15 10 650 https://digitallis.isg.siue.edu/files/original/14e188986a059abcd28f372969eb0c17.pdf 72327a1e033c0d7775862eec59941505 PDF Text Text • .six1i'e.s "chariots of fire , 11 " smoking ,r- I Ii , ' ' o.t')(L ll~ r ·o~ PNe. t '' "get down on whi t ey"l\;ta!lftll!mrf-re often used by critics attempting 'Armageddon, descri ~ to 11 and defini ~ • u • th ver-- L while there was u;11a.~ fire , II and brimstone , as Blyden Jackso Indeed when the ~+he in its ,,ip o lene ss , s oene is who Mount0d often not poets. o oets 0 ~aid of them. n 1, t.ili~fm:W, stay "mounted in a ch r.; ot of to time had New Bl~ck poets .~~- .s- - v0rba:::!. and popular of/\.;991-,,,.. ikki Giovanni .- - Lven the most , Madhu.bu ti/\ denounced poetry as a luxu~ . ~e,W'le Jtll~ ()It? a r aka, ~onia San- -fhd"o,uUk /~L•a. f/:onJ, d. · Ji>Ls 0rt4i> •ii i ~-tevolution., 11 admitting in the meantime , perhaps , thqt theirs ~ was a partic~lar brand of oratory ~ etry in a traditional theM an This chore "place" in the poetic scheme of things --albefutj a "nlace 11 important yet to be designated. Wbv iously there On.). Some , .--..... . eJ,UJ t e w r i t i n ~ n y of1'\?ie poets • suffering from the , disfigurement of perc eptions Madhublil.ti , in halfre - baked theories e, like corre ct sociological picture not the n~w Blacknes s, sul -4- II ~ 1IS 1 • 1'hoi; poetrp 'ja often/\f · dled with confusion; inaccurracies �2 and this is ghast l y , so that a popular "latex stamp of approval while the deeper , searching an Patterson, Cornish, C0 rte z, Jordan, Lorde 4iil-• provide with an 1 extended ctisfigurement allilll:h~'!B•ren · o. 'llbVhct~-fP;;"~~ cleaf.~ t up as Neal h .'11_.iiifll!l!~Black criti c oli ti cal p~JJJ. 'J and ide Both Mchay und Hiv hie Man can write my story, '' but durin~ teachers H9i19 'iJ:Pi 9tl?f Black r0aa0rs and asking 11 ~ here is the IP ack writer who wi J 1 write it?" Contrary t o popular belief, ti I J}g1'i t takes years and understand the com~lex~ """""'-~ Black ~XPerience . And those writers €rid snokes?1en) who seemed to hav e mastered aspects or it 49•r often J,iMii111. .llli•IIII\ alcolm, ~nifpt , uarold Carringt on) which allowed them time for rf flection , creative development , and exnerimentation . ~ven Gwend0lyn Brooks had " tir1e '' to work out ti cklish quP-stions and noetry. unlike she did not have to~ I during her early ..-..-.~ lecture circuit ,,.,_sz;t.im:a. ~ t she cultivated and protected .her distanc e is ev • ·dent in the superio n quality of her whi ch aoes not shun the salient thene s oft he pride , -cP9N:8\ii'iQ int o;poi;;t ii.ii: Africa , Black music , self- love , Black heterosexuality, violence , mistrust of whites , the Western world and self- detcI'Plination . Yet those opnosing the Black Aesthetic not always hav e a clean slate • • ~ , since they .w..~s. often "shored up" by personal experiences , �3 with whites. Ar1onF, the onnonents oft hJ1 11 senarate" aesthetic for ...5lacks, il,GIM~~ill!!~heve maintained close associutions vtlth academy-trainer, oriented white critics and writP-rs. And Hayden must~ ask him.self why rA subscribe to a Black Aesthetic if he subscribes to the aesthetic of the Baha•i 1''aith-- 11 the only one," he hvs said, 11 to which I willingly subr1i.t. '' :•'or it is clear that olac 1{ culture ,ossesses f or a new re 1 i. i i.~~ the possio~lities and 1/ ... :t:::mi:::c:::::ec:cc:=::=z:::::.- n ~J.,'tv coulwepla~~~vhristianity as the driving force{mystique) behind J spiritual •m~strivings and aspiration!:I a prospect ;i. which should not be too lightly dismissed. That sonB new poets ~ i-- ,; ,o,i..-.i:ili&illiil;li!ilie,lllftllt however, ~~--=~~a..lieli... did wade a~ 13 is seen Ausi.cal, daring, ambivalent, complex and technically dexterous, the poem suITII'l.arizes the U"'lcertain wdw, of ~lackness. Like Hayden's 11 -..----.-.-......... fluentn Zeus" r.nd Gwendolyn orooks 111 Hiot 11 it.,.· cap- tures the suspense and hyperactivity of contemporary life. The po- the 11 invisible" - - - world and "cyc1ical nir:htmare" of the rllack .t!ixperience, ..-:::::::::::: becomes a~_legorical as -e, 1,oef , celebrates heroesllfsung c.nd unsung, ,,-- al 1 of whom vre a.ead i.n one way or another. 'Ihey winged his spirit & wounded his tongue but death was slow coming The 11 slow" death is both the agony and the ecstasy, as it were, nestled somewhere between the dope needle( 11 rusty rims of a needle") and "cultural vaginas" that"rushednthrough stregts urging men t o d •~e for shame lj If •ii �4. The poettiost a good frined" whom she loved; shijl>ped b&ck to hnr, with "thorns on his casket , " ~ &he has been c. 0•.0 .: collect on death collect on death co lect on death "friend '~ome$an.y dead nack sookemen whose blood has been "consumed by vultures" : 1 fuo killed IUM.umba Who killed I alcolm •rhese lines • refrain which laments join other~ the loss of all friends ; death and dope and violence and cons umption have devoured theM! The,re are no tears we have no friends this is the word .. . . . . . . . . . . . . . . . we are alone f he world of "cadillacs and coc aine II is populated by festivals and funera ls , poets that s c ream "kill run kill , '' -=ailill•IIF•:•lllillllll•glll!li.iu••liiliiliJ:~ 11 e1.ashikis in the wind " "the flesh of PatriceJ ever -pm and 11 the blues . Blacldk) 11 t knowA ' church . - 11 as close as the juke jojnt or the In the urban maze of Mind rnd place , the~e_wjll;JZom its ecstatic ope ration • (heath)even when dope , • · · or politi c al oppression will not . ~lack girl , Black without friends; in a hostile country or living in one • In Africa or Ame~ica the fates of Blacks ~ areAsi~lar : Who killed Lunumba Who killea Malco]Jp. It is a backdoor or valve to let off steam. !'he rush of the poem•s languaf,e compleMents the "rush" of Black life which is necessitated by oor--;ess1on but wnich , in tu'Y"n , results ~n enor~ously high and early deaths. �5 11 .t:t'estiival s 6c B'une rals" is not rosited here a .a: tr~e best or g.,,F,atest noem of the new PP.riod , but it certainl y takes in M.of the Blac~ ~xperience ,~:a=i...~~,e,li!•IJ!!lll!l. roo, i t s c ourageous lan8uage and f i-1 ~ imac:ery mark i t a s l a r g e and s i gn-i f i c ant - amon g mo de rn poems . It is~ lac4n •-~!1ii8111,....a..,w., but it has taken~ ~ in1,0J._allegorical - --- pJ yChdltiqica.l ., styl e , thene and subje c t materiaJ{-- festtvals and funerals --and worked 1'ne~ mrssage of major Proportions . Thus it enlarges the legacy o f Bl' ckness and f11aclc poetry since the linfuist.;c bf' se is a priori in the stated aims....,a:h.<l]\weapoii°'ry of the poe~. out o f all thi8 " erotic imp ·ovisation" cones +-he "uprooted perfe c tion" known §.S the "b1 ues . " And in this sense , the poet has ~''.Z.~• ._•~.a.J "';,he 1~1l:~.-ilie and a l ways diffi cult "(he ri ch aesthe:i c whi ch her tradition produ c ed. good poets of this era will emerge From among ■ak:■ been se¥erely a few great ones, though such a prospect the popular (,) . retarded by Ii..._ renunciation of "art" and "1dea4 IC) But it can l ~ ~ niallii..lllilN.,..,.ellllllll!Ql' long olftlllii•• because there is both and 1Ybreadth II urgency in much of the new thought a n d ~ .Lis then /J r to~~zl.ng ~ philosopberts--•111:a!llttlll- ,. focusless rantings. If t knowledge to complaints and ~ Black thought and literatu~e can not be called to on to function in the traditional capacity of such ar1;t--to train, develop and stimilate the faculties--then the "battle for the minds ot Black people" is already won by the other side. And,tinally, it Blacks as a people are pron--1... ~ roundly tragic, comic or heroic, then their ideas CIM'lf..µJ,I.,{ poetry~should..., be profp!andly tragic, co71ic or heroic. For Blacl~ p I to have not alWUft),S ~ 6 c l • the streets and alleys of other men's minds"and a true and nest Black poetry aill: will not be afraid to be "~reat" s and alongside whatever else of greatness there! di .<.4""' h � 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_35 Title A name given to the resource Draft of partial manuscript of Drumvoices: The Mission of Afro-American Poetry: A Critical History, dated February 10, 1975 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. Date A point or period of time associated with an event in the lifecycle of the resource 2/10/75 https://digitallis.isg.siue.edu/files/original/7597cf480c246dec34d8e10a180307e9.pdf 9ea569eaffdc20817f385704d788ff83 PDF Text Text .o r 1 5 J'(~V\._ 1 \ J .i. 'he the~ s o ~~ land•(; and,-ll!f as: self-esteem, the African ' ' th mother- a n ~mm!!!i11a:!·!1.1!1!11--l•AA--a new poetry as re the h idwest and West contributing i)TIIllensely ~tif. . ~~ f I iv ~ . to 11 1; J . tJ- ey . Ohio , for examp le ,~._,. sue Sf t ho -... oY\.. consciousn~ss ,- attracting a number of ,.,_Norman Jordan (19 38- ), Atkins , James Kil gorett--===:::;;,;;w,&11 ~levelan'.;;) • ··· ~ ~ ~ ~ ~ -~-~/e-"I~~~~~~ and Herntonr"' _,.. .:ip the J Jrl&C ed21'!&&\ WM ~~ ' who A. · ~t Obe r lin (lqbf-lr?fl.); i:;1 Hernton succeeded li.e dmond ~ _t;i , ~ou e began a residency at Oh io Unive rsity . uarah Webster - -~al Hernton I s leavef -of- ab e ence . during M!ll•~A~i~;~~;~~ Clevela~~ /'; J r,t.,I) was spurred by tt,dition of Black writers Hughes , Chesnut (one of the founders of 1\.aramu House nontinuum produced Jordan and a host of younger po ets : Anthony Fudge , f La rry Howard, Larry Wade , Ar Nixon, Clint Nelson, R0 bef t F1e:mmng( Ku Wais maga zine) , Alan Bell , .Ho land .t<'o rte - '.l' ed Hayes , E. Buford and >,., t ,# Bi l l Russ e ll of the Muntu Po ets . Othe rl(TJ'te 'II\. - artists 2 !H!c;tJ R bldJ Lil e · f ar t1lb f beJpj'yag ,=0 • ziil.t were Clyde Shy, Ameer lta.shi~ ~ Anne t ta Jefferson . Support for poets and th eir activities carne~il~M . • '• ~ ~Jf•d~ni Call and Post, Afro-Xet/ Black Arbs project , United Bla~ Artists , Free Lance and ~aramu House wh ere Jordan's p lays , were p~o duced. J I "High Rise Dreams" of metropolitan Blacks caught in the urban scrabble . Devotion):iO dedi c a t e d to Uoretta ~cott King/ · �2 A, co nc erns f or Bla ck students , 'fhird World surviva,and • • f as c in1tion wi t h t ~~ !t'ranz l<'anon. sometimes ~ gry, othe r times prophetic and mystical . a .,.J;,tlllPl!ai=a · =ii ,4 differnnt /4:Jf f cynical and violent f ne has published three volumes : Des tinati on :Ashe,(1967 , 1971) , Above Maya(l971) , and with Marcfua uage , Two Poet s( l974 ). LJedicated • , " De~tination ~-="-ut,tlt>C J containe Jordan 1 e best and most memorable poems. ,)r"e emerge majo r fo rc e in the new Bla ck poetry , uni t ing the older symbol i z;9-~ ,..e I ll'ree Lance~a004 1(~}3ntu &i@Fi1 published privately by Jordan, ~ ater b r~ught out !:frhird ~~orld Press C~hicago) with need to 11 . bi& WI Lee,~ J re - write and about - town , 11 Lan ghing and dancing, 11 but now at 26 she is dead t:'"') and her ghost "trembles" in an a l ley wine bott l e "needing a ~ • fix/-~ ..._,,- Jordan ~poofs "High Art and All that J azz 11 : Fuck you and your damn ve-rbs let me tell it like it is nastey and fun.key . "Fe eding the Liona " ( 1966) is his most anthologigmd poem. The "army" ') �3 ~ ~ - of"-social work e rs inva des Black 81 I pass out checks_./ fPQlD Ua,oi• l f I neighborhoods each morning, aSti:t. move quickly from one r-6 ............. 11 door to another, and, after filling their quota, leave <E dark." There .a befor~ are also poems about mysticism, religion, mythology, and karma, including drawings of eyes, triangles and circles--all r e flecting the many influences on Jordan's work and the ap p roaching new mood(Above Maya). But Destination sees thro verses and 1!1/111 parables, , with its s h ort, exr.i g ramrnatic so r romantic 11 uni ty' 4'a! the end and mounts an attack,; -~-·~ • bac}:-s ~ - • violence as ,the onl ~-~-~ I i ~ 11 . ~ liquid ni ght ' ) ~ i d e the f o undation for tomorrow• s lib e r a tion. be seen i n the naJQe lI j' ,.....,_ mystical, magic a l p?weis ~~ t h ewo ~d °'--' ~ ~Al _ tJ.'.•·U'..utU<IU.f )Cleveland maga zine J> psi 8 o; ordan•s belief in D ~ ... "Cosmic Wi~doctorsrr reaffi~.. ~is f a ith ~ Black writers 1111Fll il11..11111i1(d:--ir -e1aei~ far into"--tea c s, to the Resurrection of th e Hen t a lly a nd .:ip iri tually ead. ,.Mt ,, 0,,"""~,.. ~und r---• ouile~ for their work in 01••::oi?::;. 'llack Ascensions (Cu~a C0 mmunity Col le g e), Yroud Black Image s(Ohio ~tate University)1••2 Lifelin t D : When America Sing s She Croaks(Obmrlin). Oberlin students also p ro duc e d a s~ial B1/;J. issue of the college's Activist mag azine; ¥'-it contained poems by\8tudents and well known poets. Fudge, 1979. a staff member of Black Ascensions, publis:ied Mi g ration in Another (jC(]'{:' ) j,J>oet, B. Feltorrought out Conclusions with an Introduction ...--... by Atkinst who praised the young poet for not consciously in the "disfi gurement of p erceptions II to p olemici ze a kind of •relevancef. 111 In 11 11 engaging aonstricted .An Elegy to .i!,t e rruhty, Tear-ducts swell, bursting in a delight of flood and fury. 1Gar.!_ield Jackson, a yonng prize-winning poet, is one of the editors of �4 Proud Black Images. Many yonng and older Ohio poets are included among its pages: 1''a,rrest Gay ,44h ( . . lJianne Gould, Jackie Toone, 1!.brahim Aljahizz, . . Mohsse~ Battmta Lukam a barca, Linda ~allender, Beverly Ch eeks, Antar Sudan Mberi, Leatrice ~irnaz; ,,,---. ~eruwa, Rosflyn Perry Ford, ~ay Mont- and o t h ers. ~hough th~itle sets t nep.a e i~ing theme 0 ~ ide a;;;i ti., /h"'~ • ~ ]i~i~ma~~irrgers, Dancers, ,-., 11 n;r/J do e rs of in,itial de e ds":, a nd ._;,,,; Impleme nt e rs o f t h e inevitable Black life. ~ J u,,-/,_,,;._~ , ,t/4&_ utr«1L!1 ;M.U. n the sixties. (_rlernton, wh o attended Ohio schools,A 1' The Coming of Chrones to the ~ouse of song-•-===•~in 1963 an since then boo k i/on meri- ca's social/sexual han gups. One of his m o powerful ~s poems appeared L:4Jf-~ [ f l fAC6:nfront f Aon: , A . Journal of Third by Troupe at Olb.io Univ e rsity. wl!!st his · I h the II 11 orld L i era ure in/4 ounded and :::it;reet Sc_e,.~<y'' sh ows h em.ton identity qu e stion t II 'Go to hell, sonofabi tch. _____}/_ /1/lfl ~~r things. he receives this answer: 11 C0 nfront a tion ~ishe.S other Ohio poets~ ~ , i t s conc e rns ,Iii. broad as seen i , , c ~ of contribUting editors: Damas, Sergio Mondra gon, Fernando Ale g ria, B~al, ~e and trf1fred eart e Tam F i ~ d e r s o n , Melvin Bd var s Mj~,=AIIIIEiillQi~!!!i:::=l:l!llfi•othe r o .. I Am A Black Woman, conta ining p o ems written ov e r several years, un1 fortnnately did not find a publisher until 1 970. ,rlie b6ok~\ ed ~t~ the Black Academy of Arts a n d Lett e rs~econd Annu~Award. She �has been closely identified with a c tivities in Chicago where Third Wolrd Press publishes her chidren's writings . psychological and • historical tre/ d fingers - 1' Her title poem is a spiritual , journey of the Black woman whose "trigger 11 -µ.J- seek the softness of my warrior ' s beard.... A major poem among the new poetry/it combines the best of~modernis~ techniques with a chart - work of music so as to give the impression o f someone humming along with;.; the reading of it . Mari .!!,vans s c ans~-\ml& fie l dejt!9"t e d women , self- o f Blac k life , writing about lonely and · · and Africa . In "Who c an be Born Black c an be born black and not exult! ~ l o s e l y asso c iated with the Chicago and Detroht movements is Ethridge Knight(l933 State Prison when P f' IV iii I1 ) , who was serving a 2Q-year term in Indiana Poems from Pri son _( l9q8l a~peared in 1968 with by Uwendolyn Broo ks . s~ ~ ~L4 f Vital . Vital . This poe t ry is a major announc ement ••• And there is blackness , inclusive , possessed and given ; freed and terrible and beautiful . ~ own version of the Black AestheticA._in -J ~ he same statement : "Since i!ltheridge Knight is not your stifled artiste , the r e is air in these poems . ~ 11 Knight /\[:_he deep crevices of Black spiritual and psychic experienc language of he prison sub-culture Bla ck Ameri c an ~ as he combino::s ~ with the rhyt~s of street speech . He bounces or drives hard- - ' L 1un~~ ~ "hard bop 11 prison life , love and ancestry . �6 .Prison .i..!.oxceptional from the rtospit a l for the Griminal and mythical "He Sees through the innovati" e ~ "On are - p oignantly dis p l a y e d in hai k u 11 9 11 : Ma k ing jazz swing in .::i e venteen syl l a bles AIN 1 T ~ No square po et ,t' s job. C.; h ni ght , who was 'l ater rele as ed from prison, a lso e dited Black Voices ~ ..~-.,,._ F rom Prison(l970 ) and in 1973 B ed Be l ly 0 ong and ethe r Poems . tilllllalifjlillillll--•1•~•~!!1!1!ll!!l!i~.t/l!Fls::;ii!")1111t when he tries bit uncharitable to over-int e llectualize in his p oetry . to say, belly Song proves that he wrot some fine moments but it ·s still stretching out as a poet , currently doing re - search into oral litera ~re with the aid of a Gug g enheim g rant . Bemly in " 'l 'he Bones of My Father '1 which shows him p ursuin g smile at the moon in Mississi u pi from t he bott om of the Tallaha tchie. 6_11y, a numb e r of . are included in a 1972) edited by Redmond . t h e Forum 0 ch ool of ~ duca t i on and edit e d by l gro American Lit e r a tu r e ~orumQapping, publishe d by Indi ana ~t a te Univers ity J ohn Ba y liss, an ~ng lishman. It regularly reviews Black li t e r a ture . Chicago is a Midwest heart a nd h as a long tradition of Black Arts , going bac.k to, 1927. the ~unset Club in oetry movement t here are : South ,:::,ide Co mmunity Arts venter, Johnson Pu b lic a t i ons , l uumba's Root �7 Theater (ll'rancis ard), OBAC , Insi tute o Post t}-~\\ ¥-u: tion orld 1-'ress( Madhubitm), Free. Black .P;:i~ , ~ l _ ! n ~ Q.ollege 1 tJJ1 b clJfJL✓ ~ ) ..IW,,,¥,~~.....i , Muhammad Speaks~icago Defender , and Thi rd ?1·1 Cohran(Artistic her itage .c..nsemble), to name Phili Jj As a maj or p oint between Chicago remains seene a a '1iub known as the Organization generate of Bla ck Ameri can Culture a nd Gwendolyn Bro oks Bla ck Wo~ld - • Fuller , to OBAC1s Writer's managing edi to t Workshop . In of Nommo , the ID rkshop I s journal , Fuller sai Blac k is a way of lookimg at the wor~d. The poets of OBAC, in revealing their vision, celebra te thetr blackness. In this momen t in history , what might under different circumstances 1:e simp ly assumed must necessatjrly be asserbed. And the OBAC poets know--if others do not --th a t pal e men out of the est do n ot define for mankind the perimeters of art . This they want all blac k people to know . Journal's winter issue of the same ye a r , In theN~BtU~.. _..;i~&X;..i!!111'111 Fuller said OBAC memb e rs ·were s.Q.WiSiiili•li@- '' both si mo le and profound . t1 an "imaginative ~ - • representation of their experiences, , revolutionary . 11 In the first quete, Fuller• s tone, o arr~ing the ~_..__.._~~"even if o t hers do not , for , a mong o t her , Don L. Leell942- t1 seemed to ave been ) , to'----"•r,-~u_,...aJ ~... 1 • since rhere were no sacred cows, as Lee saw it, and others do notl ~ kno a lso what the y o uthful Chiqa go know,,__, Lee's assignment was to t e ach �8 ~ would h a ve died a 1 Negro I fraction . 