love II we .,.,.t,a.C..,, "God. wanted to replace "~ove 11 with - 11 When ~ ,,_,.,111!'~!:f',ilorl--ti~t,Orte 11 .,.:s,. ' exchangeable and interahangeable words such as 11 Lord 11 and 11 "Baby" and "God"; "Sweet thing" a nd "Sweet Jesus"; and "God" and "Han." The reasons t "Mother"; Captain 11 and "Maker" ; for such usages, as we have stated , are deepllf enmeshed in the mythes of Blacks . Hichard Wright's "Bright and Morning .:>tar(in t h e Bible · lJI I ~ ld Jesus) becomes ,.,_son of ' ! t i n the s h ort story-,,,. by tha t name . The hero of The Man Who Cried I Am says 11 thank you man 11 to God after ~~~.::s:tl::l:Ig::::!:C:::mt.- • When we he a n a tune like ----~- ("when I heard my mother say 11 John A. William~ ) War's "Slipping into Darkness" we must understand the historical si gnfficance ; ,. ~tlfli:il•► and function of social art--just a s we must underst~=··= -= · onishe saac Hayes to D r,1/ ; 11 shet 11 in "~haft•1 �u seculars II form severe"&· tribulations, folk wisdom, joys and tra gedies, and the longings and hopes of Blacks during slavery more so than· the clues to the innertradi:.tion lie structure and Spirituals, ~omrnon workings of tne ack principles of folk psychology. It is, after all, back and forward to these folk materials that researchers will have to go if they are serious about de ·neating the feelin gs, emotions and t he ~ecul because ~jii5~;;i'i;;;:;r-t Ko.:1,i~_..,pe,e of Blacks. [ workin gs of the folk mind n0t as limited as th e 8pirituals,MU.±lJa:i::::e=mm$~a......lll._rtxlm:mu Bl a cks in the United bt a tes are aware of and have heard number ~ r::tihll..-"ill•~~ have had sust a ined the j to be informed entertainers to borrow freely from what they he a r-~~ while the folks "run and tell that" once of from the people are: M.a.I~-Q.~,.p....;tl::tf!:~ Pm~;cs:rr-t>--:cit::t::n T'~~""'f't--'t"l'-+-8"11'e'I'. song-S epithets borrowed directly James Brown's ''Brand New Bag, " "Licking Stick"(s e e "honey stick" in McKay's story ,,rr ruant 11 ) , "Give It Up or 'l 'urn It II Loose,'' "'l 'he Paybac and ''It's Hell"; !Ollte'11Ilmn•~ I"'l a!1!';in Gaye's "What 1 s and Going "Let I s Get it On•IIJ~W"; Curtis May field' s "Superfly"; the on:t," Jackson Five's "Get It 'fogether or Leave It Alone"; Flip Wilson's "What you ~ee is What You Get 11 (and the Dramatics' tune by the same name); Franklin's Aretha "Hespect" and "Run and Tell That"; and Jean Knight's "Mr. Big .:>tuff 11 --to name just a few. As with the Spirituals, whites(primarily abolitionists) were among the first to collect iecula of whatever type. Wil J iam Wells Brown, the pub1im edJ first Black nov e list and playwright, collected s anti-slave ry songs. (over) �seculars j Thomas ~1 entworth Higginson, writer and aboli tionistl who led a .black regiment in the Civil ~ ar, collected song s he heard among primar:ily con - his men around campfires and during marches. Though ce~ned with reli g~ song also - described some of the properties of general Black song delivery. One ofthe most important collections of these seculars ,ras put to g ethe r by Thomas \.i . Talley(of Fisk University, as was Professor Work). Professor Talley did pioneering work in the indentiftcati on a nd classification o f • • ~ Negro Folk Rhymes. Describing ~ ' the philos phy,za, struc~u::_ ~~ in some c a ses, origin of the~~as>-.~} ~ the Fisk sch ola r ~ ~ ~ e l l over 300 examples. Other important - -..__ 411¥1.,lll -44~ examp les end discussions of th e J3;r:l~W lroducts t~ ~~> secular folk life can be found int he works Oi:~wer, Spalding,,_ Chapman'# Brown(Negro Poetry), Abrahams(Deep Down in The JungleA and Bell(The Folk J Roots of C0 ntemporary Afro-American Poetry). Bell's work in recent(irom the ':;J:4'.P I r perspective C14,;tV~(l.CJ-/ ne B · · .tg 5 P£ u J F. au iii> ...._-h.