3 10 650 https://digitallis.isg.siue.edu/files/original/1b2eca3d97643eccdd4f741f94d5da5b.pdf 06f049679a071232c73885d958d7ca8d PDF Text Text V ~ I C ~ PTER V: A • ice a motherless ch·1a, Somet· es I fee lnn~ ~ ra s from hor1e; A lone; 1-mys from home . ---Afro - rrerican Sn · ri t, - 1 I OV i'RVIE ,J ~r~ r-~1s~·uption of chronology will be r1ore evident • in this chanter because urPceding ones . This is so alw,,ys a chieve* ame age do not N uoets oj_.he th n in reco1sni tion at the sa.r1.e time We hnve 1ooked t James eJ don Johneoon , mention him a ,ain in thieo for exqmpl e , b t we - ch2nter. In fnct--for reasons to be s O'm- - ,J 0 hnson overRh"'do rn alr,1ost the whole of BJ, ck noet,,.""r • and ·ur-)1e /\., S,,J 7 en , ,.., Melvin B. before ..ill be ViA•idd afte t- t;hem in ~e Ro st -fanaj_ s nee period . Since the primar, airi. of this st d is to "cite" the r1ost names and events in the n0velonment of BJr c ro ch to t~i s chanter Jill follo1 0 oetry , the others in - criticism -r.ill remain minimal , a, _J .s ~,Joml ""Orts-- oft he rorld . A..,nraisals of Black 1)0Atry, tl-ien, become a bit more diffic1lt since the Pl" c, noet c15r] ,,, 6 h21ro Pl[>ck iritA 'f! ~ u1n F"' til the second dnc de o f t o 20th centur, s 8een ar somewh t " CCQ,;JS ta either dt;\ to n f' '"' TI °'- "frgplr ntil the 19h() 1 s , ho.d very ~ e arnrr11ent 8 clc • not,., . '710 Ie :nt")t0rci~11s ta to fir,ht criti c,,1 or literary 11 J.ynchings . '1 bee t 1 .• ·J Jadtb 01 rith s he hich rJodels 1 ere ec-se ti 1 1 a, ,e,- co t · nue In tr.e ~9~0 1 ~ "exotic" esc'"' e ro ·ter- ~ '~), - (Yr•ecl "nd �~,; t1'rjlloeking whites ,-..:. o 11 en o_;age their ne·r Freudian a m ~ and forl-_get the horrors of the war . .___,, skj 71s uere often ~ 11 In the nost - nenaissc1.nce l • a;a. dire ted to mrds V'!lliii• intei:;ration '"'nd ,., v"'rious '\soc1_al nror-r ams . •1 is annroa.ch~~~ftBn scientifc and fiact - finding . The most incisiv0 and contin al b~pw to the Blac~ is a disresnect and rejecti0n the aener'"'l d:lli"eatmmt of BlGcks . Q.u120 parPllel' oet BJ::>ck ,-. ~ riticis~ of . noetrv is invariably politic81 snd !''lCial in connorn - -,i1Jst as most of -sb.C' _ oetry is' forcPd to be. Some poets ] Pment this- .....t'" J(ff •• rotest and ,., ger are the ·who le range of h :rrJan beh,.,v:i or is someho,-r m:l!ttLXlffMa.H. Dlaced off-limits to the 1 "-., bl H\1i~ I ~ critj_c1zed/\ 1'or not bejng :universe ] Afro-American poet I 11 for not being " 0 lack 11 P11.0 1.1ali. l'le 0 dless to sa;r, it i 8 r, di101rn"l.8 of "'Omo magn::i.t 1do ?nd no amount of -ilJ anr,1 ~oJvc it her • VJe d0 the P.J "Cl~ o'T'lment on oets: fro-rn this period on in our st, ords or Jamentations -1;1-,erc r1Ptt0rs , tho 1P-)1, oy_ Tn trd s ~v ns , Lenee i effArs , 0 RusRe]l "" ~ ) Atlrins ,,.._Pnd oth0rs) nere p blishino_; in . _ 196n b 1t <'lid no-s brine,: 0 11 t Ariod::icPJs befo~c sinvle voh1 es lP1.til then. Like-Fise �C /Jj)fa. o c.vi,iov J.;Ld/AJ - - ~/\ ,d '"• ... I<. Mo. .t '1 L In 1910 the population of I Black America was 9,827,763; Langston Hughes was a boy of ten and the NAACP was one year old. By 1930, however, the Black population would have increased to 11,891,143 (or 9.7 %); a major migration of Blacks to northern industrial centers would have taken place; racial riots would have scorched more than half a dozen American cities; the country would have engaged in and ended its first national war, and lynchings would continue to be among the most fearful prospects for Black r:ien . Booker T. Washington bad chronicled the hardships and bitter disappointments of Blacks in his Up From Slavery. The new 11 freedom 11 was short lived and illusive, Washington observed, because the ex-slave had no