11 following the Le ) , Johari the editorial st aff•,,-- S)terling Plumpp(l940(lC/3S-rAmini/4_Jewel Latimore) ~9i;., ~ .1:!.,manuel , barah Webster 1'.i'abio , ~ M I ?'t1 a, dj I q ~L~orens(who launched Lee(s .~~national care er in in 1967 ,,..Qil!laiiliiB◄•~811!11'0°8'-Q.,t,;...,~;i,w.,,iliiWilo~~oe-'!""e'~~~:e:-,s,+t~~ : Wa lter Bradford(l937- ), Ca~l Ulark(l932- James Cunningham(l936~ ) , Hohda Uavis(l940- (1937- (1947- ), Lee , · po Gilb er tt l925 - ), Mike Coo~ ( 193 r:.. " r (!( 1 '1.enner ), Sharon ) , and a Sigemonde \vimb 0 r are Carolyn rtodgers ( 1 9)-1-3 - Other b'hic ago • Hc Laurin , 19 wa GE.iri/ Patterson , Jerrod, Zack a rea poets c an be found in Nommo, Black Expeessions , Bla ck Worl d, Black Writers ' News, Muhammad Speaks, and in the anthologies B ·Broadside 'rreasury (l97l).J+ and Jump Bad : A New f• 7 QC 4':!iChicago Anthology(l971), both edite d by ~wendolyn Brooks. They ean also be found in the numerous anthologies and journals alweady listed . ~--::;:;::s:=:::!::t:::::;::__ J • c e ssion won by Chicago area artists and Black \-Jorld ,~as activists , who proteste(¾~he old n ~me Negro Digest in the late sixties . the image ~ tbe pnbJ ie,.-t;iga through the �9 ticklish waters ch has h.ee . ,,......, pnin . t·ing th eir . wor k , poets and writers ,• noting books published, 3 ~ S prizes . new c ei v.;1, 't:' ~!t 1'1argaret ' .n i,&_.!!!iCJU•-----awc an ~co~rcial attention t I a d e s ~~t} he and his poetry have re- sampling of cri tic 7~na schochars mo feel he - o v alkerr , e1' would~ nc /Jai~nder son, >Ii 11 er , Gwend~ brooks , Paula Giddings, Baraka, Ma ri .c..vans , .ttandall Gayl~• Gw~% esus Christ . country . " 11 a11 '' the poetry itj. the u country" ~ statement J,Glllt'5 in view of the 1,coliec ti ve 11 uolicy -- and the ailti - indi "l2i. duali stwr feelin~ - ~' allegedly .Y;ti.le cornerstone o f ~ the Chicago poetry s c ene . be has p ublished five volumes of poetry: Think Blackl(l9 f 7) , Bla c k Pride ( 1968 ) , Don I t Cry , Scream( 1969) , 1/Je Walk the Way oft he New World ( l970 ), DirectianscorelSele c ted and :New Poems ( l971 ) and The Book o f Life (1973 ). His Dynamite Voices'ffil:6' ~ubliih ed in £ 7 1 , is a study of~1ack. p e:t . o,f 'the sixties ; but it~lileilffl-, like/\~ther criticli:sm) M ~~1r:rl~ /J4d..tliillll~ a hazy thinker, who lac ks discretion and~ ~ • page , for example , ~ illuminating and apparently advocating the use of the word "motherfuck e r . " And any book /)./,. ~ • 0 i 1 .< . "t ./_, about the sixties should not come off the press wi thoutA.and exar,&nabiunfof LeRo :iJ. Jones / Imamu Baraka.~:!! l"ee:t;ry . Madhubuti attributes the fathership of the �10 New Black Poetry to irum:im Baraka, but apnarently is incapable of discussing the man· s n oetry . 'I 'here are other, incredible fl a ws J.n the book#, for which this young noet·s oder mentors must share some blame . (~:ff' As a criti c, he did not~ultivate the 11 distance- tt of Brown , Hedding , or Hend~rson, and conseq~ently--already lac he .. · tter oet I • ~ " , I b~-,li~~""'"1!!"t"~M~~;i...,iQQ.~~~ i'fms 11 from The i~ew Poetry of ., A Black Hate)' ~IIM[IIIIWiV'J red pontifica tions The Book of A he re-arranges sayings and parables stated better by Aesop, bush hfricans , Plato, and Baraka, and Tolson. Like and others, his early work~re-inforce casti gatel i tey and encourageC,, up in the ti tlesl ,AA._ at· ay co Think Black! and wel}-...,.. ..... ~.,-------.r. often not ~;'-'ii~~~~rr""mct"ST Wall 11) 0. • n an of effective typography which moves in parallel columns vertically or horizontally on the pages . c ri ti cal arti n Introductions to his books and les Hadhubuti -~~~~--'~ gi veA "directions Black writers - - as he does in much of II to , _...,.A_. the poetry itself . ften - talked- " ,.alegy for Conrad Kent Hi 'Ie rs r~veaI in g s tha t ,uAitt:',w _,,/ cause prema ture black deaths. ~peaking of " too much" sex and drink, he s ~ many r-:--"poets who poet 11 die from But can unknowingly dabble with the most complex aspec~s of Black life a s in 11 ·rhe i:::ielf-Hatred of Don L. Lee" wh e re, �11 1 11 after studying Black hi.s:07, he learns to love the inner' person and hate my light brown outer. Certainl~ a pro~oundAd l~~a is stated here:since hating one's color will not change it; and since one has to live with i.J$he resu of one I s life . It is a good yoem for studying the so-called "solution" '/IA.,_, .~ m~il' BJ,ack wri t c rs ffl!:..1P~M tha 11 found' to the identity problem . --:-,, of conf There are othe r . sion in Ladhubuti's poetry. ...::,,;,, One of his most fa ~~~ I poems ;t Praised ~ighly by ~tephen Henderson , the ( encoura ged of 11.on .t\.a renga Blacks to refnounce the Blues . bute to Coltrane Madhubuti 1 s is largelY.-A.~ll!ii of intelligibilityt i cried for billy h olliday. the blues , we ain't blue the blues exhibited illus i ons of manhood . must Jafheinz Jahn .....--,. knew better . And certainly , today, Madhubuti ( (; 4,"1, 7 • ,if the blues w re destructive, then how did .ai11•-...----~f Inde.ed, how did any~ s ck Omn ioe~r/bake lf ./ 1urviu~}i~m ''.Jj;s~ . Carolyn Rodgers' vol (1969) , 2 JLo ve es are Paper ~oul(l968 ) , ~ongs of a Blackb:ird (broad,side) (1969) , Blues Gittin Up(l972) and How nvincing , she writes of young women , love , I Got Over{l975) revolutionarf music . In Phoeni "she recalls traveling "with the wind" and he a ring the many voices ,. screaming blooddrops of time . "Jazz" describes "three II C at the bar, the drinking glasses/ �12 and the murmur of thick mouths •••• " Re bolushinary 1.-mas/ eastuh juli_e 4/etc . etc . etc . " is a O"'>",.. 11 mil i tan ts •11 And she tells u§ that bits of me swlintered in to a mirror in 11 ~-71~) ... Look at My .t'ac e a 6oll age . " Thes e am e~fiW" ideas a nd theme/1\?an also be found in the poetry of Johari Amini , Pl liqnpp Johari Amini I s books include Images in Black( 1967) , FablK(broadside) (1969) , Let ' s Go ~omewhere(l970) , &nd A Hip T_a _ l_e_i_n_D_e_ a -t h S t ~ h " ett_ow~f · ~ ~ ~ • " E 9 > c o l l o q u i a l i s m s , ~ ~ ~But she has in 11 Black ""tcange1i~~ J.,L, Brother" whi ch longs for the "soil" of Black people, whe re ,they can.wuu11 • • feel~ unive r se shudder •••• ML.. A- l_p1umpp's ' Portable Soul(l969) .-,iit rlalf Black, Ha lf nlacker(l970) and Steps to Break the Circle(l97~) . A southerner~·- a backg rowdd in£ psycholog1/~"•~r:rtten called Black Hituals( study ~ ) . His interests ar e seen in titles like "From Manless • Sisters to Big Bad riappers , " " Black ~ -- Nesaages"("belfeve in us") , epic 11 ) "Living Truth 11 ( 11 black history ••• a banned and Bgyp t ( . _ For Black 1-liotherhood) "' : , ~ ~ r l a s t i n g sunrise awoke ... ~ ~!lip h,w.j,v-tl\J - -..... ~~t'he motTpercepti v/ ~ ski] 11'u.Lffuet~II' 111 ra., ~s Cunningham. 1 His l!!J~olume is The Blue ~arrator(l974) # and he has been published widely in periodicals . "The Ci ty Rises" as a ~ sad sti f f wooden place ... . ~:fib> St . 11 the • 11 il'uli en• s 1>ve : ~ Dennis Cross ear" by Brahms, and /....t here follows the wind- man tearing at the bridge as a man stands wondering why does the river •_ 11 ~,.l.lL,~~n--- ;/k# ~..,_~_::""" "stab bed d ._ II in �13 ~~ to pla ce dispara te ordering s in Kaufman - ville : or a note t hro wn to is a st,.udy of the " fr agments II of carolyn from r t i ~ i~~ ~~-- Bob Kaufman t - a ma dness unlike my own •••• ~ " ' " ' r a m the Na rra tor• s Tr a nce," Door(l971); series'.iiiiiiiill•liiiB•••--•• Ang ela ~agic'Cl974) f; lDamali(Denise Burne tt ) , I Am that Wo~ld Press I New Poets '-' Jackson, Voodoo/Love We May Be( le 74) ; Fred Hord, After {ours (l974)• and Sandra Royst er, Women Ta lk(l974) . These young poets deal with a v e ri e ty of subjects/~ ,.._,~s~m • a- l~~~F · ety o f f ~ mo s t l ~ ~ e concernea_ with r e volution , i e Bla life in tt ~ eme rg ed from Amon g t f( ,, new Gwendolytn Bro oks · uge ~ _.",.........V-""'"'-..• ehic av:ft., J;s wh o , as we saw in Chapter V, ~ o l i Blackness a nd wondor~ul ly magic t\- ~ in h e r in h e r p oetry . The Brooks of In the ~ eccatl968J, hi ot(l 96 9 ) , F amily Pictu r es(i970) and Alonene ss(l971) is ,,;,ti,._ �14 not drastically different from her former self . In neport approve w From a, tougbness , ~oetry whi ch yiel is to ry/ ~ readings . She and dramati c dialogue to white middle class ES inco rpora ~ Bing Cro s by and He 1 vin Van re e bl es/ in and l.le,ao i: t11i:1Nm n ompo si t ~ a c e of a "Hiot , It' aspects of love . Thef':s1ack philosopherJ /is tt t.9 A 1""'11., ~thread that spi~es the section ,e f po I c alled The Third Sermon on terse,,,; t he War pland . 1here are traces of her earlier I ,.. # • as her underfed h ::- un che s jerk jazz . A n d ~} llllilt&q z g a ri'.'.Jf a,#!a) "But WHY do 'lt'heses Pe o ple offend themselves? ' adding that n it is time to "help . " Family Picuures contains the ~ ap - sho ts of her new young heroes , the people who helped her bec ome "Blac k . ~ ~ ~~!e:e:Qr an,d ,19\ung fo. $ 64 .bMJ._~ 11 i c ans ~ the Young, " d"edicate~'\- to own ehildren , the mensitive mother - poet gives advise that many another ~ yo~ng person llliat. might cuddle and cherish: Live not for rhe-~nd- of- the - Song . Live in the a long . ~ t J. �Chica go po e ts were only skip Gary, Indianapolis, Clevela nd, Detroit, and St. Loui s, 1 ana sas City, and t h e ~A._Provided ~ t ~ interc~ang es and exchange s on all leve£s. Motown• r z poetry , like rllDW tha t ~ oth e r comm.uni t i e ~ i n termoven' with odtPtr rel a ted dl.lh.~ . .. ~~e.llr.pressiorf,.__l?ntii 11si~ Margaret Danneir 1 s Boone House ,___ for the Arts, .tiev. Cleag e s illll: 0hrine of the Black rlJ.adonn~, :r~oJfJn O.AJ (J.) 4t-. ~ Redords, Broadside Press, Vaughn's Bookstore, a nd ciiss8Y eimilrn oo!htolJNh • I for the late sixties.iJ!! ft and seventies, of course,~~~'4 andall ha;;;hanged a: a poet and p e rson, he says, in ways that p e rhan s parallef ~•••"ll~ wendolyn Brooks . Black po e ts, he -=-is publi~.4-' new books of his own p oetry, serve~) as distri butor of rl r eman 1 s Herit a ge 0 eries, a nd travels widely as a lectu r er, te a ch e r, librarian and translator of Rustian ~ poetry. -.. A formalist by training and temp e rament, .ti~dall t21M:*ri ••tl&iaasi!lin described his new poetic stance in a statement in Modern and Contemporary Afro-American Poetry(Bell, 1972) f My poetics is to try to write poetry a s well as I c a n. I think I h a ve said elsewhere tha t the function of t he poet is to write poetry. Tv1y e a rli e r p oetry was more formal. 1~ow I am trying to wnii.te a looser, more irregul a r, more colloquial a nd more idiomatic verse. I abhor lo gorrhea, a nd try to make my poems as concen- tratted as possible. , Indeed, ha.ad.all has tried to do just that--movin g from a traditional a ~ve rsational~ . This he attemps in volumeaf li k e Love You1197O)/ and After the hilling(l973). Vfuen Randall is describing a gt,(}1 in an African village or the "Miracle '' of love, he comes over g enuinely and strong . But ialllll1•11P n oems like "Green& Ap ples II and 11 11 ~ ords Word s Words II s ~ow him out of his fiel4 . 'l 'hese and other ~e~ • ~..B ■ '.U me relyflp'rose1 ,~ is primari]y �a librarian, pu.Ib.lisher , and edito r whose service~ Black poets has been and remains invaluable . _ . This is seen not only in his production of their work , but in the many anthologies which he has edited. With Chicagoan Margaret Burroughs,~Mi--he co-edtied Malcolm; Poems on the Life an d Ueath of Ma lcolm X(l967), a foresightful and commanding work . Also to his editing credit are Black Poe try (l969 )• and The Black Poets tl 971) , the latter imbalanced and apparently quickly f:! ' ,_~~ thrown together sinc e it hasi\EWi: ic1:rf fl 1 snt Introduction and contains no bio-bliog raphi cal and Margare t Danner, )' James Thompson(l936 Hayden, Rocky Taylor\ Tejumola' Ologboni) \/Q!. J, ; ~~Ullo,v; \ now living in Atlanta~ 194~ - CONJ ., , u1_12-7- ) onebeyatta 195~- d~ W1 (1 950 - (JJ3~- \ . Darnell Hawkins(l946- '-1- \h,(/)• , J, I\:. eonea ~ ("\_ - _ ad B~ily (l9Q6- Lo. .,,J ) ..... :·. -Jfll \J ither spppn(l 947 - Pearl Glee~ Lomax ., 1, ))f~rency ·Hodges(l940- )' . MelQ._a Boyd Q 5i - ), f{:itella Crews 1 ~ 50 - J ), ), poeeis can be found in Ten , ABroadside Treasury_, The Black i:Jihcse indivmdua and in the sm ooks regularly published by ~ a dsi de Black Press • . -• ~ .;;;;.till ' . . ,~~~ l1'W'-- ~ ~~ a~o t~,..........._,a>~ Qo.d {l(>.,LfY, ,q 7'l). James handal 1 has published Don 't Ask Me Who I Am and Cities and Other Disasters(l97J). His poetry is intense,~ commanding - £ UH ii ii In "~ etwork News , 11 ~"""'"""'"""\IMJI.,('__ we are told that For years he'd watched the growing madness of the ~t a te. There is irony and pathos. as in "'Stre et Games II where a boy/fl is black as the ancient curse of Afri ca •••• A different kind of poetry is writtmn by Ologboni who int e rmingles establishment-directed drum rhythms, inc antatory medi tationa and sharp~rbs in Drum SonJ{l969) , Introduc ed by Gwendolyn Bro oks . '!'he poet is als o an, artists,.Jdl tells us in "Untit led 11 that the night contains indifferent st a rs •••• �& liayden h a s been ~--~~il alma mat e r , since (1970) 11 · urningtime he 'IM1'P 218.liii@ Gheme 11 BJ are fri gh t e ning p oemsAi o;I! Jayne Gorte.x• s ~ a s eeks a pl a ce wh ere man kite or hunk ie , b'§It 11 man . " Th e re wi 11 M't~ be c a l ~ ni g~e r 1 g~k , • 11 i g an , h is th -F'e stivals&lllliii. Fun erals . jok e a nd men ) , · 11 wlds as .tiayden surveys the boledad 11 {ncra dl e d by dru g s , by j a zz 11 ) , ::;phinx" l "my 11 1.odachromes t h e Island -....... ... ~~. ~~-==-=~·-~z.. . ( "finger l e ss hand ~Bl- a i • ~ d - - - Malik El - Sha bazz 11 { "the wak ing dre am 11 ) visit to , t h e rledstone ~ '"feus ov e r h edeye 11 • Ft ;;:_ Ars enal . Jilt M.. It ,it.7'.11119. ,......,.,,.-,... r ",;I~ ,--...._ great p oems as a major st a tement on our times . ill D Western man s mythic totem, his depravi -- on/\ all a re · es ~ n a m ~ whetqe d e ~h - mytholo g ical f i g ures . At!!!!!lliliia~iWl..-•~!!l'IPM...,_.._. to birth invis1 11 ted • eN7iol8nce are dra gon , h ydra , b a silisk , tulips , corollas , ~ Zeus , Apo l lo , Ni k el\ He rc u les . 1'111!1.-:t~e -t::J,. ~ ,1 missile's ·~ o beoorno a s a c red phal lic g rove •••• ~ Apparent ly the guides at t h e arsenal about the missil e s ' de s tinies a nd d ange rs : _ , . 'four partial answe rs r eassure me less than th ey a p pall . I f e e l as though invisible fu s es we re burnin g a ll ~ro und us burning a l l around us . Heat - quiv e ring s t witch da n g e r 's h yper s en s itive s k in . The very s unli ght he re se e ms f lamma b le. questions • • �And shadows give us no relieving shade . Dismal and final , - adds its own particula r tone , t of the New Black Poetry . st~le and language , despite his disagreements with the Black Aestheticians , there is no doubt th a t 11 L.eus 11 ~~f a d spol(esman,-,: from bobby Dylan to Billy Graham. goes back before the days of famous , Dred Scott lovi:;,f_, -- Arts Movement . a the and / alternately war~ worked closely together during the height of the Black Poets an BAG(Black Art i st Group), House of Umoja , The Blacksmith ~hop of Black Culture , Black Liberator project , the House of 'i 1ruth , Impact 5< House , the .c..xperiment in Higher .c..ducation at ill( ii L.- ~- area were Q...., SI , ~atherine Dunham ' s Perfomm.ing Arts '11raining Center( t HE..-SIU), Black rtiver and the ~outhend ., riters , ~~ igh1):]prhood Center . poets .: 1 • in the f.J .Pl GM. ( ' '-' Rutlin , herman Fowler , rt~;;lm~DS , CYI];thia CG.llley(wh6 Et11 & <c XV..,:~ u '-- (Jq;1, ,J ~ • -~) , Arthur Dozier ,~ustin Black..(who went to Los ' I w -'14 I\ 11 Fred horton, enetha ashington , Donald Hender~5,n , Henry v~,u,. ~ i I~ . · , t14 l).ek'a ~ : e iJ Osborne , Jon \rd lson , ~loria \IIJalke r , Vincent Terrel , 1~ayne Loftin , Derri c k \'/right , Gregory Anthony, Kath erine Dunham, and others . �Writings by these po ets · in Sides of the Hiver : Be t ty Lee ' s A Tlfini - An t h o lo gy of Bl a c k Uri tin ,~ s l 196 9', rtedmondJ ,. St . Louis-based :. Proud magazine which offers pri ze s, The Mi ll Cre ek Inte lligeneer, !f67) ~ ilQoomm a spe c ial issue of Sou 1 wester ( fall , 196 8 , selected by Redmond) , Tambourine ( 1966, \✓hi te and :::,chwart z) , The Black Liber a tor, The Creator(l969) ,ACollection(l968) , allli\i. Volume I of Poems by Black s(l970) . Dumas , who ~ ~g~:t' St . Louis{S/()-E#f}J'~ co-s ponsored "m'!~~~,-b...._.....,......_..,...,.__......,;i,..,,,...s/)and Blac k h i~er und e r Dumas ' supervision, with Fo wler and Linda Stennis serving as editors • .1.:.i11iott writes , in 11 The .Urearn Time , 11 about the "spiroch e te womb 11 of the mo t her o f t h e universe , t he Phoenix, and the death ►7 f& "fashioned at the end" of 5 0 0 years . Great Pho- enix tha t she was/ the moth e r of the un iv e rse :iiD now le aves the drea me r With onl y h e r g r eat murky sexuality •••• Elliott is a dreame r and surre a list but Bl a ck temp e rament with his The Torn ado i n J t.u ushers in a J a a: 1~ i f f -1;;-e ] My Mouth (l966) . He h a s the irreverence . of the Be a ts, the funkin e ssl,f2f the h a rd bopp e rs , a nd the sexuality of one in hot purs uit . "Asexual Fli ght" says a man's l a st wish is to be banished to the island of remi8bRtW and loose lo v e . 1-' Another mood is p r esente d in "rtazor 1•1ama Democracy/ the ache in 3- D" whe re 'rhe blue haze h urts and now the hair is t u rning 11 11 into an "a ch ing g rey . '' ~ a Bl a ck salutes the gladiator" in"Coeval Drums for Leroi II but in the me an t i me f he cove rs quite a bit of ground : "the dead art e ria l insanity"; ;' futi l ity in j agge d crags"; "Ki er kega a r d/ Sartre"; 11 like dri pp ing brine " ; "over the window of my b eing" ; an d f i n al l y "He r p owe r i n h owJ ing winds " bri n gs �A DRu:MBEA.r FOR LEROI . "Black Funky'~ is subtitled a &. 11 o-D a hypothetical orga-srnf"f!PJ\there is irrevem-ence in "DAMN YOUR god ftt subtitled 11 the liberated Har - horse . " l1::_ Ga rrying 11 a 0tick , " Fowler asks : Who cares~that I had yesterday ' s stale gum for breakfast? "Thinking" allows l'lin i!,e, leis various images stream and burst forth vomiting tidings mind can hear . omenetha Washington writes about the pressure a on today 1 ~ Black woman watching people Scurrying from sun to sun ••• ong , she says I protest but still I run . Loftin, a young poet who writes with ec onomy and simp :}.i s:tty , \Jright and Baldwin up in 11 Heali ty'f : out of the cotton field s and burning suns to overcro~ded cities and shades of slums hedmond and Fowler founded the Bla c k ~iver Writers publishing company which brought out bides of the River • ..;?'currently under the supervision of Catherine Younge , the press has published Redmond 1 s volumes: A Tale of Two Tom:: (liSlf:- (broadside) (1968; , A Tale of Time & Toi l et Tissue (b~ pamphlet) (1969) , 0 en t ry of the Four Golden Pillars t l97O ), Rive r of Bones and Flesh and Blood ( l971) , Songs From In A 'l'ime of Hain &t anJ r-::--.. Desire (1973) , and an Bloodlinkf s and MO Consider Loneliness as These Things,t-n 1973 by the Centro Afro/Phone l l972) , ~tug.i B ~cam.bi Inte,;rnazjona.J.i in Italy . 