~ Also valuable9 ~xamination .-.?~A iJb@1tii:Uitr[of '.li\laet:<7:se'. 3 k' -4'.eculars are a Ii regional works(such as Abrahams') including Dru..~s and ~hadows(§liiltG-eorgia and ~outh -....Life aucLb.rolina), Goldstein 1 s(ed.) BlackJ\Culture in the nited States, Lorenzo Dow ~ ~ f ,~ '6,N)uJt . Turner's work fn~Bttuliaff"'c;;~~and othe .s.(see biblio g raphy). By far -.. :1-l -~~c~u~l~a:f.r:._i!.~~~~~ the most#..~Tmc represent a tion of olk mate ials in the written poetry lJ iS fr-; in the war~ of Sterling Brown(see~outhern rload; especially Johnson~s introduction, and h i ~ e n t s in Ne g ro Poetry). Brown takes exception to Johnson's comment thB.t dialect poetry has only two stops--''humar and pathos,t.!.!- and E I trt implies that Black poets up until ~ his time had been remiss(or lazy) in not developing broaaJ.er uses and deepenini 1.....:.:-- th e meaning of Bl a ck life through the use of folk materials. The tradition of "tall" tale-telling is, oE course, submerged in the -- ' American mythos. So the Black nar:rator found iii C · tr a flexi b le atmosphere lover J �® f secular into which he c ould introduc e his own manner of storyt e lling and his 01.m tradi ti on of son1:s . As he had done in the ~? frituals, he gained a r esourcefulnes s i n th e the s ong or r• of language , ~ruments to accomp anf 'rg '- s t o r ~ l oped an a"?ili ty to seize u p on a good or amenable c ontext in 'll'h i ch t o ~ o ry ; ~ ::.or,~;:;..;;;:~~ ~om the v a ~ themesde a s/iai ethni c p oyp ourri of America. The grew up s ~ of b y - s i de wi t h t h e Spirituals . The Spirituals e ~ a t tempt • o f the sla ve to --~,, web to g ethe r his disparate (yetfmutual) wouib.ds. Spiritu a ls represent t he slave' preserverence and ~n man! ins t an c e s) hi s h ope and f a ith in mank ind. The 0 eculars, also '--lii!jiiilli~~!i in the shado ws o f the the nm,o= Bl a c k ~ ~·,u,, _-'- · 11 bi g h ouse , ( 11 r e flect t he soci a l life of ~~ / ~ ~ th e ~ In ~ song s a n d ditties , t he Black A er i c a n c ouche d h is l o ~ t t e r n e s s e s., but voiced hi& hopes and ~ c yni ci sms through the oblique, eliptical and en coded words an d s e emi ngl y unintel li gible ph onetic symbols . Th e se Afr ican fo rms(see Rappin' a n d Stylin • Out , Kochman) h a ve continued up to the pre s ent. Few Bl a c k y oung sters a re able to side - step the ri gorous ( and s ome time s pai nful) v e rbal dexte~rn@8 dema nde d :ft: I ha playmates aftd ee@88LM.1ttab&s du ring verbal s p a r ring matches t h a t inevit a bly tak e place. Ba rts :t;c;i U I I t I ~ forms of ~ b ehavior were "- might/ in tac t duri ng slavery--wh en a slav~rzTT, b e d i s cus sing a ma ster ' s or " old l a dy 11 during a ra t he r harmle s s " rap "(rhapso dy? moma " rapport?) with his Ula r ra ti ve) fe l low fiel d worke r s . F r ede ric k D0 u g l a ss repo r ts ,,,-....._ 11 c that sla ve 1128 over- seers t h ought sla ves sa11,,g p e c a use 4a l)v r()t.4, ~ ~~~~!!!£.. We know t hat · such Ha s n ot tne c a se~a nd that~~-~~l!flt'""'!"'e!M~-"'Uilllll~ i mpli ed "stea l i n g awayi' m 5 I •iFllli a lot more than wanting to r e ach t h e arms of 'l Jesus on the c ross . -:r enry Duma s ch roni cles similar"- o ~ in h is stortes d,f-~ and p o ems. An d iv1el Jat k ins (Amist a d2) d is c u ssed a n u pdate d vers i o~ of"-tn is ( o v e r) 16 �@ seculars . folk s i nger - h e ro phonenon in his article cl'l.lll•lllllJ••-lllliilZ!llli&a-ili&a on/James Bro~ . Tho @l he is•••l•m1 discussing a secular character, Watkins ' re v ela tions are Bhan Thurman ' s : that in the a bsurd context of similar to Dr. fRl · a f.1 I"') being o'W!le d.:f by someone el~ se, it i s £Ot l i fe or death that loom so importantly . One lives, ~ . (_IrMfr9dh .