0 acred Places(1973 ~ �for t h ~ h o o d f i n his poetr~immediate -~~-,liJ, .'illll•••• --.:;:~i,1.l.. ~ his without for c ed allegi a nces ds come naturally and historically. His poetry ranges from hiiJiorous fol k portraits like 11 Invasion of the Nose": His nose wa s his radar , His eyes icy darts th a t moved f as ter than speed- of -s ound jets . He could rap like a pneumatic drill Or croon like .:imokey Bill when the occasion arose . ~~ to considerations of love Aas in "Inside My Perimeter" : Inside my perimeter er fears A unit of guerillas Strikes at the barbed- wire 8ovels that hmaed our love : That inc a rcera te our needs -An insurgent a rmy .:itorms the b a stille of pride Shells this fa c a de of s ustom, Knells the collaspe 6 f the stra w men inside us -Accepts the sun , Allows the contorted face of Stress to smile again -To glow againjl AJlows Love to Live . :jM';C;:/;;, b e r e in I» there wer/ ~her ~°l[//!':_T in poetry! Iowa , Nebraska "-Kansas City where Wilbur Rutledge~ and othe:izs associated with the Afr o - Ameri c an Cultural Center re c ei v ed assis t anc e and exposure . �. . • v~~:aJ:r-·'{?Ml wf4} 7/ - Spicer, l \-i llesse Hester .- nd Jac k ie ~J ashington. ~ UlOU ~) ~~W.14:) 1'lidwesx.fle a 61 t more than fhe poets of the a hop , s k ip a nd jump from California , but ma.ny of them were insipred b y ~ t v ~ l magazine oov erage , en d cross-c ountry tours of r;;;-b etween t h e ~ . f ornia . the Watts poets . Born, a s 1· t were , Mllsicmr ~C ali :,un and the re bellion of 196.5 , the \.atts ~J ri ters 1 orkshop wa s ini tlilally under the diredtiJn of Budd Schulberg . Later, as ol der writ er s left ~ . and newe rfl\came i ~he supervision of the workshop was assumed by Har ry Dolan ~th 'IS$) SlrSCC'iit i'Wili: He rbert Simmons . helated cent e rs of culture and infJuence included the Watts Bapnening Co ff e e {o use, the sho rt-lived Shrew magazine, the Watt s Repertwry .t·heate r, the Acquiarian Books tore, the Sons of Watts, the Blac k Panthe rs, ha ren ga s US organ ization, a nd Frederick Douglass Writers' House which hou sed t hose associated with the Wat ts writers program . Among this and o ther writing groups were IIilton IJfc Fa rlane, Clyde Mays(l943Troupe(l943Donegan(l943- ), Stanl ey Crouch(l94.5- ), ), Robe rt Bowen, Pamela ), ~mmery ~vans(l94 3- ) , Fanita(l 943- L~ ) , ~effers , ~l~~ Lino , K. Curtis Lyle(l944) Leumas Sirrah(l948 Blossom Powe, , ), Vallejtl947Simmons(l930 - ), Cleveland Sims(l944- ), ~ric Priestly(l943- ), c. Ojenke(Alvin Saxon, 1947- Jmmny Sherman(l944 - ), I i:.rne st ), Johnme Scott(l948- ) ), K. Mo~eland, Mayh and, ), Fannie Carole B~wn(l9h2 )j David 1'..Jayne ortez ( 193eI\ ), Edna Gipson( l 946 ),;Blossom Powe(l929) , James Thomas Jackson(l927Reese Moody(l 933- Sonora McKe ller(l914 - ), Harley Mims (l92S- . Ridhiana, and others. Their· works are ~ c .fll:lll•llt' ¥Q ), Birdell Chew(l913- ) , IFe in two anthologies: Ashes(l9 67, Schulberg) and Watts Poets and Wri ters(l 9 68, Troupe) . --,.....~;:;;l'.:--perio di cal s poems are ~ sca~ed through such~ca s Los Angeles Magazine, Shrew, Conf ront a tionl'\West ' a J_ ILi§. ~ ......---. Seen as a movement , the \Jatts group ,;\qualitm.tf ~ and quantity , emerge ' �insert this p a ra/ page 22 • . . at the University of ~en¥e r fo r the yea r 1974- 1975. . . - 'l::J?h:d 1 r, /fphahl le during a l e ave o f absence , .Kgositle(l938 - . -:C ~~-••--••M~ tle 1..t ' Pan-1->.fri c ani·s act and symbo J_. was born in Johnanne sburg , South Afri c a , end has been exiled in the United 8 tates since 1961. His articles , noems 9.nd interviews h a ve been published on an i n ternational scale , and he ~ has taught at seve ra~/\co~~eges and universitt~ ' In addi t i on -SCIIII~ ooks already mentione';Jhetfublished "1y Bame Is Afria a(l971) and edited The \·~ord is He r e : Poetry from I·-odern Af ri c a {19 / 3) . His own e sthetic is sta t ed in his i nt oduc t i on to the antholo gy : Poetry , the word at its most expfessive , c a n be a praye r , an a ppe a l , condemnati on , encourage~ent , affirmation-- the list of ende a vor s is endless . And if it is auth entic , a s anything else e xp ressive of a people ' s s p iri t, it is a lways social. Thisfhe where in the Introduction , Gwendolyn Brooks writes th 0 t his ~ Arl t is life worked with ; ••• i n to their works and, m 1ciS.;?' indiginisms B~ckisms . He Gr :s"7 as says the combine s his own with a mastered fluen cy Ameri c an who le o f ~ tumultuous~ ~ A~), ~ ntermingling • • /"'I i.llli·•,==-111a~1J~m~s~mMittr~~~•INi ■Msrra·a~s--1111111iai·■:•J~ A Black s t ree t language with most ab l e c raftsmen, he· · ---.--,-~~ an a c quired fo:r;fl • One of the ~ ·,o childr en , women, v i o lenc e , musi c, Nalcolm X, Lumumba , Gwendol!'::J..-.J,'l.. _,. . ~ ~ ctl: , '.Jnl,fl.'(JV~~ Br oo ks , ~ ~._,.- 111 Afri c an d r- nce s , • Bill y Holiday , or "The Ni tty liritty 11 wnJ rew,-----¥.!""-i f r o zen on batte r ed bla c k lips •••• �as ,j) of the most power f ul on the Ne the po~try is not uni formly good or exc e llent, there is ~ visio~ style!.._and them~tha t one looks hard to migratory patterns of find in other g r oups. This may be due in p art to theAli.,lhiei a Blacks in the West-not born in Los ee.;tlf•■ t •s11e:..-1 we re~ of Galifornia. Whatev e r the reasons, the re is a prismatic rang e in the p oetry tha t moves from the earth-woman musicality of Jayn~Cortez, across the allusory a n tical M excursi ons of Lyle, the siJ;}:~~ lso wlieli-ai! s omel{!,';ijnal blues i n t e rludes of the ~ournal of Black Poetry. Ain 1 t No Ambulances for Mo Ni g ~ s Tonight(l972) i s ~ 1'!lllle-- of both his Lp r e cordin o:-f -which includes "rap" as contains liner notes by Lyle. Croudh uses fo~k well as po e tr'Y) ~orms and themes int e rtwined with music and various ~ramatic techniques. Many of the p oems are dedicated to musicians like Parker the and Coltrane; oth ers attempt,-complicated spontaneit ,, • The title p e '~" day of the final riot when t h e re fl!ilblwill not be ~ mbula nces ~ o e m s hero, Monkey Junior, 11 got on his job '' l ike Nat 'i' urner. Lyle says his influences are Artaud, Octavio Paz, Cesar Vallejo, 6esaire, a nd oth ers. His poetry is ~rounded in elliptical phrases and oscrure i nformat i on which he constricts into fri ght ening , surreal images and ~ st e tes. "Sometimes I Gof to Camarillo & bit i n the Loung e II describes how th e p o e t st a res into 1 'an aiming of s piri )" ¥~viewing the world as y ellow trump ets of st a rving blues yet wearing a Vietnamese mothe r•s "ult r a-h i gh -f r equency scre ams." (I. 1 ie a re told tha t 11 coba lt bu 1 lets II smash t h e h ea rt of the "lone range r Af -1.J./ .; ~---;;:~ _o ~~~/~' ~- to Sc r eam. " • ', .., a--t bl. ,, J> • .J) "-) -.P.. {) 1 AA ;"I~ 1 11 �Ojenke has an unlimited range of intellectual and social concerns as he sculpts his poetry from 'fC-, the f"i' di verse ingredients that produced the Afro - American . Apparentl.Y}\verse ~~ . reaeco - oman clas re of "Black Orpheus" pierce the dark solitude of a Hadean world : ••• ire wonders into ancient lireece and Nigeria in the same poem . In commotion caused by li~)ltning and famime , 11 1/atts '~A-4 X assassinating tin people and whole grass - blades? Later on Diogenes, ~&crates a nd the But these f ,..---.. Oracle of Delphi en t er the po~ ~ . heracters .......,.,._ only come to Jatts to find people escaping into a "toxicant" and fleeing from some too - true - ' truth •••• Ojenke also wrote an Introduction to ~vans' book The Love Poet(l971) . About ~vans 1 reading ability, o·enke said• is into your ear. " two roaches dance across the room to the tune of poverty; ••• ( Sco~ t is ~ one of the more well known of the ·J atts poets . In "The F ish Party , " he says The fish are gathering again tonight , ••• And fish - watchers , ignorant of the world 1 s problems , get their charges - from trying to guess what the fish will do . During the conversation , Scot t talks parenthetically about war and poverty , but all is exc* lamatorily interrupted : "Watts , 1.966" is difference . But ~cott closes it on memorable lines : ~h~ man named Fear h a s inherited half an acre, ~ l (J..~M• Other Watts po~ts deal with love violence , e:n ei i 8 &H e.;, ! 50 co~templati~~l\and music . 0 �2i Many left ~Jatts after the late sixties . ·univ ,, ) and ~~~~~~~~~~~u Troupe went to Ohio , ~mbryo(l973) , ~fter moving on to New York . not published a volume , went to Washington University in ~t . Louis , and recently returned to Los Angel e s . Jayne Gortez went to New York where she has lived and wrote since the late sixties . Her three books are Pissstained S · Man ' s Ware s l l969), She has also recor ~:;_:;~..Mto'-'-~:..i...~~~~-----....,.....,._i.w...~(1974) . Festivals and 'fi'-unera!s 1971) and carifi c tions 197J . er themes and styles are broad , but mostly embrac e musi c as aspect--..-~ rm. Afri c 5Mstruggle and a dominant theme in her poetry . Pissstained ~...._..1 music i s espe c ially i " The Ro ad 11 and struggle . is 11 where anothe r Hank moan s " and is "Lead" describes ."JLt~ . r kind of hard lifEJ\ crackl in hot a sunrise . " Lead, of c ourse , is Lead BeJly whom the 11 nig p-uhs" desperat e~ ~ hear spi t the blues out . hardships and goodt i mes o f Dinah , Brown and othe r s -- a deat h , from one who would ••• eat mud to touch the root of you •••• Among o t h e r ~ Arthur Boze(l945 - ets are Robert Bowenll936), Mc Neil,/ ) ,1 Kinamo Ho dari(l940 ) , Dee DeeJ1943 - Northern California has also been characterized by in- and trans migrations o f d writers . Inde ed a lis t ing of poets from the general area of the San li'rancsi co Bay read like a national convention Goncalves,1937Youngt 1939 - ) , Harper(l93.$ - Clyde Taylor( Ma ck(l947- ) lnow at Brown) , Conyus(l G1L2 - , ), Angelo Lewi s(l950 - ), El Muhajir(l944- J, Reed , Miller , Lawrence Mclraugh(l940 ) (Marvin .X) , Leona \ elch( J, ) , L . V. ) , ), Joyce varol Thomas �(1938- ), David Henderson, Joseph !Vic.Nair( ) , Jon .l;!;ckels ( George Barlow(l948 De Leon Harrison(l 941- ), Herman Brown ( ) ~Jfuumba), Pat Parker( tebster Pabio(l928- ), bara Anderson~aya Angelou(l928- ), Glen Myles(l933 'f." )' ), ) , William Bay area activity in the arts has been heightened and enhanced by the 0 an F'rancisco Afro-American Historical and Cultural Society, Bookstores such as Moa,e• , Ha rcus and 1~ew Day (Goncalves) , activities of Panthers and similar groups, the Hainbow Sign cultural center in Berkeley, Nairobi Colle g e, and nume rous other cultural and literary projects . Poems by many r.,~ ~ these bards~~-- · Mi ll e r ' s Dices of Black Bones(l970), Journal of Black Poetry, Yardbird Header( a semi:enual edited by rteed , Young, Cecil Brown , Young and Myles) , Umbra Blackworks(11!!1!l Henderson , ~ e s , especially 1970-71 ), a ntholo g ies and per1 and other nationally distributed dicals . Reed h a s published thr ee volumes: catechism of d neoamerican ':'I hoodoo church(l971) , Conjure: ~, elect ed Poems ! l~ 63-i~70(1972), . • f .,Chattanoogatl973) , a nd s s veral novels • .m.• • • , His work has drawn,-.,~ e mixture of "brillim t," adje ctives from critics: "cute," ,-.. "jumbles and I'<Zles," "important," "bad comics II and so on. Indeed rleed ~rites~oetry~lb.is novels and~vels In this service, i ~his poems . j(e employs ~[l ...,..c;_,,,.. occult, whimsicality, J wit , mysticism, aatire, mam.;m,liiltmmmmW.lllli*ijlillli!m all r einforced by assorted information l~brarJ and street-instinct He violates time barriers , placing arr ancient ~reek fi gure in a con,roughly recalling temporary u oem, or vice versa. His verse forms are experimental,,\: ,_----.._. ~ ] ] $ tg the Beats and other. recent-9-I' past stylistic irreverencies . There are no sacred~lll!!i~ for rteed who~ambasts Black n a{.ion a lists e~d white, l i b e r a l s ~ i n the same poem . Generally , his techniques wo but he often spends too much time attacki"ng real °t)•----....-...~- t t · I') or crea e an agonis--t- s --= ~, . �His titles alone are epou@ to keep you slapping your thighf or .,, '1-q..e '1•ni,r · l' sc r atching your head : "I am a cowboy in the ,..b9a ¼ of 1a, 11 11 ,~,~~~ a whale in my thigh , 11 Dev_il "~n>. a Ford, Pi 11 J\11 Gris 1 Lrris , o ,jlich ,; e als8 !to t d • " ~iQ)vt.~af&......,._,._. Uonc The fe r al pioneers , ~t'l , 8d, - •11...,.......-.-.-~ 11 '.L1here I s ({And the '/7 ~~• • n o ccasional poet , is unique in his intellectual - typographical tapestry of ideastsee Black Fire~ but his service to Black poetry h a s been more o bvious in his work as founder editor of J o urnal of Black Poetry. He also served as poetry editor of Black Dialogue . A quiet, but steady , influence on the New Black Poetry, he has written some of the most informed criticism to come out of the period. Currently he run s operates J.~ew Day Bookstore in ban Francisco, where 'l'he Journal and its press are headquartered. (Penetration , 1971)) Among poets 1)Ublished by the press are. Neal and \,el ton Smith.a a virtuoso C poetl{1imMU!B ~ who was born and raised inAthe £2,,r . are@ . ~ "Malcolm" ends discussi~ the kinds tracks tears make and telling the re der that in my heart there are many unmarked graves . (J.i,,~ rhere areJ\word-gifts in "a the danger zone, 1 for Light , " 11 11 11 If I could hold You for a sorceress "("you keEfchanging me into air")J "Black i,rother"("an odd e cstasy moving") ; these j_oin blues, excursions through city streets, and thoughts on Africa . Young and Harper both teach wri ting'jl,1 ~rown . Young has nublished • lit at Stanford and Dancing(l969) and The Back i nto Itself(l971) , as well as novels and articles . 0 ong Turning is poetry satirizes militants , salutes white and Third \IJorld poets,.-, and incorpora tes legends~ f1illlt a br fl base of linguisti c knowledge . There is a consistency of interest as seen in the titles of his books . In 11 8;rosong 11 he finds himself dancing "naked II though All my shores had been pulled up •••• "Yes , the Secret Mind whispers , " ~ .orif.._. , dedicat ed to Kaufman , c-iii1:riia ~ --- 0 '4/"\..L(_ A_ ,, �for ~ve r at your door •••• Young ~ ranges over the whole oftbe life experience , writing about squirrels , jazz mus i cians , Spain , ~tockholm, night time and sorrow . His poetry is markedly different from that of Harper who left Galifornia ~ 1970 . Dear John, Dear Coltrane(l970) , History i B Your Own Heartbeat(1 q71) , Photographs: Negatives : History as Apule 'l reell972) , Song : I \r,ant a ~'Vitnesstl973) , Uebridement,:J,.973) , and Night mare Begins hesponsibili t yf( 1974) . Praise for his, poetry has come from a wide spectrum of';_crit1c.....,wp~r~i-marily academiAc~i~a~n--w 7 recently of Black:,S5t.s Wff it I■ contributing to the new American poetry scene(The New York Times Times Hagazine , Novemberl 24, 1974)f~ieberman has also praised Harper i<!'-~M:3 received nominati ons for the National Book Award as well as the the Black .t1.cademy of Arts and Letters 1''irs t Annual Poetry ~ward . kept a consistency of1'-1Rlillill•m tone critics particulat rly · and though his poetry sometimes lack'!meta (1 ?) ignite uhorical tension~to~iiWiilili• P. statements he makes about Black musi<;,c ru p ooial 1~ 9 there is a at work, :ill·~===- ~ Y • His themes are illusionf, pained creativity , war , racism, ~ D I ~ ' deat~, and the J$thologj:cal evolution of mankind . Much of his poetry is personal , c onfessional, and he interweaves a medical vocabulary into of it . He often includes chants , hums , and names of songs and musicians . His musi c o - poetic concerns can be seen in these lines from" J ear John , DeaJ> Co 1 trane 11 : Why you so btac k? <;muse I ii~ WhI you so funkz? ~use. I al,IJ .W4Y. xoy §Q black? - · �Qause I am - ~•hxy you so sw.e.at;? "v!J::l:y yon sa blac k? cause I am ,a......,love supreme , a love ;;µ ;preme : •.. El Muhajir\ Marvin X) is a different k ind of p oet , Islam- influen c ed a nd adamantly Black : Fly to Allah(l969) , Black Man Listen~l969) , Woman .... ..., Man's Be st ,---::---. Fri endtl9'(3) , the latt e r obviously a rejection of white America • s fetish for animals . bach book· salutes Allah and contains some occasionally wih ll - turned poetry int e rmingled ·with p roverbs , parables and song s . He p raises C:lijab Huhammad , Tommy ~ith , and :k announces tha t " Bigg er Thoma s Lives!" In" e (') ri g ins of Blac kness" he says Black is n o t a color . but that A rom B\~9k •••• +.OLAi i). t6 My es published Down t& Country in 1 n74 as a collaJe of his drawings ~ contemporary life , his~•~•-9R on " Bebop and poems . He suveys and blues in Pho e nix 11 , a nd hi~periences a s an artist and art student . h a s moved from a p o e t ry o f anger and protest to a "po etry written by a human being , d5'or human beings . " :is books include Blac k Dawn , This Time i1 omor,baw, 1 J Bla c k Right On Home is Where the Soul I s( l969) , Our Busine s is in the ~treets(l9 7O), a n d Fire Sign(l9 73) , 1-in.ich g ive s its name to his new p r ess . In his early phas e .c,ckels "In 1v1emo ry of Harcus , 11 11 A J. wrote about " Bla ck Is , " "Hell , Mary , " esponsible l'Jeegrow Leader , als o co i n ing an interesting term : 11 and other poems/ ( Western byphilizati on •••• Fire ;:sign )P:Qrx sknn■Hkirmi "for the fre e and will be , " shows a themat ic and cultural bread th as he writes love poems and salutes f ~e edom in g eneral . �McNair, a cosmic poet who bridges African spirituality and his own psychis r e vel a tions , h 2 s p ublished Larthbook\1972 ) and ~x Juba lirl \1973). Gertainly the world wi J l he ~r more from this g ifted young writ e r . ~ , ; Jaya Angelou is primarily a prose f poems : ~ Jus t Give and script wri ter ,~ t has published • Me A C661 Dri nk o f - ~ ,. J ± ater rFor I Diiie ~971) . )(__Pat P~rkerJJ, J 2·mav poetry can be found in an excellent little volume called Child of MyselfJiB15(1 972) and Dices . Sbe,~i~Mto assess Nandsc a pe of t h e current atiliFe"S her own woman-fe elings 11 upheaval . Brothe r 11 reveals c ontra di c tions in the love - but-hurt EP P ra a ch some __. Black men take towards t h e ir wo men . The 11 system" she has jus t been struck wi t h / ~ -'Mt'.,...- is c a lled a fi s t . Othe r p oems deal with humor and husba iid - wi fe relat ions . In "A Moment Le ft behind 1' she asks Have your eve r tried to catch a t e ar? "From Deep Within" says the way of a woma n is turbulent with many forces e nd colors of f oeling s , but A woman's body mu s t be taught to speak- - ••• . Pat Park er ' s work se arches behind the cosmetics and the vogue to ·<@111111!._ truth ahd ~ isturbance . So does the work of Joyce Ca rol Thoma s whc;;,wo books , Bitt e rsweet ( l973) a nd Crystal Breezes(l974) , were uub lished by Fire Sign p ress . ~er poems are abo u t womens moods , church , Black music , children, and love. 1 f x There is a modern f e el and texture displaying in her l i nes which economize snd withou~abruptne ss or undecipherable aB co de . Yet h e r strength is unmis table I know a lady A c areful queen uhe bows to no one ~ "I Know a Lady ": �3f Her will is a Fine th r-ea<\_ of steel •••• ~ sees In these poems , -,t;ne works of rat f'arker and Leona ~Jelch, one gi::k:!7J.pxiuix a strong ~ health and future in Bay area woman poets . Black Gib r altar , Leona welch 1 s first book , wa s published r.-.. in 1971 . Here and there , one finds subdued rage and impatience before racism and ignorance ; b'§It h e r - poetry also exalts the Black woman and s n e a ks in low tones to men . He r of love . 11 langu ag e r a n ge s from folk ex-pressions to form a l ~ta tus ~"uo 11 1ffimrnhmx:ln is the study of a Black wi 1.,h e xaminat i ons II class II a nd d i gni ty : Got my white poodle by the leash . Less able than the oth e r women , her poetry salutes a numb e r of heroines including women in her family and Nikki Ll-iovanni . Finally there is the much~traveled Sarah Fabi o, intrumental in Black Studies development in north ern Ga lifornia , but who now lives in Iowa . jj a,n She published t r,ro volumes , A T1irror : A :St,ul ( 1969) and • Black I s a Panther va g ed(l972 ),~hen,without notice brought out seven 1 vo lumes ( ! ) all in ~ 1973: Soul I s : ~oul Ain 1 y , Boss Soul(also the name of her Lp) , Blac k Back : Bac k Black, Jujus & Uu bile e s , My Own Thing, Ju jus / Alchemy of the Blues , a l) d T _ o....._e_t_h_e_r-'/'-t _o_---jf--T_un __e_ o_f_ C_o_ l_t_r_a_n_e_;!_~_ s Equ i n o x . Her later work is more f o rmal tha t than late r -wh ich shows she has toined the new poe t ry mo v ement complete l y . One of h er more memo r able earlier p i eces is "~vi l is No Black Thing 11 in whi ch she takes a l l ,.-----... btJ!!~!Sfflt dark things tradition ally associfited wi t h evil a nd r ever s es them ; or, allo ws them to be seen u n a larger wh erein they invari ably embra c e something th a t is light. Her effo rts deal ·with exp e r 11imental blues , rap - s t yles , ont ext ,.i.,.;.,__7 • v o luminous folk n ar rati v es , and the r econstructi on of a general Black oral his t ory . This she does quite we l l on h e r album but much of the writing in the new books is c onversation a l. �~<-1-1,,,/1;14~• ~~ief.1~ cfrj u~~~~~~~-V:,~~~~~ . - briel , 1974 ) @_i)ha s done impuessive things with l a n gu a ge and histor #• B. hap publi shed t evolution Is(1969) ..,. and Het a morphis of buperni g g e r , 1973) . ma .. Q n ;uadsa vJhile ail inmate a t Va c aville , Brown(Muumba ) published &Ctine Poems and Things(l971) . In ~acramento, tije young poet Clarence McKie Wigfall has shown promise in 'f ue Ot her ~ide( 1970), while Wes Young published Life roday(l970) and Rambling a nd fuings(l972) . At J-rant Hi gh School~·&~lllilill!!•~IIIA- young Black p o e ts were i n cluded in Omnibus(l973) 9 ~~~~fil younger and olde r po et s e re stud Jng at California ~tate University --~'\,,Q-970 , with ~,edmond, #l* workshops1-,: ocated • on the campus as well• as in 0ommunity sites like the Oak Park School of Afro-American 'f hought . Meanwhi~n Se attle , Black Arts \Jest is attractin g • many poets; ait-N,cross s i:; ate at Washington State University~imus ~t . John wr ites and works with othe r writ e rs . � 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_27 Title A name given to the resource Draft of partial manuscript of Drumvoices: The Mission of Afro-American Poetry: A Critical History, p. 1-32, 1975 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. Date A point or period of time associated with an event in the lifecycle of the resource 1975 https://digitallis.isg.siue.edu/files/original/c239a6981e5bb5ad20d02667e37b6155.pdf 9cb6b823800d9127a4dc69a456d5191d PDF Text Text 11 '(_; ,1 -)/; <n ,.. ~ Li tle critical suad5 :!f th)l Howard Poet~.,1:g:l.ii.~~~W!!i!~-lilllil~.-•lilc:; other &llllt!S:Jl-h poets who q> pea~~ i - A.,~ during this time. ~they are legion¥, including unfamilar namesi: Johnson Ackerson, Charles Anderson(l938- Madgettt, James (r:r,!- ), Katherine Cuestas(/1¥({- ), B & Davis~::P::~= ==' ==tr, Julia Fields(l938- ), Gordon Heath, Horne, Ted Joans{l92ti- c. Morri w. 1tss:•~~ Thompson(l935- Joyce Yeldell(l944- ), Zack Gilbert(l925-- ), Frank ierby(l916- ~miest J. Wilson Jr.(1920- A.B. S~e~man(l935Jones(l934~ ~dwards (l932- ( ), Bennett Jr.(1928), ), ), Rivers, 5 er--,, ~ OttJI,') ~,~Yvonne Gregory ), Catherine Cart e r(l917- ), Mary earter Smith(l924- ), Don Johnson(l942- :W.lr\ eL~ed fttsi'· ) ===..-,, ), Vilma Howard( ), Lloyd Addisonll931- ' ), ),(\.Adam David Mill er( l 922- ), ) , Thurmond Synder.~==, Tom Dent( ), ) ), James P. ), Roscoe Lee Browne(l930 - ), Oiiver Pitcher(l923- 1, ), ), Nanina Albatl915-1968), Frank London ) , Vivian Afti:fi8/:.A ~ J, May Miller ( ), ), Garl Gardener(l931- ), Roy Hill( ), Robert J. Ab rruna(l924- David lienderson,194 2- ), Lerone ), Herbert Clar~l911- Brown(l927-62), Isabella Maria rlrown(l917- William Browne(l930- ), ), Oliver La Grone(l915- McM. Wright, Pauli Murray(l910- ll932- ~ Ca rmell SirmnonsJ ), Calvin Hernton(l93l- ), Hoyt Fuller(l927- Bette Darcie Latimer(l927- Vaughn(192ff- ), Naomi ), Vesey, Sarah Wright(l929- ), James ~anuel(l921- Sarah Webster Fabio(l928- (1919- Margaret ), Gloria C. Ode~, Mose Uarl Hoihman.(1919- Alfred Duckett(l918- Ossie Davis(l922- 1 0 1 Hi ggints, Patterson, James rtandalJ..I ~ l Fitzgerald(l935- L~la Lowe Weeden(l918- . ), DuBois, Durem, Mari hvans, Micki Grant, J, Peter T. Hogers, John Sh e rman Scottf" Jame s ,-,;-::-: . Leslie M. Collins(l914Danner, Gloria Clark ♦ (l915- ), John Henrik Redmond(l937- ), Julian Bond(19ao- ), E"Ugene J, Helen Morgan Brooks ( ) , George Love ( ), Solomon ) , Ellen PoJ_i te ), Durwood Gollinstl937- ~tanley Morris Jr. (1944- LeRoi J, Bobb Hamilton ) , ~ - e x h a u s t i v e .fl:.t �. J}.L ~y 0A ~cl l · poets (as far back~ Phyllis Wheatley) and older ones w- editorial staffs. -•■r••d:~ t~- \ Julia 1ields, for example, was in resident~ at the Bread Loaf Writers Confere~~ngland and studied for a while in Scotlan4. he:zopd w h r ~ e d ~n little magazines between l960 {\ and 1965, ~ NI the staffs of the Three ~Free LanceVl(ashin~to~ U n i v e r s i t y ) . - - - - - - - - - - - 1 II d II • -s % ) X f1I0 jeiiA8Q PllPl9iPOJJS other 51 eek PR.Mt£ c· were Dumas(Trace, Anthologist), Patterson, Gloria c. 4 ois University) Jones(Floating Bear, -, Yungen), Oden(Urbanite,The Poetry Digest, The Half Moon), Rivers(Kenyon Reviewfl,Antioch Review, Ohfuo Poetry Heview), Spe~man\ Kulchur, Metronome, Umbra), Mance Williams(Blue and Uold),o;i!dre Lord(fen ture)• aai. Maargaret Danner published a series of poems in ~ pP+ii.E§i~ Poetr:x magazine in 1952 and in 1956 91iM-became~ssistant editor,01' :lib&t, paJm!l..leablan. �13 Of these parallel movements and developments, one other :ilr deserves special notice. Though not on par with the Howard Poets, the Umbra Workm op participants aided in the production• and distribution sat of Dlack poetry in the early sixties. Gentered in New York 1 s ureenwich Village, the umbra poets were founded by;;,_~ zDent t I a Jg ~ r - ~ew Urleai:i~ ! ,~.tternton ~ tC~tanooga) and David Henderson(New YorkJ.The workshmp,jlh1cnl\1-nvolved artist~and fiction writers, published the first issue of its• Umbnt quarterly in 196). Other issues came out in 19641, 1967-,8(an anth~logy), 1970-7l(tabloid anthology) and 1974-75~atin Saul issue). Ven/:j!ived as mit:isaa,i1 editor ~ :l;iM:e fipet i.A.Fee isst!es and Henderson, who l u:ir now edits the publication from Berkeley,~es odato• f1• •he pt!~li8&$ioa a I$ 1967. Other~ upit.er& aati &I tis4.-a attractf)d to the Umbra workshop • were Ishmael Reed, Ro11anl.Snellings(now Askia Tour~), Norman Pritahard, singere terson brothe Cha es an w·11:i,.Bm.l. /ten Chandler, dancer Asam.an Byron, ain ers Gerald ~ackson and Joe OverDumas, James Thompson, Julian Bond, Joe Hohnson• street, Raphaell!'enno, Sun-Ra 1 &> $ .l>urem. ~ Steve Gann~noonii;,l'!!••lliiimPl!ft. Umbra group was damaged by two events. One.JIii[~••~ onducted by tlaphael and others) with Ralph E11ison. I • se~'ious split ~ong members/" f "9AO om: Isa 1 iai (l. ~ · anti-Kennedy poem by LJurem. just been assassinated when the ~~ ~1Juremf~R approved ...._ by c!£jj:liiibHernton, Dent and H~nderson, ~t::&l..e~~d threatening him with bodily harm, 11 bl;•nto . . . ~ne lling ~ editori,,... decided taste•• 9thers, according to Henderson, wanted the poem printed and--.-i9!l~- near-fatal ~i;;:a;::iii,Ql6(0 apped Pritchard, who was treasurer, The •-& • 6 8d i d · viewe as one of the the Umbra grou ";ii.fUptown he i,a t terse/ and others g newlyformed Black ¾,rts Repertory and 0chool, to w:, rk with the J i,u2.,::, • �"and_J Henderson, Hernton, LJent,)trnompson, also appears in the early anthologies along with J111i111 wo r of - other ~ ~i:lage 11 poets such as G. C. Oden, Spelman, ti~ ) ~ (J' ·~ ~ ~ Jon~9,t an Jo n Ant fi5,a' 1 r e ~ represented in _,.. two later anthologies: Black li'ire(1968) and The Poetry of Blt:aclt: America(l973). Though consciousness is not blatantly evident in these poets) the sil!i:1iings th e re, especi allt# the works-1.r ~id!fs made clear~ · racial ng~rnton. Umbra twofold aim in an inaugural issue: Umbra exists to provide a vehicle for those outspoken and youthful ,--.. writers who present aspects of social and racial refality which ..._./ may be c·alled I uncormnercial I but cannot -with any honeesty be eon- sidered non-essential to a whole and healthy society••• We will , not prin~ trash, no matter how relevantly it deals with race, social issues, or aniiiiything else. 1 ' ~''La11e " .--. l:a:lie as Or"blue tomBu lurking "icily" in• · the darkness. Henderson l _ Am a "Downtown-Boy• Uptown" and asks: I in the wrong slum? 1 ~ketches of Harlem" include the "GREAT WHITE WAY" and a small '31ack ~ ~ confusing the moon and the s11n. Durem, who ran away from lfi'.ome at age,. 14, was born in Seattle,~ ~Vhile still in his mid teens he j o ined the Navy and became a member of the International Brigade s during the Spanish 0 ivil War. Hughes tried to ~ind a publisher for~lllliii~ L works as early as 1954. Of himself Durem said: "\-Jhen I was ten years old I used my fists. When I wa s thirty-five, I used the peruf.. I hope to live to use the machine gun •••• The white North-american has been drunk for four hundred years." • ~s work does bot have the finish of a Ha~den or B~ooks, but he-, provides an exciting shot in the arm for this period �15 of Black poetry(though Bremen's reference to him as the 11 first black poet" is unwarranted). Take No Prisoners(l971) contains many of .1..1urem' cD'memorable poems and a "Posthumous preface," signed in 196a although he died in 1963. 11 Whi te People got '£ rouble, Tool" surveys the pl i ght of whites following the Depression, that 1 -e r e cession and . . . war, and notes thb• such an intrusion in the affairs of whites does not equal ~ slav e ry. After all, life ...-X(or history) calls for One tooth for one tooth. Most of Durem's poems are short, satirical, ironicai.W and musical~ as in 11 Broadminded 11 : ~ome of my best friends are white boys. 'when I meet 'em I treat rem if just the same 1rij'(hey was people. He writes of Black history, slavery, s g ~~~-=-==:i+- S 141 i1lir( ~rd o-1aar inequities, prison life, and ~ }9l "pale poets II to whom he , II he is not suffic:antly obscure 11 ~ ID meet white cri t ical standards. Strangely, Take No Prisoners does not include "Award"--i"A Gold Watch to the FBI Man(who has J F!~owed me) for agent i s survei l lance of~ l\hrough 25 years--which traces the ·the "blind alleys" of Mexico, the high ~ierras, the Philharmonic, L.A., Mississ i ppi, and other ~ces off' violence and mayhem. But it is not all over, the a gent is told,for in the end I may be following you! The W> rk of ivillage poets was highlight by the vers a tile and prolific Jones (later Imamu Amiri Baraka)f 1 d Te/ Joans. Before his inew~ 1nack 11 stance of the mid and late sixties, Jones published in little avant garde magainze(editing several himself) and was identified as the most talented �j • 16 Suicide Note(l961) and iIThe ~ead Lecturer(l964), show him as a hip, arrogant, musically-involv ed♦ cat with a tough intelligence. His influences at the time, as he noted, were Lorca, William C3rlos Williams, Pound, and Charles Olson. His war'eo,~!am bu bu an adventurµ style with an elliptical and sometimes sacriligious posture. - - :rtf 11 11 philosophy was ~ f l i:s aestheticsl shared by the Black Mountain poets: George Oppen, Robert Ureely, Robert Duncan, LJenise Levertov, Paul Blackburn , Ginzberg, Corso, Uary ~nyder and Michael McClure . A music critic for such magazines as Downbeat, Jasz and J.'J.etronome, interest in Black music, Jones__.. a@IIW, wi th nurtured music in his verse. Hence, the belief a careful that Jones "suddenly became Black 11 is Lorva"--the great In "Lines to Uarcia ~panish poet--he uses a section of a "Negro Spiritual" as an irwription. The poem is ty.p-ical of Jones 1 s ability to merge numerous ideas, symbols anJmages _in one poem. Lorca I s death is lamented excer ts mass, reflects on his childhood, explores mythology, gathe~s bits of poetic confetti from nature and hears Lorca "laughing, laughing"-- ,C mocking his killers-- Like a 0panish guitar. In ll_l1;pistrophe 11 he ~rinds peering out the window "such a static eference. 11 So he wishes "some weird lookinJ animal" would come b'J. ~e title poem from his first ~olume-- Preface--he adij.usts to the way 11 ground opens up" and takes him in whenever goes out to "walk the dog. 11 '1lait Life is as monotonous as the "static reference" of window watching: No body sings inymoa,e. Joans, another Village poet closely identified with the Beats , published __,,,,--and Beat ~Zdiffllitmzual<lxm:xi:1&ca11.IIDf~ Mffil. All of Ted Joans ( 1961) 'f\ The rlipsters (1961) .... IF,p tais ,arlo&1 His most widely known poem from this period is The .38" with itJs debts to Hughes(whom he acknolweged), Whitman and the /?'t~tr Beats . Beginning e with the phrase "I hear," Joans ti.ills w.~-e-1"""'1'""'11"-:,,, 11 /"~A,-~-~ , t-...,of an unfaithful 811Pd her " �add note page 1( t:a./t- , t ,_"innovatorrBob l\aufmnan, ""•nsJ, h~ was , lee nod in ir e 1 the other poet who joins this "irrevent 11 •~ee""""f :eh:e iloet .::iania' Francisco Bay area. His first p&sii.i,hed ID broadsides from Ferlinghetti 1 s City iights Books: 1•1anifesto," f is marked by .._ unusualkimages. owf 1be 11 '.I'he Ab ominist "Second April" and "Does the Secret Mi n ~ , ' Kau.fllan' s •••••••mn ,.conveyi,l-g protest Ci ~,: \!. poetry, rks came out as aRa: through :au I J!W:.l\.ani irony, !l~:r Pealism •'!'l:te hu1 1r a J? 1£11' .es k faumd 'ffl Solitudes Crowded with Loneliness(l965) and (J-olden iatel)" achieving "a notoriety rare among books of poetry by foreign poets."(jacket, ~andine). Le ading French ma g azines reviewed the book, _..publishers noted, adding th a t 11 'roday in France Kaufman is considered among the greatest Ne g ro-American po e ts alive in spite of his continuing 1 exclusion from American antholo gies, both hip & academic. ~aufman 1 s themes are racial memory'( "African Dream"), jazz ( "Walking Parker Home, " "West Coast Sounds--1956 1, 11 Ginsberg, of 34 in 11 ")a~_..•~~=..,~• ~ o-r,ner-poe-r,sA\ '".ttart ••• Crane, 11 "C 8 mus: I want to Know,''), 4t1p11111111•1a incarceration( a series fllbt Jail Poems), history, mythology and religion. In "The Eyes too" he says My eyes too have souls that/ rage •••• ~ . ( (· l\"Cincophr~nicpoet" c~.;!,e &. Misi!11.i.g of "all five" of himself ..at Jcm· 11n A a vote ~ taken to • ·•expel 11 the "weakest 11 one who re sen ts it and to cross, spiral, and whirl. :::iomewhat typical of l\aufman I s elliptical constructions and dj ~~ , is "~eavy \~ater Blues": The radio is teaching my goldfis8 Jujitsu I am in love with a skindiver who sleeps underwater, My neighbors are drunken linguists, ,.:c I sn e ak butterfly, C0 nsolida ted h dison is th re atening(__to :ut off my)ra in, �add 2 The postman keeps p utting sex in my mailbox, My mirro r died, & can•t te l l if iii still reflect, I p ut my eyes on a diet, my t e ars are gaining too much weight . ill this form and style , Kaufman is not only related to the Beats but '-./. 11man , Atk·ins , an d-l.fJ,.,..; fted Los An gees 1 ;..,--.-111-:'ft."""" t o Jones , J oans , ~pe ~~/\Young poet.K. Curtis Lyle . �I hear it coming faste r than sound the .38 I hear it coming closer to my sweaty forehead the .38 I he a r its weird whistle the .38 I hear it give off a steamlike noise when it cuts through my sweat the .38 I hear it singe my skin as it enters my head the .38 I hear death saying, Hello, I 1 m here! As a group, Joans, Jones and ~pe man can be caretully compared to the Howard Poets. They are in the same age range and their themes and int; erests are similar. Speilman, like Jones studied at Howard University ~?~ and has acted as disc jockey with FM radio stations. ·ttis~~eviews and articles on jazz h ave ap p e a red in Kulchur, The Republic ~nd The Nation. ~ his :ffi.rst volume of poems, The ¥?eautif'ul JJa+ ..:".M' . .;;:;w ~ aU:W.lillpa.uab..l.._i~s~hed. k ' S:Nt'e-.98iiitie&, ( "" /q{,,{,) also publish ed a book-length study o & the Landlord" ti--@ running in 11 narrator H111>pl&lii1es :eAo.ili the ''th eif II 1964 s Ia! circles4'. 11 The poem is a humorous 'breatment of re volutionary struggle in a Latin 11 merican country. In a similar technique. This time a cat 11 What is It 11 Spellman a pp lies hides in your face", in the mouth and in "that s 1; r an ge canyon" behind the eyes. "A Theft of ishes" is experimental in its use of jagged lines and shiftSbetween the tangible and surreal worlds. In the end we are told th a t home is where we make our noise. -f Among the older poets whodi d n9t me into Pf.eminence until the 1 1960s were Vesey(Colornbus, cM.Wrig}it{Princeton, New Jersey), O' HigginstChicago), Duckett(Brooklyn), Atk ins(Cleveland), Ernanuel(Nebraska), Randall( Washington, D.c.). These poets, and others of th e ir gener a tion, �18 IHl!tll !iiii.ew to be labeled a "school" or ~lilllil--lilliii integfa tion.-\w hen t1 I. 1m1"movement" but they came of age 10 Black "identity" and humanityt• ~ re nhilosouhi c a l ..........0-t-...~.,.,.., ii (' than . men who wez t , to WW II, f's "' ••"'B lynching, "'ld ~!ts::!?: . •=etfll:M~~i northem m i t : ~....""'IPP'!~ 1 were occasional st academic or as a poet and professional, Afro-America. At Fisk University he studied crea- ween African and tive writing under James Weldon Johnson, then went on to law school at Harvard. While studying at the Sorbonne in Paris some of his poemsj were published, through ma ga zine Presence Africaine. Vesey has disseminat Ej a ~ egritude :ctr l!llliw which he p ub}.im ed his bilingual vo l ume of Tuskst, 19.56, Germany). Vesey-. work "The ~taircase" is a poem on which, : ~ lfenbein Za.hne{Ivor~ and precision. esey s ays, 11 1 would rest c~) my case, I think, a nd tha t of the ~egro in this land. '~A The poem -i.1a tQt3 stud .fli/l- the Black predicament thorugh the plight of a man for whom the "stairs mount to his eternity. 