(J. ru; .t!,lli·son, su gp est:A, the day - to - day absurdity i n a sort of comic - tra g ic vice . Watkins says ~ James Brown's initmal ac ceptanc e by a b l a c k audien c e is fixed,, _.._ i n this crucial f a c tor. From t h e moment he sli, des onto the ..Ii :d ;tage, £ ~ whether unconsciously o r intentionally , his gestures , his facial expres si ons and even the sequential arrangement of his mate r ials ,-...,, external affirmat i ons of a shared a c ceptanc e of the absurd ore, more ing enously, of jiv ing . The impe c ably tai lored suits , whi ch he brandi shes at the outset, become meaningless ac coutrements j as his act pro g resses and, sweating and straining, he ge ts do ~m, lit e rally down on t h e floor , to wr ing the last drop '- of emotion from a song . . Wat k ins is ~ o r r e c t about the d r ess becoming 11 meaningle s s 11 to a Black audi ence ,~ s general thesi s i s ~ on targ et . b lsewhere i mp o rtanc e o f v erb a l a ili ~ Watkins , firmly understanding ef.. .in lare . IUac k-'./ says 1 r ap 1 or 1 11 it is common to hear bla c k women dis cussing a man ' s p r o g ram 1 on t he same level as they discuss his bank a ccount . 11 .._ gen~rallz_ Black:s ------ withhold t h eir judg,nent :fon ( o r a c e eptanc~ r fa ,r speak er or enter- tainer until he exhibits , in hi s dress - gesturet- rap , that · he , - . c:......:- underst and~ t he wellspring that produc ed the "Bl a ck and unk no'W!l b a rds . (over) 11 I �e f, ' ecula l'S Heturning ,XJ&Xmll briefly, to our historical a ssessment, we can . now see how th e fol k strain in Black wr itten a rt eveloved. F rom t h ~ "Song" recorded in the 1 8_5ors by Dou g lass, Dey gib#us de liquor, And say dat's good enough for t h e ni gg er. +.a t:Rl"f~ar of ~ 6a. " d e Cunjab Man" the latter part o f t h e 190 0 1 s, De Cunjah man, de Cunjah man, O ch illen run, de Cunjah man! the deceptively ~ as ~ " s i mple" employment o:f :folk expressionJ~vailed an i mp ortant antidote for the social mala~inherited by Blacks in the Western Remi s ph e re • ..., "De Cunjah man" is, of course, equivalent to the "thing s t h at go bum~ g in t h e night 11 i1 peg-leg, 11 11 bugga h -man"(lJunba r 1 s 11 0beah man. in Irela nd--and thus h~s olk sup e rstitions an d mytholo gy. But the r e aas - ~ ties also the 11 ~ " t i t t le Bt-01.m Baby"), t h e "rag ;nantl, raw-head and bloody bones II and( in places i k e Trinida d) the 1 ~lArA'l'JV' ~ Llt,l.lll'L'~ T.1ost of these superna t u ral characters -P1,itii!'!ll. .-i,M African 11 Blues and Gos p el Jubilee(held in Cliff Top, w. Va., in August and September of 1974) wa s "Tryin 1 to Get Home. 11 How ste a dfa stly the fol k tradition runs like a vein t h rough Black history, Ip the ~eculars(and the Spirituals) r::-, • f _, o.hAt;, ' stanza ;._;;;;> we .llliiil•b repeatedly he a r somethi~~the ,-;;~of illilllM{ "Rainbow Roun Mah !:>boulde r": I 1 m go n na bre a k ri '¥lt, break ri ght pas t h at sh ooter, . I' m go i n home, Lawd, I'm go in h ome. Again the u;e 0 f the word e,,...,,. n )d( { 11 Lawd " in a " s ecula r" song further bears out ~ . the A:integration of t h e fo lk expre ssion. Illfy"-si s ters often or exca.aim "Lord" or 11 Lawd" i n e v e ryday discussions about life. (over) interject � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_24 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter II. The Black & Unknown Bards Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter II. The Black & Unknown Bards, with addenda note 4 on page 7, an inserted page after page 12, and an insert for seculars after page 13. https://digitallis.isg.siue.edu/files/original/2c10cb80f982bd8cecdc13e9698d0417.pdf b152d5e2d632be3ca4a24011f22a6846 PDF Text Text .,. seculars . 