11 Perhpaps, like ~isyphus, the starr ,A,<J "unending" since the rotten floor, the "dripping ,V,,··rl"--..... !. faucet" and the "cracked ceiling" tw lives wi~.... ·.t'he man is preeeptJ~ joined Vesey also wri} es ap 11 twinn who lat e r goes "exalted to his worms." gy for Dylan Thomas ( "Dylan, Who is Dead 11 ) , 1 a praise for~~atchel aige("American Goth ic " ), and a e drawetiul}y powerful . piece iM: nAieA, a~interweav~ two different ideas and themes: one ain• :the uelil:e a 1 1 2 ~~he uni verse and the mortality of man; the othe r I Mt'-~.~"" --- - --"ff Balle the reality of being Black an~ni gger" by two adolescent girls. "To Satch 11 is reminiscent of Tolson's tribute to Louis Armstrong. ~peaking in the ~ne mo I)Ilip ll poem, Satchel Pai g e s a ysjttte is going to grab,: a "handfulla I star)' tilllllll" �throw three strikes 1 urnf.: 1 down the heave s," And look over at God and say How about thatJ win)i._ Holman I s .JJS a••,= is among the few entries for poetry in a One Morning. But he is also t,.=' Soon, found in other anthologies. He has led an active life as a Uivil nights fighter(In ormation Officer of the edi tor~fk bl'fe Atlanta Inquirer United States Uormnission on ivil ±-ght13 ri ter, m d teacher. While I i student at fhic~go University he won several award s f or writing. Holman, .__. whose poet ♦ic subjects range from complex psychic -icriirt ·wrn dMtd:i. tations to racial pride, is QiQ(i cf tb@§@ poets zr►:hw&eca.su1r) is very good indeed but much overlooked. The leisfure class findS clocks "intrude too early" in "Jtntfl on This Shore. 11 'l'he ~ difference · i f " captured •• .. Across the cups we yawn at private murders. with - •Ihi Ch "Picnic: The Liberated" examines the shifting uncertainities -w..t.,,,leisured ensionr of ""1!!!91.ffri everyday soutlhern life lie underne a th the merriment of ,the picnic grounds where men rotate the liquor in "dixie cupst" and "Absently" di s cuss "civil rights,:1 money and goods." Yet as the "country dark" comes in and return to sprinlered yards and "mor-ggaged houses II they ~~iM do not .-aJ~i!1rn they are Privileged prisoners in a haunted land. Yet this same poet can h "Three Brown Girls i::>inging" through the "ribs of an ugl'J school building.•~ lielebrating the Black musical i past, Holman sees bhc t;i11-st Fuse on pure sound in a shaft of April ligj:lt: ••• ~ Wright, now a l,' ederal District Judge in New Yoi!k, Lincoln University poets and with Hughes and Cuney edited Lincoln University Poets (19.54). He served overseas in WW II! ~ •e ceivl::tf 1aw training at Fordl:iam. �20 ( While he was in the army in Wale~, he published a volume of his poetry,JtFrom t h e ~haken Tower(l9!.J1+). "The African Affair 11 finds Jt!IMi McM. Wright f He discov e rs it 1-' "prisons, r whe re "deserts burn" ~ h e Middle Passag e, and on a safari to find out 'What "Black is. the 11 devil ~ areas ~ Africa ce, 11 ~ 1: onscience cannot go. 11 11 ~ : . search carries him deep into where "traders spaped my father 1 s pain. 11 I n "Four Odd Bodkins for My Analyst n one finds that "outra g ed flesh of secret 1 guilt" h a s come from the pressures of ' circums t a nce" and "need." Finally, "When You have gone from Rooms" t he r e are "nev e r blooming petals 11 and 11 never burning suns. 11 Bontemps calls 0 1 Higgins a member of the "tribe of wande ring poets. 11 / After Rl!t studying with Sterling Brown at Howard,.O' Higgins won Lucy Moten and Julius Ro s enwald F ellowships in writing. He ~ served t.co-aut~= + ,,,in WW II, after which h~~puo? , with J1JP 11R:t.H ayden, The Lion and the Archer(l948). 0 1 Higgins 1 s style is less formal° than either Holman's or McM. Wri gh t I s. n e is closer to v esey, especially in poems like "Young in which Poet" and "Two Lean C a t s " ~ the rain JlillK fell like "ragged jets" and made ......"grave along " t h· ~ s _reet. The • terror" into a poolroom v . - - ·iii I ballf'' makes the color scheme f j UQ /xsi' lean c a ts, running in " checkered p Bil 7ff.ra. a 11 purple bill:il.ard explode. The much-anthologized "Yaticide" ( "For Mehandas Gandhi 11 ) ~ n d h i --,,;::m- "murdered upright in the day" and left with his flesh "opened and displayed. 11 BuJ, li k e:piing he narrator sa s ~ Gandlhi, s deattt to Jesus c;hrist I s, sue a person o crea ted the '1act of i•·-i• love" ~ ~ the guilty c a rry his '~death to their rooms. " tFi Gandhi I s "marvelous wounds 11 ~ co~ t .1i n • the sun a nd the seas. Diffe rent yet similar, these poets sough-;r/if:~r in dividual voices to deal with man•s current and p ast hurts. Atk ins, for examp le, saw the "swo l len deep" rise higher as he "went walk ing" in section two of "Fantasie. 11 A " restless experimental i st with a v ery hi gh regard for craftma:e.::hip," Atk ins was (1950) a founder o f 1-t' ree Lance~wh ich Hi vers called the "oldest bl a ck-bossed �21 magazine around. 11 Between r.' 1947 and 1962, Atkins I s poetry appeared in numerous journals and other outle,s. A few are View, Beloit Poetry Journal, Minnesota Quarterly, Naked ~ar, Galley ~ail heview. His volumes of p o e t r y ~ ~ Phenomena(l961), Psychovisual Perspective for Musi cal C0 mposition(l958), Two by AtkinstThe Abortionist and The Corpse: Two 1963), ~ Objects(l 0 63)_ and Heretofore(l9$8). often as complex as the poetry Atkins's itself. •'An early training in music and literature, he r Sixes and Seveb,t, that he was ;,-trying for 11 ·"i'said in egocentrical phenomenalism: an objective construct of pr~perties to substantiate effect as object.· He searches after the ma "designed m imagination '' . In "Night and -.. 11 Di st ant Church II he s.alilFfflr' moves series of intermingling "mmrn", .l:t'orward abrupt II then 11 up" through a and "ells" with words like :W 11 wind 11 and "rain. 11 There is more than the hint of Tols . ,,,.,I s abil i ty to meander .V._.,Al'l'JI.U,n-4 among~ ~raeco-Romans and Afro -American,,. in Atkins's poetry. But he is unique 1 "At War ,.. 11 the reader the 11 ephemera 11 of a 11 11 umiing sea; s far foa.m, 1 moment I s dawn 11 sudden•d its appear •••• allusions Later, in the same poem, after 1;.l;ie poQtt\..atu, a.llUQQ& to Hemmingway, the silence splits: Listen a mo:rrent--lSh! Listen--! that hurry as of a shore of fugi t:ilves. Once • Atkins's technique in understand, however, his poetry can be enij.oyed for its witty, wacky, off-beat, philosophical musings. In ''Irritaole Song" he inverts, reverfses an regular syntax: �22 Or say upon return Coronary farewell Leaves me lie. Ugh! Dare,sir? Be nay 1 d Tomorrow~, tomorrow in today? Atkins writes of the fine arts, John Brown's raid on Harper's Ferry, . ~ Black heroes( 11 Christophe 11 ) , the "Trainyard at Night," the Cleveland lakefront, and other subjects which fit his style and interests. At another end of the sty listic and thematic pole is rtandall, a librarian by training and trade_.,. who, as we shall see in our discussion of poets of the late sixties, figures prominently in the "" development of an audience for the New Black Poetry. Handall~ also served in WW II and writes poems about the war, love, violence, art and the Black presence. His well known gr.a:S;ai~ , 11 Booker T. and W.E.B.," ... DIA;~ ia*J P16.ieet1 ouuso 1to21,m1 ~~ s 11iJ ; was seen by Duaois and this pleased Randall. The poem first appeared in Midwest Journal m.1, 1952. Randall has also written about and translated riussian poetry. With Marga r et Vanner he co-authored Poem Counterpoemll966) and his Cities Burning ap p eared in 1968. More to Remem~~~ 7pJ11s together Randall 1 s poems from "four decades!' J:i.$ t1! e I-'• 11been publi sl!-ed in Umbra, Beloit Po et rz Journal, and other places. He initiated the Broadside ~eries( p ost e rs) in 1965 with his own "Ballad of Brimingham.U The series g rew quickly, laying the foundation for his Broadside Press/ e most significant Black press in Americaj. Randall's work of this period has the stamp of formality. rte writes in b a lla ds and free verse forms but h e h as ~v a ti ghtness t hat will~elax ed in the l a te si x ties and s ev enties. chronic~les the hmrt, physical and mental, of a land ~ "Legacy 11 -• 'Lit by a bloody e one who is "moulded from this clay" �23 vows that ◄ My tears ~ ~ redeem my tears. "Perspecti ves II recasts the time-immemorial theme of '~we only pass this way once." Th e re is no need to compla in a.bout +J.e b:ipte discomforstfl the poem 8a'l!ti li1itit' , bec ause even the mountaina--i n their hugeness --are diss oled "away" by the se a s. Randall's Pacific .l:!;pitaphs are recollections of the war. The short pieces are epigrammatic and haiku-like. Here is a po j gnan t one ( "Iwo Jima n ) : Like oil of Texas My blood gushed here. Priminent in a group of Uetront poets( Margaret D a n n e ~ n e , Naomi Long Madgett, James Thompson and others), Randal~~shes himself in ~ a sense of personal injury~ ha loslttl a his people's history. This tendency, and a debt to the Black poetic tradition(espeic11i -=>terling Brown), can be seen in "The :::;otithern Road" wh ere the "bla ck "haughty as a star" river" serves as a "boundary to hell". And I set forth upon the southern road. The variety of styles and themes found in these poets ~pAt is found also in younger poets of their generation: Patterson, Addi on, ~y .1"'q lf,J Browne, Redmona,~Anderson, Hernton,f'~olite come readily to mind. Of these poeta, Patterson is particularly interesting. "Black all Day" yielded -t;h!e title ~ ts ~~mm. His second line~or I Saw How Black I Was. Patte~son, 0ne in e 1 9~0 line at. Lincoln University poet/, ~ won a ward for his poetry while still an unde~graduate. A ttative New Yorker, he studied politic a l scienee and ~nglish, and aas worked as a counselor for delinquent boys and an ...:..Uglish intructor. Patteison said in ~ixes and :::;ev.ens th a t his first poem was written during WW II as the "out-growth of a Cafln-and-Abel conflict without the dire consequences.'' "Three Views of Dawn" includes the "silken shawl of night," the disap p earance of "corner specters" and the "sp~ting" of "stillDess. 11 The musical "Tla Tla" presents free verse spiced ~alliterative language �24 of landscape, season and nature. ;:;i tting "Alone," the protagonist of the poem "keeps poems warm" as he watches over the sleeping lovers as we:}. l as the "numb" who wake and weep. and ~ title, §6 WayJ Patterson did not publish a book until 19J69•• the A Blackllilla Man, shows k:il!_ a •exK!llbca influ ence of 0 I 1/ Vi!:l=::t:izn=b::i:m~".._iiiiilii&J.~ 13 Ways of Looking at A Black L ~ .-1:'Ji. . much 11@ also if;fl':e Black poet I s academic training i11!t1m with ability to fb rge his own indigenisms. •r he sp ea k er in "Black all Day" is "looked' 1 into ~ragt::f- and s~ame II by a white "tomorrow" I 1 11 do as much for him. construct ~~ Patterson solid poetic foundation, "stone on stone," as he pre~ cise portraits of "the brave who do not break n t "You Are the Br ave"), ~ the "lost, the ("Envoi") • ••lililii'l:gR of the p eriod, one 11 r, n the work of Patterson ~ fin -.c: i....,.t. and the younger group eral 'liiiiallij;l~~As toward ex- perimental verse which pinpoints the surest and richesr-human feelin :u7f•,.act~r&t~lack p.o:~tuhtelhr • ~ ~ ~~ 1 11 tireless a nd ragi~g soul, $ 1'ie:'mor~t variety is c e rtainly not shunned by Neither is variety avoided by their sisters of the pen and image~ an ident i fiable a spect of the JU female poet h· , tilt banner of femaJe ~oek was evidenced ~ l i n a Urimke, Georgia Douglass JohnS) n( the most famous poet after li'ranrfees Harper), Gwendolyn Bennett, Ann Spe~c er, Alice Nelson Dunbar, Helen;-Johnson(aittJrk in the Henaissance), Margaret Walker, and Gwendolyn Br ooks. Between the forties and sixties, �2.5 • Poetry in America has ~ since women in general~ ~ 1,() , certainly the Black woman went the worse way of t hat fleshJ ....,,...,._ others in @e~Weo&llt the list of Black women poets of impressive: Gloria c. Oden(Yonkers, New York), Nanina Alba(Mont- gomery), Margaret Danner( Pryorsburg, Kentucki) , 0 Max;_:t .l;!;va._ns (Toledo), \/4 A Julia Pields (Uniontown, Alabama r::Audre C.1 4-< ~ , Lord♦ (New "") York), Naomi Long ~ Madgett(Norfolk), Pauli Murray(Baltimore), Sarafb- Wright and (Wetipquin, Maryland), May MillerlWashington, D.C.),F[vonne uregory ( ~~ )piong the~!ll1!~r'occasional and regional names. In 19.52--two years after Gwendolyn Brooks won the Pulitzer Prize-G. c. Oden, who uses her initials "as a way of being anonymous," recei '\6 d a John Hay ~ney Opportunity .ti'ellowship for · The Naked F~ame: A Love Poem and Sonnets. She has worked as a senior editor o f ~ i s h i n g house¥ and currently teaches English in Baltimore. In the fifties, she joined the Village poets in New York where she reaa..., her poerty in coffee shops, reviewed books and worked on a novel. tier poetry h a s also apeared in The Saturday Heview and The Poetry Digest. Noting that the intellect, 11 Hayden( Kaleidoscope )( compared her to Cullen, adding that she "is concerned with poetry as an art expressing what is meaningful to everyone, not just a vehicle for protest and special pleading." Although G.c. Uden uses a variety of forms, h er poems are usually crisp and intellectually tart. "The Carousel" in an empty park rides me round and round, and the dark drops for her as she gleans her ~ surroundings with explicit worli-choices: "sight focusses shadow." In "Review from Staten Island" an item in the view is "spewed up from water. Later we are told that "One gets ufied to ~ing living" and "e "-=-ven th e rose disposes of summer. 11 �26 . , We hear the dislocated woman in " ••• As when emotion too far exceeds its cause.f'(phrase from Elizebeth Bishop). netreating from heartbreak, /4. ...e.e"" tppah:P!-r admits that she too knew "love I s celestial venturingZ: I, too, once trusted air that plunged me down. Yes, IJ jj Hanina A1ba is similarly terse and poixgnant. ~ ·117 1 1 'le-The Parchments(l9 63) a nd The Parchments II jQ._e ore her death in 19 68. ia' She taught bnglish, Music and French in public sch ools and was for a long time a member o f Tuskege e Institute. "Be Daedalus"make u draw a subtle analogy between actions. ~ the B_nglish uepartment at of Greek Mythology to Blac~ pilxb~1t and I carus I s "unwise 11 J De a th comes as a "tax" for "parching" the sun: Suns can be brutal things. "For Malcolm X" rec a lls "History's stoning". ~garet Danner is similarly sensitive. Bor~ in Detroit, she has s p ent the gr~r pa r t of h e r life in Ch icago where she was one time assistant editor of Poetry. Her poems i n that publication in 1952 prompted the John Hay Whitney .t< 'ellowsh ips Co mrni ttee to offe r he r a • trip to Africa. ~din 1962 the literary group with which she identi~ied in Uetroit !#-subject of was/\.._~ a sp e cial issue of the Bulletin of Negro ttistory. She has published four volumes: I mpressions of .tt.frican Art Art Forms in Poetry(l962), ~o F1owe r(l962), Poem Counterpoem(with Dudley Randall, 1966) and Iron Lane(l968). A former poet-in-re&idence at Wayne St~te University, she a'ounded Boone House, a lively centElt' for the arts in Detroit, and a s imi la r cultural pro gram in Ch i ca go : No lo gonya I s. She a2"J w can terminology a nd themef i . ~• but she can also delightful ~r:rt n o t her veins as in 11 .1."he .l;!;levator Map- Adheres to Form." �27 Struck by ele~ a n ~ his~gssmn §.il --and 11 __Lt <iodspeedings "--the e1.J.rrs.eor ps.ssoogvilr "ta 11 wonde~s why so intelligent and artful ~ h a s run elevators. It is a meticulous poem, ~ ~--------...... man's services could be employed toward lifting them above thetr crippling sborm. Far From Africa: Four Poems is a sheet of sights, sounds and su ggestions O,,Q 4 ~ -;.'.:(~1."!',,...the reade r across "moulting d ays" in "their t wilightf2, t "Garnishing the Aviary"), .&bakweta"), "eyes of Aesthetics 11 )1 "lines" of "classic tutu, lowered" from 11 11 ( ".Uance of the despair,"("The Visit of the Professor and I . •abed of g reen oss, sparkling as a beetle•••• Mari Evans is.JIIIII••~ f\ High ts ~iaiiil~IWiiiliiil..._o:t o bvi us 11 · na~ist*-- Civil from fi fi tee a d o!!;'.:;y: to, Black II stance of the lO ha s w:::>rk ed as a civi l service emp loye, tv s h ow hostess and produceer, and instructor of writing. Sometimes referred to as ~ a spiritual, if not technical, to Gwendo 1 b rooks, l'1ari .t!.vans oms in employs irony, tree verse stwle. "The Hebel, 11 p ondering his death and funeral, wond ers if 6uriosi ty seekers really just wants to c a use "Trouble •••• " ~fl or There is humor and sati r e in " V'l hen in Rome " as t h e poet interlaces(in the manner of Vesey 1 s "A M~m nt, Please 11 ) two different conversations, · 1 The ,_maid · , "Marrie deai¼,, is , . ~~.,•-•ll!e ►of the mi4dle class environment\ 11 Rome"), "whatever" she likes, ~iW• • • with the recit a tion the p oem incidentally records rf/o..... �2o the traditional a ~..() I soul food items ~ which the maidl\.'18-•s. Emancipation of G-eorge-Hector" ( "the C') lored turtle II .l' he 11 ) • impatience it with~tep-at-a-time social~;iiiil!l!Ml!l~. ~The turtle used to stay in his 11 shell 11 but now he peeks out, extends his arms and legs, and ~ talks. But this same poet can wax philosophical and sentimental. "If there be Sorrow" it should be for the things not yet dreamed, reaalized or done. Add to these the withholding of love, love "restrained." In ".:>hrine to what should Be" an audience is asked to 11 sing ·1 songs to "nobility, ''~gh.tousness. 11 The children should bring 11 ~rust, 'P the the audience is told 11 women "Dreams, 11 the old men "constancy. Ironically "fiiiiiiirtt:Co~iLJg~nnoo;r~e;--tears that fall like a "crescendo, black rain•" 11 andf r.a.,.m..1:;wi,;s-9i!lir11J as "a so ft Her tribute to Gospel singers is telling in " ••• And the Old 1tb men Ga the red." One cannot ( q.,espi te~me 11 ) escape one's self, ~ the poet says, as she notices th'if lingered on even "we ran. not melodic" music 11eaHf::LG£df« 11 Julia Fields,...,ijiii;..illll•~ trul:'f=-••• sentive spirits, studied has taught at Knox College in Tennessee, in England and Scotland, and r in in Umbra, Massachusetts school and college. Her work Tom Dent, with Margaret Walker.Jf'tA-lice Walker, ~ r.1 few~'"]jiack poets who now voluntarily live in the uouth. Her first book,Poems, was brought out by Poets Press in 1968, th~sae~year she received a National Council on the Arts is grant. She substantially represented in R~ Baird Shuman's Nine Black Poets(l968) and her East of Moonlight was publis~ed in 19 J. She also writes short stories and plays. fil!m!!!!!lll!ll!ll!l!"tier,iGimic::::i::b!~~• ubjects are racism, death, love, violence and history. "The Generations" come and go and in between there are "The wars." And in between them are the seasons, flowers, "lavender skies," dawns, 11 Sombre seas,,; and the �29 11 embryonic calm. 11 ''Arrdvark" has achieved "fame" since "Malcolm and die ~ " 2'.'he poet muses : Looks like Malcolm helped Bring attention to a lot of things We never thought about before . She again salutes this martyr in "For Malcolm X" who,se "eyes were 11 mirrors of our agony . tn "No Time for Poetry" the reader is advised the "spirit" is "too lagging" and there is too much "calm. 11 But the morning is ideal since it carries "virbations of laughter" and has no "orange - white mists." As a "woman 11 , ~ listening :ii.ear the 11 broken-hinged door' 1 at a man talk of war( 11 I Heard A Young Man Saying") , the narrator "somehow And the "bright glare of the neon world II sends planned on living. " "gas - words bursting free" in "Madness One Monday gvening." k_au,li Murray and Sarah Wright are sometimes poets who also write other things . Pauli Murray pursued a¥;:::wl~d.!l~M'P'""ft- lay;//Jt,M while she won academic awards and fellowships for her writing . A bivil {4_ghts pioneer , she published Dark Testiment , 1963,, one volume of verse(~vlZs\ §l iliiit:i(;f and a family hisbory(Proud ;:$hoes, 1956) . In"Without Name," she is revealed as a formal but excellent craftsman . There tr are no names for111.ill!- m. feeling~; e~~iliii8'ifl. but let the "flesh sing anthems to its arrival. 11 Sarah Wright, known as a noveli~(This Child s Gonna Live), co-authored Give Me A Child in 1955 with Lucy Smith. About Black writers she said, in 1961, "My motto is tell it like it damn su:ire r is. it In "Window Pictures II she sees G;' "black outlines in living flesh. "Urgency" l )r 11 ( relationship between drivers and traffic lights . "God" is "thanked"~ e the car s-cops so i5IT I; the passenger can "glory" a while in the "time-bitten punctuation. " of the'li' "pause . 11 Vivian Ayers, the daughter of a blacksmith , attended Barber-Scotia College(Concord) and Bennett College{Greensboro) where her major interests were drama, music and dance. uhe published a volume of poemstSpice of Dawns) �30 and an alle gorical drama of freedom and the s paae a ge(Hawk), performed at the University of Ho uston's ~ducational Televiaion btation. Currently, she lives in Houston where she edits a quarterly Journal, Adept. "Instantaneous" features a man being "stunned 11 by ahe bolt of "cross-firing energies" and grabbed up in a blaze ..A-~ resonant as ;}, million hallelujas--l••• ~~an inhabi~an who, dying, gasps faintly: "My god--this is God ••• 11 Similar and different is Nammi Long Madgett, who moved to LJetroit from Virginia all in 1946 rf )1!!!T..._to teach at a high school.u~.uhe a Master's degree from Wayne ~tate University. the Detroit group of poets, she has publishe~olumes: Songs to a <2hantom Nightingale(l941), One in the 1"1any(l9.56), ~tar by Startl96.5, 1970), '7"\ and Pink Ladies in the .tt.fternoon fl972). liurrently she t/eaches <ii" English ' ....;/ at .l:!.asiem Michigan University and runs the newly established Lotus Press. One o-f'its first projects was Deep Rivers: A Portfol@y: 20 Contemporary Black American Poets(l974 J, ID.ich includes a teachers' guide prepared by the po et. E di tors fo r-a- Deep Rive rs c;;,. ~ ona rd P. Andrews, £unice L. Howard, and Gladys M. Rogers. The 20 poster poets are Paulette Childress wiiite, Jnll Witherspoon, William Shelley, G.C. Oden, Naomi Madgett, Patterson, LaGrone, Pamela Cobb, Pinkie Uordon Lane, .l:!.theridge Knight, Randall, Hayden, Thompson, Margaret w. Barrax, Audre Larde, Redmond, Michael Madgett Is 110 imple 11 ( ".!?or Langston Hughes) a bar I clothes "but my lan I lady I bolted t h e d~or. ",.111. Joyce wi 11 tap "impatiently" ~ .~~_DtL and leave the bar ana.,.._~ondering what "he wanted to say." In "Mo r tality" we leam I -->< t h at o f ~ "all the de a ths " this one is the "surest." Some �31 deaths are merely "peace" yut vultures "recognize" the "single mortal thing" that holds on to life and they wait hungrily for the time'"id•zt" When hppe starts staggering. Man must come to grips with the things of this world, we are told in "The Reckoning": And why and how and what, and sometimes even if. ~oems from TrinityfA Dream ~equence convey uncertainties and fears ~ , of wmen and humans. :811111 l!!t:e" 11.;;0JH2tlll. One person .._ has been ' "dream and dream again" ( "4") and a naked day "corrodes the silver dream" but the music will not "cease to shiver~'\ 11 1 8¼11 ) . "After 11 is a lamentation for "mortals II without "wings II to fly away from the "purple sadness 11 ~ of night. And "Poor Henaldo 11 is "dead and gone wn.ere/1-ver people go" ~ 1 when they "never loved a song. ' But even "hell II must have "music of a sort. 11 Finally sculpted, like the others, the end«• Renaldo~, though dead, is "still unresting." . . . Audre Lorde 1 ~e w~&~ iffti~tis~4J-i-tl!:i:~@d:H8~t~~Mt pcv'ia: In the early sixties she wrote: I am a Negro woman and a poe~--all three things stand outside my realm of choice. My eyes have a part in my seeing, my breath in my breathing, all that I am in who I a:n • All who love are of my people. I was not born on a farm or in a forest, but in the centre of the largest city in the world--a member of the human race hemmed in by stone, away from earth and sunlight. in..--i But what i¥,_my blood and skin of richness, comes the roundamout journey from Africa through sun islands to a stony coast, and these are the the gifts through which I sing,th~ough which I see. This is the knowledge oft he sun, and of how to love e11en where1ft'; no sunlight. This is the knowlegge a nd the richness I shall give my children proudly, as a strength against the less obvious forms of narrowness and night. �32 Black and poet. And all these things she seems ta lal!I!, e handle~ quite well in her poetry--on page and in the air. ~he has published three .._From~ volumes: The 1''irst Cities(l968), Cables to Rage(l970) a n ~ Land where other P,eop] e Li veI1973), which was nominated for a ifational Book Award. on "Oaxaca 11 (in Mexico~ where the The ft~"· yMlfl1i ~-••ii 11 land moves slowly" under the "carving drag of wood. ·' p : ,11nm work goes an while the hills are "brewing thunder" and one can observe All a man 1 s strength in his sons• young arms •••• ~ krdew "To a Girl who the girl as a 11 what side her Bread was Buttered on" describes catch of bright thunder".,._.. apparently guarde~ by(and guardian of) bones_.Jfil~~g leave the bones, she watches as they rise like "an ocean of straw" and trample the one who orders her "into the earth. 11 1he "Nymph" is in the moonpit of a virgin." In "now can I Love ~ou 11 "comes like a thin birdll--unlike the magnificent Phoenix bird of mythology-- a t. · •~•later to become "great ash. 11 No wonder, the speaker confirms, that your sun went down. - The " Moon-minded the Sun ••• " decrees that The light that makes us fertile shall make us sane. J ....1 And we hea1>;fhe ,,-:--... "year has fallen" in ;!at4er , the Year ••• 11 :iarilr.R Audre Lorde I s work cuts a sharp path$ of insight~ac~ss the steal thing ignorance and ~ ~ s e a around her. "And Fall shall sit in Judgment" examines love, concluding that "in all seasons 11 it is is fal•e, but the same. �33 A much-negledted poet iB May M1ller, of Washington, D.c., and whom can be found in three volumes: Into the C1earingt1959), Poems1962), and she is one of three poets representedtlf in Lyrics of Three Women(1964) . Cureently a member of the Commission on the Arts of the Vistrict of Columbia, she has been a teacher, lectuer, dramatistf and ~as published her poetry in a number of ma.gaiines: Common Grofind , The Antioch Review , Phylon ~ ~ The Uriis ,"-.:;_The :&ation• ~ "Cal vary Way" JJll~!l!8~~ a Christian influence with a twist of irony and gore. Mary is asked how she felt, "womb-heavy with Christ Child," as she tasted the "dust 11 of an 11 uncertain journey." ·nall as Q Ii:M Recalling the cricu fixion, the poem asked arry: 11 t{ere 'JOU afklaid? 11 The "roaches are winning" in where humans seek to 11 ,,---.. 11111{ "TlUi last Warehouse 11 abnegate survival laws II and kill ~ ~ roache~ Wib1.l they are "saturated with their decrease. 11 The characters in "The wrong from a "nightmare of wings II and "mushrooms side of Morning" were ~ of hud±,. death"as M meanings.,_hlotuoui2 :/ihe Jcnmw w1a b~mnm01:... "Procession" employs the dramatic te chnique~•-6made famous by BrownaI:td others) of interlacing the formal English of the poem with italicized ~eiterative expletives and ~ refrains; such as "Ring, of Christ but the reader easily~ ring~J 11 ~ , e Black idioms, that of slavery and racism. it is a Black pro~essio ~ h e . a serie . Th ere is ••& ru1.-:,s w-¥'£ li 0 11 ~ime is today, yesterday, and time to '". o...A,; moving and motionless, 11 ~infinite takes familiar form,"ttall while mythology ·, "we seek conviction." Christiant"tiliii-lllg pervades May Miller's come, 11 f It is the procession 11 work(though she Bl a ck-bases it). In "Tally 11 the subjedts "lay there dr~ined of time" and empty like the "bulge of hour glass" while to reality." 11 :JLucifer streaked �34 &fix "'_ ..• .'~~deaths of Dumas and Ri versf left voids ~ · t a , coming as they diJ1"¥R 8 the midst of by the :rrfi.'d six· had written a great deal of poetry and a great deal about themselves. Ciiiiik--Rivers .at died has been lD[ ~ an unnecessar death• in wha~••lillll•d- calle~impulsive" act. Dumas was shot to death : : ! i t e policeman in a New York subway. Both deaths occured 11i.:fd~tlis of each other. Rivers was born in Atlantic City, New ~ersey, and attended public schools in Pennsylvania, Georgia ankio. ~ i s college days were spent at Wilberforce University , Chicago State Teachers College and Indiana University . ~4n high s c h o ~ o n the Savannah State poetry prize. hi vers was greatly influenced by Wright and his uncle Ray Mciver . His five books, two of the~ osthumou~ are : Perchance to Dream, Othello(1959), Tre se Black Bodies and ~.:>unburnt Face(l962), Dusk at Selma(l965), The Still Voice of Harlem(1968), and The Wright Poems(1972, with an Introduction ~ byr-,a noveli st Ronald Fair). Ohio Poetry Review, Kenyon Review, and Antiocij Review were only a few• magazines in which his work appeared. Hesponding to a reque~~~.'~ommentt on himself as - Black man and,poet, Hivers salhd~B ) 1 l a #EJljWt among other things: I write about the Negro because I am a ~egro , and I am not at pe.a ce with myself or the worldt. I cannot divorce my thoughts from the absolute injustice of hate. I cannot reckon with my color. I am obsessed by the ludicrous and psychological behavior of hated men. And I shall continue to write about race--in spite of many warnings-until I discover myself, my future, my real race. I do not wish to capitalize on race, nor do I wish to begin a Crimean War: I am only interested in recording the truth squeezed from my observations and experiences. I am tired of being misrepresented. �35 Rivers said 11 bea1,1ty and joy, which wa s in the world before and h a s been burred so long, has got to come back. little "beauty and joy" But Rivers ~ often bleak and eye. His poetic ~ derings t h rough t~e,.. ~ ni' mind s with deep psychic ® ..... alJl!m( 't}~ ~ ~ Afre6 1~,w~ieat\ 1..fj,,. ambivalences ~~.it4i1oooi111MM~i::t1:rc••;,e,rt1B . In this Dumas. For both is own -I 11 , ay a1111,he bears some kinship delve deeply into psychology, but are at the same time accessible . Rivers spent much time researching his past ~ .,!?uring the in Chicago and re a ding from th'et~olumes of world li teratUII'e-Kin the midci:-six 1es,i he participated in discussi~ and Gerald McWorter--out of Black Americ a n -- g roups ~ involving Fair, David Llorens this grew the Jnow'::...well-known Organizatiom liu re · h fi gu r e& prominen tly imp ortantly k ~ s about his own death in several poems . " Postscript II i •s a poem which "should not have be en published." The narrator says he was " living and dying and dre aming" ~ all at the same time in Harlem. And, toying with his own._ fate in ~ wake of il:ltall!I .!IP Wright I s "sudden death, 11 he recalls the "prophecy" wa s that he too nsoon would be dead . " The theme of death-often moral, spiritual or physical as in Hayden--can be found in pieces like "The Death of a Negro Poet , " ,r 11 to the Wind, " "Three Sons," "Asylum, In "Watt 11 Prelude for Dixie," "Four Sheets 11 and all( the Wright Poems • . lb ~~!'@'!1!'8- • story and an guish into epi g rammatic Must I shoot the wh ite man dead to free t h e ni gger in his head? In an incredibly weak assessment of Rivers•s poetry, Hak i Madhubuti(L e e) �36 this poem "a~s a revolutionary question. said continually turns or revolves. a question1 I o~i.::,:e, But, semantics aside,J\Rivers~was ( \ • "~-~ Such 11 ,..s Ameri a 1 s nightmarej, fears and hurts disappear.~•-~ ) .\ < -· or such a criticism not all a~j-llllltt th~ poet of • somber and bleak, in "The Still Voice of Harlem" he announces: I am the hope and tomorrow of your unborn. ~ ~en ad.mist the ----- racial; political ping-pong ("In Defense of Black Poets" contradictions ana uncertainties of > A Black poet must remember the horrrs • .!!;specially since Some black kid is bound to read you. The "Note dJn Black" Women" asks they they teach the poet "honor, and "how to die., 11 11 "humor," presumably the reborning death. The Wright Poems is an elegaic sheet. "To Richard Wright" e x c ~ ~ 11{, t To be born unnotic·ed is to be born black, and left out of the grand adventure. Another "To Richard Wright 11 piece r e fers to the novelist as ~k~ young Jesus of the black noun an~.:~,~ irt 1 poems find the poeievA8eaqc'ih.ng ~ispiri ts II 41i1111R- 11 bones II ~;.Jlwiili::::t=~Wiliiilal!lli8!lW.-r>. In "A Mourning Letter fa,om Paris 11 Rivers recalls knowing and feeling 11 Harlem 1 s honeyed voice." Some times similar in feeling and theme, but almost never in voice and form., is the work of Dumas who "Negritude range..l. across time and space. 11 �3( Dumas was born in ~weet Home , Arkansas, moved to 10 years old and complet~d public schools in that city. rle attended City College of New York and Rutgers between stints in the Air Force ~jrlittle magazine and other activities. Active on the circuit, he won a number of awards and helped establish several publications . At the time of his death, he was . - teaching at Southern Illinois University•s .c..xperiment in Higher Bducat ion in ~ast ~t. Louis . In 1970, SIU Press publised two posthumously collected volumes: Poetry for My ~eople and *r:-'_ Ark 1 of Bone 1 and Other Stories, edited r:-, - by Hale Chatfield and Redmond . Random House rei-issued,«M the poetry a J ·(Play Ebony Play Ivory) and V stories(same title) in 1974 with hedmond as editor. Though there have been no nril t 3 wtnw: full-length critical studies of Duma.sis poetry, Jay Wright and Baraka asseseed him in the SIU editions and Wright's Introdu~ion is retained in the new releases a major poet of the era, Wri t gle~~.........,...-~{i:ct~r-i~.;;~lliii;: hmnself s~ None of this is perverse, intellectual play. It is indicative of Dumas' sense of history. In "Emoyeni, Place oi the Winds, he writes "I see witlj. my skin and hear with my tongue.II,•••• The line, .~sugg e t, asserts some elementary truthx about alon Dumas', and no Dumas', poetic techniques. This book ••• is grounded in that line. \vhat Dumas means in that there are racial and social det e rminants of perception, ideas that he was just beginning to develop. The mind articulates what the senses hav~ selected from the field, and this articulation is, in part, determined by what the perceiver has learned to select and arti culate. There is certainly no consensus among thinkers that this is what happens, but there is some evidence for believing, as Dumas did, that it does happen . In II I ] hear with my tongue,' 11 �Dumas asse r ts that the language you speak is a way of definin g your self w.i.thin a group . The language o f the Bla c k c ommunity, , . as with that of any group , takes its form , its imagery , its vocabulary , because Black people want them that way . Langua g e can protect , exclude , express v alue, a s wel l a s a ssert identi t y . That is wh¥ Dumas • language is the way it is . In the rhythm of it , is the a c t , the unique manner of perception of a Black man . Writin~r tlie remo v ed passion of the .<:">friend that he was , Wright makes ~ ~ tatements not only about Dumas but about the whole perception and stance in the world . of Blac k c reativity , these antennae · AiMt fndeed Dumas - Dumas • s bas e is formal ~nglish , .. . . . .. poetry which he - ~, . , . .. • - ••• A African languages , Arabi e, and Gullah from the islands' Jb .!.Iii!,.;: a bl end aj' f I tn, he Carolinas and Georgia . His cosmos i s shaped b y the r., and spiritual life , espef cially 6'.fi;'e , z phurch services and Voodoo . vJrigh t notesf: nThe blues and gospel musi c, partlhcularly , were his life breath . ~ Only Langston Hughes kn~ more , or at least as much , about go s pel and gospel singers •••• Music seemed to Dumas to be a ble to carry the burden of direct participation in -hie act of living , as no poem, that was not musically structa red , could •••• / 0umas was searching for analagous structure for poetry . anl/ 11 As a poet , l>umas combines the p ~st, present and future/ often insep a rably/ as in " Play , bony Play Ivory": for the songless , the dead who rot the earth all these dead whose sour muted tongues speak broken chords , all these aging people �poison the he a rt of earth . Curs e s and curdles ;~ d warnings abound : iHP~J? • -. .,... Vodu g reen clinching his waist , obi purple ringing his neck , Shango , God of the spirits , whis p ering i n his ear, thunde rlight s t abbing the island of blood rising from his s kull . m Later, in thi s same poem( "Rite 11 ) , r itllk> ver a11j ~~ th e word takes p rec e dent L . ~ .~ No power can stay the mo io when the obi is p urple and the vodu is g reen and Shango is whis p ering, Bathe me in blood . ~I lW. 5 am not clean . ? at his command• Dumas e x plores -~~~~~,~'-'~ 7 the dense &n intercontinen ta :i.~•R11=-•~employ- ~d~ an~ e vi ces rhythms ~ 'f perception~ a s in "Ngoma" wher e he comp a res the belly of a pregnant woman to the ~ The doctor listens the baby~ the drummer listens the ancestors : aiwa aiwa: it is the chest - s ound same tha t booms my ch e st aiwa aiwa a st ~ong sound running like fe e t of g azelle aiwa aiwa of �40 A:11!1I tnflp.e ~ crescnndo, with its built-in call-and-response pattern, ~ i n and woman 1 s belly ape lil]iiin;itu"JJY: end pll:yai:oally 111eigcd"' in the deathening raar: the goat-skin sings the boom-sound louder louder sings the goat-skin louder the goat-skin sings the boom-sound louder sings the goat-skin louder louder louder booms the goat-skin boom-sound loude~ ~ louder louder The~· ch, experimenta} language, counhed in~radi tio~/is seen everwwh.ere .D.'3:1~ in s811:li i }i® ► {"from Jackhammer"): The jackjack backing back and stacking stone city-stone into cracked h¥draulic echoes o~ dust Or("Root Song")lt: Once when I was tree flesh came and worshipped at my roots~•A,A.,,,AA orr"A !::iong of .t''lesh")tM When I awoke ~ , ,Yj"'1,.."I~~ .