7 It is next to imppossible t o ~ l i s t all(or each type) of the SecuJa rs. \ve have mentioned Profe s r or Talleyc!:s pioneering efforts at C1assifying them. But many obst a cles lay in the way of , of secular folk life. One problem was that Such e. all types of Black creativity, from the slave narratives to religious songs. Hence the more "urotesting" aspects of the xm: works were deleted as were "offensive words." Ar,yone who h'1s heard "authentic" Black folk songs knows that they ~a;;& roflectU(, of the converg;:nce :p 1 madness, absurdity and hope in the Black body. Subsequently what are known as "curse" or 11 obscene 11 words are sprinkled throughout Brown discusses the 11 realism 11 in the folk rhymes along with an attempt to classify at least some of the~( "fiddle -sings, 11 "c~songs, 11 crow/): Ballads , Ballads : Ne 0 ro Heroes , 1 • jig-tunes," "ups tart John Henry(folkified in song), ork S 0 ngs, The Blue s, Irony and ,Protest • . Irony andr ~ protest~ of Course, run through Black folk and literary poetry from the earliest days ( ~~hi tfield, Harper , anti-slavery songs) to the most recent times(Josh Vhite , Leon Thomas, D0 n L. Lee, John ~ chols, Johnny Scott). Some observers have pointed to the silliness of taiili€(!\dlli•~ resetw:-che rs who, white as ever, appeared endorsed 11 askl\i'Olk song writers and singers if they;\; ■ z 11 prote s~ away ,hature and history ~ satisfied with a "no" answer~,. Given th ..-of ..i!!!i11,tm::mllliiei1a re- __.El.~_cy lations o-nP c....-. - ~ - , M . , O ~ . C - ~ .l.:ii11¥i1.-IMIIIJlll!!l-±E~~~ reluctance on the parts of Blacks to tell whites ,--. the truth about 11 anything" let alone ro out sucJ'sensti ti ve.-:.- areaf as "protest." Yet in the dog-eat-dog world of survival, the folk person knows that "If he dies, I'll eat his co 1 n; AnJ if he lives, I'll ride 1 im on. --30-- 11 �C?.!Vsecul rs 8 In suimnaryp)11n we can say t hs t unlike other ethnic immigrant groups(the Afro- erican was not a willing immigrant!), the Black American did not simply transplant his stories--keeping them in thetr exact same form. lie found American or ~uropean languag e ,> count e rparts for his themes and vocab~lari. But his phonology, style and spirit were informed by the African tradition. The student of Black folk poetry will wand to comare and contrast the Secula rs to othe r ethn ic stories and songs. Boasting or 11 lying, 1 for examp le, is one ing redient of the "tall" tale. How does the Bl a ck song or story(i.e., "Sh ine," mite, II " Frankie and Johnrwe, II 11 :::>ign"fying Honey,n etc.) fit this PJ.Otif? How do es it conceal deeper meanings on the issues of slavery, inhuman work conditions, or contradictions in Christianity? What are the ~ similarities between the Se culars a nd the ~pirituals? Between the Beculars and the lit erary poetry? Th~d other qu e stions(on Black heroes, cultural motifs, blues themes, langua g e and endurance) will le a d oneWilf through exciting corridors of Black ~ativtty and t ho ught. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_25 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, p. 19 and 20, Seculars 7 and 8 Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B.