~ "" n. ---V(>'La-J(J..~. ...... - I took the sleeping mou~tains of your brealts tenderly tenderly ~ ~ between my quiv ering lips and I guillotined the stallions, drowned the ea g les, and 4rov~ the tiger fish back into the sea of your heart. ~ ( .)-~ There ~~y1 poets in Dumas. Here is a combination of Dunbar, Hughes, ~°A.flliiJ Wal~-~1)~ i -~wJ,.. , best of thjii 1\iming poets of _!b._~ six~ic1!;''I I ,eu. «- 'd ~ ~ _ a , ~ ~~ laugh talk joke p; ,~~~ p .I ' r1, smoke dope s k ip rope, may take • jump up and dmm, walk arourd ~6x a coke 1 J!!. •'); fl\al1t tfi/h§ rq f/4 �41 drink mash and talk trash beat a blind boy over the head with a brick knock a ho-legged man to his bended knees cause I'm a moving fool never been to school god raised me and the devil praised me catch a preacher in a boat and slit his throat pass a church, I might pray but don it fuck with me cause I don 1 t play There are epic poems like 11 Mosaic Harlem" and "U-enesis on an .c,;ndless ~-.-&i ~ .A Mosaic"~lues seriles:·~frican1e~,0Mlrocrtel ,sems(using spontaneity and ritual), and mysticalJexploratory poems like the ~ !R' '18Fiol! de&lil'i~ 11 Thoughts/Images, Kef, ~~i?an')i ~aba. In ,one "i::iaba Dumas uses bizarre imagery t o ~ , 1 e~~ sx waterings streams striking aorta vibraphones sx veinings myriads t of ~~~ella flucksing rite ~ 11 ~ 11 Dumas~""'~~~v,e )'or the ,.,acoupti.cal lejp and~thQ'implosion (as he ,. - - - ~~ .·~ 1 ~ ,lJJb.,.;. (A ,,J},,#,+v ("rt /JI)±,.,,. A {J,. ,.........,.• ....., it) of ideas in poi-try.~t Pemeius ta be ~oo;} • It woul& have been @IIIISl~ ~nee 9P interesting if his work, r �42 q idi,srllii much of it written in the early and mid si xties , had been ..- ~ available in collected form when the . C\-< ,.J attle of the New Bla c k Poetry was being fought . The American temperament (utJ~ disfavor~Black ~ r'""\ l'(j writers telling the trufuS) kept Dumas and Ri v ers r~~ ing . Dumas ._..,, sought his peace in the deep well a f his own folk cul t ure and in occasional excursions b jp · gs #nto mysticism, Africa , and Voodoo . Rivers buried in the "identity" issu~c nd �. I and the innovative typography~ of the poem. Also experiemtal and original . , is Stone. His study of Miles Davisf1' "Flamenco Sketches.," is separated~ f" into,f~ parts: ouvert, selim, cannons, enart and bill. New York is "red in weeping" and Chicago is "Black-draped" as Miles utt e rs in "mutes." The music c aptures the Disaonant nostalgia of one kiss of a Span~sh .1tady as .. i,:y we aves i_1h and ou~ of transcontinental 'f ~ ~/~(f)~--t,<,~. experinces ruid 1locations.t\.1'1.naily, the music is asked to Comment Ill on a cloud of oriental ninths comment J In "Notes from the Cubicle of A becomes Disgrunt11.led Jazzman II Stone ,~•tr: ~ verbal maestro ripp ing in "changes", rattling up "thinteenths," ~ storming the "minor mode," and whipping up "passing tones"--all 11 wi th impunity. 11 White's "Black is A Soul" repeats "down" as the p ersona dro into "depths, 11 "the abyss, 11 and t~ 11 infini te 11 a l ~ Where black-eyed peas & greens are stored •••• 1°his poif;anb revelation is made in the end: I raisf',/dowr.¼,~ kinky head to cha rl:he & shout I 1 m black• I 1 m black & I~•m from Look Back. We think immediately of titles like rThink Black(Lee) and n.:>ay It Loud-r im Black and I'm Proudt"(James Browm) even though this poem preceded them by sev e ral years--to say nothing of Joseph ....,. Cotter, Jr 1 s I 1 m Black. 11 ~ . "Is But White canA._do light and touching thing♦s as in it ~ecause 11 - Pi~ic 11 and 'Day is D0 ne 11 11h ich places "music in the air" as he prepares for bed and his "woman II sets her hair. His ironic, satirical "Inquisitive" displays the range of these poets. The na rator wande rs where "Gods" "buddhas II hide if hhe earth and sk y are,.,_ visible to man. ~ � 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_29 Title A name given to the resource Draft of partial manuscript of Drumvoices: The Mission of Afro-American Poetry: A Critical History, p. 11-43 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 partial manuscript of Drumvoices: The Mission of Afro-American Poetry: A Critical History, p. 11-43 with two additions to page 17 and one unnumbered page 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/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/f82dc5f7f4fa1297c88197deb4035a3e.pdf 9f5e5a58bd1a403bbb844888d1e80b15 PDF Text Text in!f[// #1 FrfJ.fe.rshe.11 Davis for lines from . "Jazz Band" from A Black Man's Verse, ( 1pyrignt ~ 1935 by Frank Ma.rshtll Davis . Author or representative could not be located for pm:!lmUi:l reprint rtgltlbs. insert #2 Robert Hayden f o~ lines lines from "Gabriel," from The Begro Caravan, copyright c 1941 by Robert Hayden ; for lines from "Runagate Runagate , 11 from Selected Poems , copyright c 1966 by Robert Hayden and published and by October House; for lines from 11 ~1-Hajj Malik El Shabazz" and "Zeus Over Rede-ye" , from Words in the Mourningtime, copyright @I 1970 by R0 bert Hayden and published by October House . All reprinted by permission of Robert Hayden. insert #3(add to on-going ackn . ) ; Harold Ober Associates for lines from "Goo<ibye, Christ, 11 from Good Morning, RevolJtion, copyright c 1932 by Langston Hughes, c renewed• reprinted by permission of Harold Ober associates . insert 1f4 Ted Joans for !ines from "The . 38, 11 from New Negro Poets: u . s . A., copy- right c 1964 by Ted Joans . S0 urce for reprint rights could not be located at publication time . insert # 5 Fenton Johnson for lines from "Tired, " from The Book of Ameri;JS Negro Poetry, copyright c 1922, 1931 by J ~ ~ a . ~ ~ ~ d @ r e n e w e d IC(~ 1959 by Mrs . Grace Nail Johnson . Source for r~print rights could not be found at publication time . insert :ff6 Elouise Loftin for lines from "Getting Oaugnt" and "Rain Spread," from Jum.bish , copyrignt c 1972 by Elouise Loftin and published by Emerson Hall, Inc . Reprinted by permission of the authamr. �• t f _p.ns; rtl ' #i I • ,' Oj/rn,'e(Alvin Saxon) for lines from "Watts," from 'the Poetry of Black .•••. / Kmerica, copyright c 1973 by Ojeknke. Reprinted by permission of 1 ' the author. insert #e 'Job:nJie - S'cott for lines from "The Fish Party" and"Watts," from From Ashes: Voices of Watts , copyright c 196"( by liohni-ie Scott. Negobiations for reprint rights incomplete at time of publication. ¼ Wrife ·, r Si'n /1.:1+ insert :/19 Paul Vesey(Sarnuel Allen) for lines from "To Satch, 11 from Soon, One Morning, copyright /4' 1963 by Paul Vesey. Reprinted by permission of the author . �I ' I' I '' ' ' I , t I • I l. , ACKNOWLEDGMENTS ✓ 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. Mrs. Anna L. Thompson for lines from "Nocturne Varial, 11 by Lewis Alexander, from The Poetry of the Negro, copyright@l949, 1970 by Anna L. Thompson. Published by Doubleday & Company, Inc. Reprinted by permission of Mrs. Anna L. Thompson. Margaret Walker Alexander for lines from "Bad-Man Stagolee, 11 "For My People," "Pappa Chicken," "The Struggle Staggers Us," and "We Have been Believer~' from For My People, copyright(£)1942 by Margaret Walker and Yale University Press. Reprinted by permission of Margaret Walker Alexander. The Associated Publishers, Inc. for lines from "The Psalms of Uplift," by J. Mord Allen, from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. Copyright@l923, 1935 by The Associated Publishers, Inc. Samuel Allen (Paul Vesey} for lines from "To Satch," copyright@l962 by Samuel Allen. Reprinted by permission of Samuel Allen (Paul Vesey). Russell Atkins for lines from "At War" which first appeared in American Weave, copyright01962 by Russell Atkins, and "Irritable Song" which first appeared in Naked Ear, copyright@l958 by Russell Atkins. permission of the author. 1 Reprinted by �'t .. ,I I Bobbs-Merrill Company, Inc. for lines from Imamu Amiri Baraka s Black Art, 1 11 Black People, 11 11 leroy, 11 11 11 and Sterling Street Septembe13 from Black Magic: 11 11 E_getry 1961-1967, copyright©l969 by LeRoi Jones. Reprinted by permission of the publisher, The Bobbs-Merrill Company, Inc. Exposition Press for Austin Black's ASEXUAL FLIGHT from The Tornado in My 11 Mouth: 11 Poems by Austin Black, copyright@l966 by Austin Black. Reprinted by permission of Exposition Press, Inc., Hicksville, N.Y. 11801. Harold Ober Associates for lines from Arna Bontemps' 11 Golgotha Is a Mountai~ from Personals, copyright@)l963 by Arna Bontemps. 1 Reprinted by permission of Harold Ober Associates. Harper and Row, Publishers, Inc. for lines from Gwendolyn Brooks's The Anniad, 11 11 The Ballad of Rudolph Reed, the poor, 11 11 "Beverly Hills, Chicago, 11 11 the children of 0f De Witt Wi 11 i ams on His Way to Lincoln Cemetery, be afraid of no, "Negro Hero, 11 11 11 We Real Cool, 11 11 11 11 11 The Last Quatrain of the Ballad of Emmett Till, The Preacher: 11 Ruminations Behind the Sermon, 11 do not 11 and all of from Jhe World of Gwendolyn Brook_s , copyright@l971 by 11 Gwendolyn Brooks; and for lines from "Langston Hughes, Blood-Red Wrath and 0f Robert Frost, 11 11 11 11 Riders to the from Selected Poems by Gwendolyn Brooks, copyright@l963 by Gwendolyn Brooks. Harper & Row, Publishers, Inc. 11 Reprinted by permission of Broadside Press for lines from Gwendolyn Brooks I s Speech to the Youn97 1 from Family Pictures, copyright (£)1970 11 by Gwendolyn Brooks Blakley. Reprinted by permission of Broadside Press. Ster 1i ng Brown for 1i nes from Memph is B1ues; f ram Southern Road, Beacon Press 11 reprint, copyright@l975 by Sterling Brown, and 01d Lem, 11 by Sterling Brown. Used by permission of Sterling Brown. 2 11 copyright@l975 �t The Associated Publishers, Inc. for lines from Benjamin Burrel1 1 s 11 A Negro Mother," from Negro Poets and Their Poems, edited by Robert Thomas Kerlin, copyright (f) 1923, 1935 by The Associated Publishers, Inc. Reprinted by permission of The Associated Publishers, Inc. Doubleday &Company, Inc. for lines from Marcus B. Christian s 11 McDonogh Day 1 in New Orleans, 11 from The Poetry of the Negro, cop_){ri ght © 1949 by Langston Hughes and Arna Bontemps. -re_nev.JW Copyright,@1970 by Arna Bontemps. Reprinted by permission of Doubleday & Company, Inc. Random House, Inc. for lines from Lucille Clifton 1 s 11 Lately 11 and 11 Mary~11 from Good News About the Earth, copyright(yl972 by Lucille Clifton, and 11 God s 1 Mood 11 from An Ordinary Woman, copyright@l974 by Lucille Clifton. Re- printed by permission of Random House, Inc. Sam Cornish for lines from Middleclass Girls with crippled fingers waiting for 11 me to light their cigarettes;• from People Beneath the Window, copyright@ 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 Funerals, 11 copyright €)1971 by Jayne Cortez. Reprinted by permission of the author. The Associated Publishers, Inc. for lines from "The Don t Care Negro" and 1 "The Negro Child," by Joseph Seamon Cotter, sr;and for lines from 11 Rain Music) by Joseph Seamon Cotter, Jr., from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. Publishers, Inc. Copyright@l923, 1935 by The Associated Reprinted by permission of The Associated Publishers, Inc. 3 �Harper and Row Publishers, Inc. for lines from Countee Cullen's "Heritage," "Scottsboro, Too, Is Worth Its Song, I Stand. 11 and "Yet Do I Marve yr from On These Copyright@l927, 1955 by Harper & Row, Publishers, Inc. Reprinted by permission of Harper & Row, Publishers, Inc. Waring Cuney for 1ines from "Hard Times" and "No Image~;' from Storefront Church, copyright @1973 by Waring Cuney. Reprinted by permission of Waring Cuney. Broadside Press for lines from James Cunningham's "St. Julien's Eve: Cross; from Jump Bad, edited by Gwendolyn Brooks. Broadside Press. For Dennis Copyright(S) 1971 by Reprinted by permission of Broadside Press. Frank Marshall Davis for lines from "Jazz Band" from A Black Man's Verse, ) copyright(f)l935 by Frank Marshall Davis. Author or representative could not be located for reprint rights. Jupiter Hammon Press for lines from Walter Delegall's "Psalms for Sonny Rollin~• from Burning Spear: An Anthology of Afro-Saxon Poetry, copyright (s)l963 by the Dasein Literary Society. Reprinted by permission of Jupiter Hammon Press ~asein Literary Society. Doubleday &Company, Inc. for lines from Alexis DeVeaux's Spirits in the Streets, copyright('.9 1973 by Alexis Deveaux. Reprinted by pe~ission of Doubleday & Company, Inc. Charles Dinkins for lines from "Invocationj' from Negro Poetry and Drama, copyright@l969 by Sterling Brown. Reprinted by permission of Atheneum. Farrar, Strauss &Giroux, Inc. for lines from Owen Dodson's "Countee Cullen," Divine Comedy, "Guitar," "Jonathan"s Song," "Lament," "Open Letter" and Poems for My Brother Kenneth from Powerful Long Ladder. copyright@ 1946 7 4 �by Owen Dodson and copyright@renewed 1974 by Owen Dodson. Reprinted by permission of Farrar, Strauss & Giroux, Inc.; Owen Dodson for lines from llll!I. 11 The Confession Stone," "Let me rock him again in my trembling arms" and "Mary Passed This Mornin~ from The Confession Stone, volume 13 in the Heritage Series, published by Paul Bremen, Limited, London, 1970. Copyright @1970 by Owen Dodson. Reprinted by permission of Owen Dodson. Mrs. Shirley Graham DuBois for lines from W.E.B. DuBois's "A Litany of Atlanta," copyright@:)1906 by W.E.B. Du Bois, "Hymn of Hat~• from Darkwater: The Twentieth Century Completion of Uncle Tom's Cabin, copyright@l920 by W.E.B. Du Bois, and "Song of the Smoke, 11 copyright@l899 by W.E.B. Du Bois. Reprinted by permission of Mrs. Shirley Graham Du Bois. Random House, Inc. for Henry Dumas'~: Talk Joke" and for 1i nes from "Jackhammer," "Ngoma, 11 "Play Ebony Play Ivory," 11 Rite, 11 "Root Song, 11 and 11 A Song of Flesh," from Play Ebony Play Ivory, copyright©l974 by Loretta Dumas and edited by Eugene B. Redmond. Reprinted by permission of Random House, Inc. The Associated Publishers, Inc. for lines from Alice Dunbar-Nelson's "The Lights at Carney's Point, 11 from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. Inc. Copyright@l923, 1935 by The Associated Publishers, Reprinted by permission of The Associated Publishers, Inc. Paul Bre"":;)o, L i m i t e ~ : Durem's "Broadminded," from Take No Prisoners, __/~ume 17 in the Heritage Series, published by Paul Bremen Limited, London, / 0 1971. Copyright@)1971 by Dorothy Durem. Bremen Limited. 5 Reprinted by permission of Paul �Mari Evans for lines from "Who Can Be Born Black" and "The Rebel," from I Am A Black Woman, copyright(0)1970 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 Eternity," from Conclusions, copyright@l971 by B. Felton and reprinted by permission of the author. Moore Publishing Company for lines from Julia Fields's "Aardvar~ from Nine Black Poets, edited by R. Baird Shuman, copyright {)1968 by Moore Publishing Company. Used by permission of Moore Publishing Company, P.O. Box 3143, West Durham Station, Durham, N.C. 27705. Black River Writers Press for lines from Sherman Fowler's Thinking, 11 Sides of the River: 11 from A Mini-Anthology of Black Writing, edited and copyright@l969 by Eugene Redmond. Reprinted by permission of Black River Writers Press. William Morrow &Ca., Inc. for lines from Nikki Giovanni's ''Concerning One Responsible Negro with Too Much Power," "Of Liberation," "Nikki-Rosa," "The True Import of the Present Dialogue, Black vs. Negro," from Black Feeling, Black Talk, Black Judgement, copyright@l968, 1970 by Nikki Giovanni; for lines from "Africa" from My House, copyright c 1972 by Nikki Giovanni. All reprinted by permission of William Morrow & Co., Inc. Jupiter Hammon Press for lines from Oswald Gavan's "The Lynching," from Burning Spear: An Anthology of Afro-Saxon Poetry, copyright© 1963 by the Dasein Literary Society. Reprinted by permission of Jupiter Hammon Press of The Dasein Literary Society. Farrar, Strauss &Giroux, Inc. for lines from Angelina Grimke's "The Black Finger," j 6 �from American Negro Poetry, edited and copyright@l963 by Arna Bontemps. Reprinted by permission of Farrar, Strauss & Giroux, Inc. University of Pittsburgh Press for lines from Michael S. Harper's Dear Coltrane. 11 11 Dear John, Reprinted from Dear John, Dear Coltrane, by Michael S. Harper, by permission of University of Pittsburgh Press. Copyright@1970 by University of Pittsburgh Press. Robert. Hayden for lines from "Gabriel , 11 from The Negro Caravan, copyright@l941 by Robert Hayden; for lines from 11 Runagate Runagate, 11 from Selected Poems, copyright@)l966 by Robert Hayden and published by October House; and for lines from "El-Hajj Malik El Shabazz" and "Zeus Over Redeye, 11 from Words in the Mourningtime, copyright (£)1970 by Robert Hayden and published by October House. All reprinted by permission of Robert Hayden. John Wesley Hollaway for lines from "Calling the Doctor" and "Miss Merlerlee 1 from From the Desert, copyright@l919 by John Wesley Hollaway. Reprinted in The Book of American Negro Poetry, edited by James Weldon Johnson. Copyright@l922, 1931 by Harcourt, Brace & World, Inc. 1959. by Mrs. Grace Nail Johnson. Copyright@1950, Source for reprint rights could not be found at publication time. The National Urban League for lines from Lucy Ariel Williams Holloway•s 11 Northboun 1 11 , from The Book of American Negro Poetry, copyright (9 1926 by Lucy Ariel Williams Holloway. Reprinted by permission of the National Urban League. Random House, Inc. for lines from Langston Hughes 1 s "Mother to Son" and 11 The Negro Speaks of Rivers, 11 from Selected Poems, copyright© 1954 by Langston ~I" Hughes, reprinted by permission of Random House, Inc.; iliile:l"'ines from 7 �"Harlem," from The Panther and the Lash: Poems of Our Times, copyright @1967 by Langston Hughes, reprinted by permission of Random House, Inc.; A1fred A. Knopf, Inc. for 1i nes from "Jazzoni a," from The Weary Blues, copyright(s)l926 by Alfred A. Knopf, Inc. and renewed by Langston Hughes, reprinted by permission of Alfred A. Knopf, Inc.; Harold Ober Associates for lines from "Goodbye, Christ," from Good Morning, Revolution, copyright @1932 by Langston Hughes, @)renewed , ~printed by permission of Harold Ober Associates. Broadside Press for lines from Lance Jeffers's "Black Soul of the Land" and "My Blackness Is the Beauty of This Land," from My Blackness Is the Beauty of This Land, copyright(91970 by Lance Jeffers. Reprinted by permission of Broadside Press. Ted Joans for lines from "The .38," from New Negro Poets: U.S.A., copyright (g 1964 by Ted Joans. Source for reprint rights could not be located at publication time. The Associated Publishers, Inc. for Charles Bertram Johnson's lines (no title given))from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. Copyright@l923, 1935 by The Associated Publishers, Inc. Reprinted by permission of The Associated Publishers, Inc. Fenton Johnson for lines from "Tired," from The Book of American Negro Poetry, copyright (£)1922, 1931 by Harcourt, Brace & World and ®renewed 1950, 1959 by Mrs. Grace Nail Johnson. Source for reprint rights could not be found at publication time. Harper & Row, Publishers, Inc. for lines from Georgia Douglas Johnson's "Dreams of the Dreamer," from Caroling Dusk, edited by Countee Cullen. 8 Copyright@ �1955 by Harper & Row, Publishers, Inc. Reprinted by permission of Harper & Row, Publishers, Inc. Harper & Row, Publishers, Inc. for lines from Helene Johnson's Magulu from 11 Copyright@l955 by Harper & Caroling Dusk, edited by Countee Cullen. Row, Publishers, Inc. 11 Reprinted by permission of Harper & Row, Publishers, Inc. Viking Penguin, Inc. for lines from James Weldon Johnson's My Lady's Lips Am 11 Like de Honey" and 0 Black and Unknown Bards, 11 11 from Saint Peter Relates an Incident, by James Weldon Johnson, copyright©l917, 1935 by James Weldon Johnson, copyright@renewed 1963 by Grace Nail Johnson. by permission of Viking Penguin, Inc. Reprinted The Viking Press, Inc. for lines from James Weldon Johnson's The Creation and "The Prodigal Son, 11 11 11 from God's Trombones by James Weldon Johnson, copyright@1927 by The Viking Press, Inc. reserved. Copyright@l955 renewed by Grace Nail Johnson. Reprinted by permission of The Viking Press, Inc. Jupiter Hammon Press for lines from Percy Johnston's Opus All rights 5) from Burning Spear: 11 Fitchett's Basement Blues, An Anthology of Afro-Saxon Poetry, copyright @ 1963 by Dasein Literary Society. Reprinted by permission of Jupiter Hammon Press of Dasein Literary Society. E.P. Dutton & Co. for lines from June Jordan's Uncle Bull-Boj' from Some 11 Changes by June Jordan, copyright@ 1967 and 1971 by June Meyer Jordan. Reprinted by permission of the publishers, E.P. Dutton & Co., Inc. Third Horld Press for lines from Norman Jordan's "High Art and All That Jazf from Destination-Ashes, copyright@ 1970 by Norman Jordan. Reprinted by permission of Third World Press, 7524 South Cottage Grove, Chicago, Ill. 60619. 9 �City Lights Books for lines from Bob Kaufman's "Heavy Water Blues," from Golden Sardine, copyright@)l967 by Bob Kaufman. Reprinted by permission of City Lights Books. Broadside Press for lines from Etheridge Knight's "The Bones of My Father," from Belly Song, copyright © 1973 by Etheridge Knight, and "Haiku _"9_)11 from Poems from Prison, copyright©l968 by Etheridge Knight. Reprinted by permission of Broadside Press. Pinkie Gordon Lane for lines from "Griefs of Joy, 11 from Wind Thoughts, copyright @)1972 by Pinkie Gordon Lane. Published by South &West, Inc. Reprinted by permission of Pinkie Gordon Lane. Elouise Loftin for lines from "Getting Caught" and Rain Spread, 11 from Jumbish, 11 copyright(s)l972 by Elouise Loftin and published by Emerson Hall, Inc. Reprinted by permission of the author. Black River Writers Press for lines from Wayne Loftin's of the River: 11 Realit:f from Sides A Mini-Anthology of Black Writing, edited and copyright~ 1969 by Eugene Redmond. Reprinted by permission of Black River Writers Press. Broadside Press for lines from Audre Lorde's "Black Mother Woman, from From a 11 Land Where Other People Live, copyright@l973 by Audre Larde and reprinted by permission of Broadside Press; Audre Larde for lines from Moon-minded 11 the Sun" appearing on pp (fill in), from Sixes and Sevens, copyright(g 1962 by Audre Larde, and "Rites of Passage," from Cables to Rage, copyright@ 1970 by Audre Larde. Used by permission of the author. 10 �Twayne Publishers for lines from Claude McKay's "Baptism," "If We Must Die" and "The Lynching," from Selected Poems of Claude McKay, copyright@l953 by Twayne Publishers, Inc. Reprinted by permission of Twayne Publishers, a Division of G.K. Hall & Co. Broadside Press for lines from Haki R. Madhubuti's "First Impressions of a Poet's Death," from Think Black, copyright(s)l967 by Don L. Lee, and "The Self-Hatred of Don L. Lee" and "Don't Cry, Scream," from Directionscore: Selected and New Poems, copyright(s)1971 by Don L. Lee. Reprinted by permission of Broadside Press. George Reginald Margetson for lines from The Fledgling Bard and the Poetry Society, copyright@ 1916 by George Reginald Margetson. Reprinted in The Book of American Negro Poetry, edited by James Weldon Johnson. 1931 by Harcourt, Brace &World. Johnson. Copyright~l922, Copyright(91950, 1959 by Mrs. Grace Nail 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, 11 from Kaleidoscope, edited by Robert Hayden. Copyright@l967 by G.C. Oden. Reprinted by permission of the author. Ojenke (Alvin Saxon) for lines from 11 Watts, 11 from The Poetry of Black America, copyright@ 1973 by Ojenke. Reprinted by permission of the author. Pat Parker for lines from "Brother," from Child of Myself, copyright @1972 by Pat Parker. Reprinted by permission of the author. Third World Press for Dudley Randall's 11 copyright(pl971 by Dudley Randall. Iwo Jima 11 from More to Remember, Reprinted by permission of Third World Press, 7524 South Cottage Grove, Chicago, Ill. 60619. 11 • �Black River Writers Press for lines from Eugene Redmond's 11 Invasion of the Nose, 11 from River of Bones and Flesh and Blood, copyright(£)1971 by Eugene Redmond, and "Inside My Perimeter," from In a Time of Rain & Desire, copyright© 1973 by Eugene Redmond. Reprinted by permission Black River Writers Press. Paul Bermen Limited for lines from Conrad Kent Rivers I s II In Defense of Black Poets 11 and "The Still Voice of Harlem" and for 11 Watts, 11 from The Still Voice of Harlem, Volume 5 in the Heritage Series, published by Paul Bremen Limited, London, 1968, copyright@l972 by Mrs. Cora Mciver Rivers; for lines from "To Richard Wright, 11 from The Wright Poems, Volume 18 in the Heritage Series, published by Paul Bremen Limited, London, 1972. Mrs. Cora Mciver Rivers. Copyright(£)1972 by All reprinted by permission of Paul Bremen Limited. Broadside Press for lines from Sonia Sanchez's 11 Malcolm 11 from Homecoming, copyright~l969 by Sonia Sanchez, reprinted by permission of Broadside Press; Sonia Sanchez for lines from 11 definition of blk/children, copyright@:)1969 by Sonia Sanchez. 11 from Homecoming, Reprinted by permission of the author. Broadside Press for lines from Judy Dothard Simmons's Schizophrenia, 11 from 11 Judith's Blues, copyright~l973 by Judy Dothard Simmons. Reprinted by permission of Broadside Press. Johnie Scott for lines from 11 The Fish Party 11 and 11 Watts, 11 from From Ashes: v·oices of Watts, copyright@l967 by Johnie Scott. Negotiations for reprint rights incomplete at time of publication. Welton Smith for lines from Malcolm, 11 11 from Penetration, copyright@Jl971, published by Journal of Black Poetry Press. available. 12 Source of reprints not �• • . • The Jupiter Hammon Press for 1i nes from LeRoy Stone I s from Burning Spear: II Fl amen co Sketches, 11 An Anthology of Afro-Saxon Poetry, copyright(E)l963 by the Dasein Literary Society. Reprinted by permission of Jupiter Hammon Press of The Dasein Literary Society. Firesign Press for lines from Joyce Carol Thomas's "I Know a Lady, 11 from Crystal Breezes, copyrightes)l974 by Joyce Carol Thomas. Reprinted by permission of Firesign Press, Box 402, Berkeley, Calif. Dodd, Mead &Company, Inc. for lines from Melvin Tolson's "Rendezvous with America, 11 "Dark Symphony" and "An Ex-Judge at the Bar, 11 from Rendezvous with America, copyright~l944 by Melvin Tolson. Reprinted by permission of Dodd, Mead & Company, Inc.; Twayne Pub 1i she rs for 1i nes from 11 II Do, 11 Do and Ti, 11 from Libretto for the Republic of Liberia by Melvin B. 11 11 Tolson, copyright(f:)1953 by Twayne Publishers, Inc.; and for lines from 11 Alpha, 11 11 Beta, 11 11 Eta;' 1 11 Gamma, 11 11 Lambda, 11 11 XI 11 and 11 Zeta 11 from Harlem Gallery by Melvin B. Tolson, copyright01956 by Twayne Publishers, Inc. Reprinted by permission of Twayne Publishers, A Division of G.K. Hall & Co. Liveright Publishing Corporation for lines from Jean Toomer 1 s "Song of the Son, 11 from Cane, copyright©l923 by Boni & Liveright; copyrigh~enewed 1951 by Jean Toomer. Reprinted by permission of Liveright Publishing Corporation; W.l~. Norton & Company for lines from "Blue Meridian," from Black Writers of America, edited by Richard Barksdale and Keneth Kinnamon, copyrigh,0 1972 by The MacMillan Company. Inc. Copyright 1936 by W.W. Norton & Company, Copyrigh~ enewed 1964 by Lewis Mumford, co-editor with Alfred Kreymborg, of The New Caravan. Reprinted by permission of W.W. Norton & Company, Inc. 13 �• ! ' A. Philly Riginalski for lines from Mark Traylor s Cool Black Nights, 1 .. Black Poets Write On: 11 11 from An Anthology of Black Philadelphian Poets, copyright (5)1970 by A. Philly Riginalski. Reprinted by pennission of the publisher (author dead at age 22.); permission granted by James G. Spady of the Editorial Staff. Quincy Troupe for vJhite Weekend, 11 from Embryo, copyright© 1972 by Quincy Troupe. 11 Reprinted by permission of Quincy Troupe. Paul Vesey (Samuel Allen) for lines from To Satch, 11 copyright(c)l963 by Paul Vesey. Alice Walker for lines from Rage, 11 11 11 from Soon, One Morning, Reprinted by permission of the author. from Revolutionary Petunias & Other Poems, copyright©l973 by Alice Walker, Reprinted by permission of Harcourt, Brace, Janovich, Inc. Black River Writers Press for lines from Romenetha Washington's from Sides of the River: 11 Rat Race, 11 A Mini-Anthology of Black Writing, edited and copyright@l969 by Eugene Redmond. Reprinted by permission of Black River Writers Press. The Associated Publishers for lines from Lucien B. Watkins's A Prayer of the 11 Race That God Made Black, Thomas Kerlin. 11 from Negro Poets and Their Poems, edited by Copyright©l923, 1935 by The Associated Publishers, Inc. Reprinted by pennission of The Associated Publishers, Inc. Jupiter Hammon Press for lines from Joseph White's Burning Spear: 11 Black Is a Soul, 11 from An Anthology of Afro-Saxon Poetry, copyright@1963 by The Dasein Literary Society. Reprinted by permission of Jupiter Hammon Press of The Dasein Literary Society. 14 �I ! • i :' I ' 1 , I Paul R. Reynolds for specified lines from Richard Wright's "Between the World and Me, 11 copyright@l935 by I.re Partisan Review, and ! Have Seen Black 11 Hands, 11 copyright{£)1935 by The Partisan of Paul R. Reynolds, Inc. 15 Reyiew. Reprinted by permission � 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. Text Any textual data included in the document 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_08_08_01 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, Inserts and Acknowledgments, p. 1-15 Description An account of the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, Inserts 1-9 and Acknowledgments, p. 1-15 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> Creator An entity primarily responsible for making the resource Redmond, Eugene B. 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/68d012d0b9695bb0f7444cc1f4bae2f8.pdf c1ebbfda2c659719a00ed718ce279ad0 PDF Text Text ( contents s , conto.) I o...;v rview II Litero.ry rnc< .:)oci'll Iands c cne A. 'l'o ~ ID 1930 B. 1930 - 1960 \JOices II I The A. ?he C0 ning Cedence: Pre - enaissance--c"-"Voices " . ,......,.,,. ,______. c. on the -'otem ? 3 '2 ~ ~~,"W'.li. · ~ - , , ,·~.,,.........~ . , . . . . . . )'inor _Q_£_ ::,econd .wC'"'elon :oe ts of the nenaissance - - - - - --- -- al. --........ nnd ~an-. fri an .,r:..tin e ?...,llout : ne:::r itude Poet D. rs,,r_.;,,,,,I,. E. Til_e .c;xtended Renais~~: 30 , CHAP'l'~R !I: ?estivals and 7 l:' unerals: 13 o.C~{ u.a_s, 5~ "he 'lO\C€S n t "; L',-,~ B. oetr 3-enoral r:;: ?e1·iodtcals ~t•Y ::I Anth~lo ·es ) .:?o"' 1 .lo-re 1 (<-\'} J !'"'.C.e.: s~ ~ • - - . . . _ ............ J ~ .,j P0etry of the 1-;i'0s ·nc. l 7 s I III '") 3 2- t.Job 317 � 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. Text Any textual data included in the document 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_08_08_02 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, partial Table of Contents with handwritten edits Description An account of the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, partial Table of Contents with handwritten edits. Draft includes Chapter V through Chapter VII. 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> Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/b3e4b900906b5f54d35db9f4f1fbd553.pdf 121fe65a0a825dca6fe8e700b62c2aa2 PDF Text Text other cultures, Black Sl,ave Narratives creative literature developed from early diaries and journals. Hence it was the slave narrative that gave rise to the first Black novel, Clotelle: A Tale of Southern States (1853) by William Wells Brown (published in England). Browp also published the first Black play, Escape: Leap to Freedom (1857). Or A His concern for the plight of the mulatto would occupy much of the Black fiction up through the early decades of the 20th Century. In addition to writing fiction and drama, Brown collected Black folk and antislavery songs. Many white scholars and travelers through the south also compiled collections of these songs--which would later become important ingredients in the writings of Black and white writers. Even for writers of the narratives, however, there was external censorship. White abolitionists, concerned that the over-use of Africanisms in narratives would offend potential supporters caut oned authors and speakers to minimize such usage. The ray of hope generated by the first Black newspaper, Freedom's Journal (1827, John Russworm), died out with the newspaper in 1829. Douglass, who founded Frederick Douglass' Montnly (1844) and The North Star (1847), was told: You supply the facts and we'll take care of the rest. Robinson (Early Black American Poets) separates the early Black Poetry into four categories: I. Orator Poets A. Lucy Terry, Jupiter Hammon, Jamesj M. 1fuitfield,etc. 50 �II. III. IV. Formalist Poets A. Phillis Wheatley, George Marion McLlelan, etc. Romantic Poets A. John Boyd, The Creole Poets, Joseph Seaman Cotter, etc. Dialect Poetry A. James Edwin Campbell, Daniel Webster, J. Mord Allen, etc. One would, of course, be remiss in saying that none of the early poets rejected slavery or identified the contradictions inherent in what whites preached versus how they acted. Most of the poets, in face of implied threats, dealt with "safe" themes and conventions or with the sentimentality and local color. Nevertheless stirrings of protest and indignation are evident in much of the work of the period. Slave revolts, abolitionists activities, the rumblings and coming of the Civil War, contradictions of Christianity--all laid the foundations for a more conscientous poetry. Robinson is quick to point out, however, that the charitable work of literate Blacks (during this period and the following one) often consumed their energies and their passions. write. Many went about helping others learn to read and Others administered to the ill and attempted to record their experiences (via diaries, notes, biographies, texts) for coming generations. In many northern communities there were Black Literary Societies--usually named after classical personalities or things. Important with regards to many of the early poets, Robinson notes, was their immense popularity and great abilities to deliver their poems orally. Douglass' oratory, certainly, is well • 51 / �known--as is that of the early Black preachers. The early poets, like the preachers, apparently knew their audiences well (often elicited audience responses) and appealed to what Johnson has called a "highly developed sense of sound." Roginson tells us that 11 Mrs. F.E.W. Harper's Poems on Mis- (ISS~) cellaneous Subjects, ••• reached its twentieth edition as early as 1874, but this was not due to the conventional notion of poetic excellence Mrs. Harper was fully aw.are 1 of her limitations in that kind of poetry, it was due more to the sentimental, emotion-freighted popularity that she had given the lines with her disarmingly dramatic voice and gestures and sighs and tea.rs." This paritcular aspect of Black Poetry has yet to be examined fully. Most of the early Black poets give significant clues, in their writings, to the reaction of the African mind coming in contact with written tradition for the first time. Q In the work of the most skilled of these poets,~enslaver's consc.ience is prodded while the mastery of English literary verse heralds a major step in the development of the Black American literary tradition. From the stilted poetic con- ventions and self-righteousness of Neoclassical and Romantic models to the rich Americanized English-Irish ballads, the early poets armed themselves with the best techniques available. Some contemporary poets and critics, un:t'amiliar with the mood and state of affairs of the times, often speak contemptuously of the early writers--censuring them for being "outside" the "struggle." 52 Much of the criticism, �however, is due to ignorance and a lack of reading. One popular feeling for example, is that one should procede 3-v~~ttum ,ml't. from Phillis Wheatle~ and George Moses Horton straight on to Dunbar. Such a surface approach to the material, however, ignores the dozens of interesting figures in between the two periods. Related Sub-Topics For Unit #2 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. UNIT # 3: "Black" Themes in the Early Poetry Black Poetry as Oratory Formalism in Early Poetry Black Romantic Poetry "Freedom" as a Theme in Early Poetry Idealism in Early Black Poetry · Slavery as Viewed by Early Poets Diction, Classical and Biblical Allusions in Early Black Poetry View of Africa in Early Poetry First Generation African Writers of English Relationship of Early Poetry to Slave Narratives Occassional Verse and Sophistication in Early Black Poetry "Wbite1t Models Used by Early Black Poets Early Black Poetry and the English Literary Tradition Protest in Early Black Poetry Plantation Life in Early Black Poetry '~fricanismsn in Early Poetry Religious Themes in Early Black Poetry Differences Between 18th and 19th Century Black Poetry Early Black Poet as Fugitive Romanticism in Early 19th Century Black Poetry DIALECT POETS; BEGI~NG w~F ~ : AUTHENT~CE- - - = - - - - , (1865-1910} Literary/Social Background: The period from l ~ o 1910 was one of contradictions, great expectations, continued literary experimentation and important beginnings. On the white literary scene, Whitman, William Dean Howells, Henry James, Joel Chandler Harris and Irwin Russel generally 53 � 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. Text Any textual data included in the document 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_08_15 Title A name given to the resource Drumvoices: The Mission of Afro-American Poetry: A Critical History, partial typed manuscript labeled (6), p. 50-53 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> Creator An entity primarily responsible for making the resource Redmond, Eugene B. 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