skill, no land and no place to go . '~mancipated" Blacks were not farin g much better than their fore-parents. DuBois had begun to raise some of the broader, global issues of Black oppression and •place the Black Experience in its proper perspective in The Souls of Black Folks. During the second and third 60 I �j II ., I l_, decades of the 20th Century, Black scholars, activists and writers continued to record the Black Experience with telling 1"'5Uncr accuracy and drama. L~ague;- '"the"' A~ssociation ng'ot 'the 'tbe trr1:ran , r the Study ..cr: ,/;;~~gro Life and .,, ~#f \ /)JJJ,, ..,1:.-P History (Carter G. Woodson, j ~A.;_~;!', 926).4P,;,The Crisis and Opportunity .-; -..;P magazines, the literary jou~ , Fire; the flourishing and • , -- ! prominence of ragtime ~itf~early ,~ z , the development of ,, I Black operetas and, ~sicals--all h . # \ and the Black t~inds of the times. . ~ ..tl" ped establish the mood \ I e three publications-;.. ~ ~ was sh9it-lived--published some o:f\ the most important \ Black J:M;,;;rature o:f the Awaken~n1,1 and _o~re<j. a)'ai,d;, ea in) ce~if ves to writers. On the general American scene, science and industry were developing rapidly. Indications of this were the radio, wireless, technological warfare and the automob ile. The ttnew Psychology" was taking hold and the realis m of the previous literature was bowing out to naturalism. This new mode is seen in the works of such writers as Theodore Drieser, Evelyn Scott and William Faulkner. Interest in local color and dialect, which had domi nated the later portion of the 19th Century , was also dying and the Black American was "re-discovered" by white writers as a H1'e± a1:r ~ · for realistic fiction, drama a nd poetry. White writers-Jo pu lished popular accounts of Black life included DeBose Hayward, Sherwood Anderson and Carl Van Vecbten. Revolts in interests and manners characterized American society . Black crit c James A. Ema nuel points out (Negr_£ 61 1 �as enviable but mysterious primitives, s~vages and .,.. Popular accounts of Black lif~, were written by .,, 11 known white writers iqcluding DuBose Heyward, ~ Anderson, and ·Euge~~ O'neill. I ; l It against th~ae and other myriad pressures and \ _ y,"t'I' \'~ \ \.J w---:~~.:..:-._:t:,:b~at. the Rl:1ick. ,A~aket;ti_ng o;f. th~ l920'.-~ took place. I [Add!;ional~;~- a n~~b:~- of ch:ng~s and _,dev~lopm:nts in Bla~k communities set off a chain reaction of cross-examinations, intense debates1 calls for changes and the charting of new directions. Accordingly, the student must understand the ~ood of the times in terms of: 1. 2. 6. 7. 8. The decline of Dunbar's influence among poets Failing su~port of Booker T. Washington's "accomadationist' philosophy. The continued disillusionmen~of survivors and heirs of the "Reconstructionf~ The development of white hate and intimidation groups (Ku Klux Klan, etc.). The continued presentation of "stereotypes" of Blacks in the mass media and creative literature of the period. The ".Jim Crow" laws of the south; job discrimination and general segregation in the north. The splits and confusion in the Black community due to the "new" middleclass; the appearance of West Indians in America and class alignment according to color stratification (i.e., lightskin, dark-skin, near-white, etc.). Much of the literature of the period deals with the theme of passing or miscegenation. { I n t e 1 e s ~ e ~ ~ " ' ! :t'rltt'""mt!t!'rf "'ffi.'a"t§Tlffi'r'• ·~tr-"tl'.f'hf Stld j'€b"t ffi? Mre ~i:11·~s~~i&B'i~~Uffl!~~~~~~""'-. Race riots in various parts of the country between 1905 and 1917. ~--, ~ ~ ~'(l!/.1ifl"1''" ''''- \~Jt~l1ere were "negatives fl . -~wwi;u·n·~·ve impetus to the ~ ~ ~~~, -~'t~ ' • - • '.,~,?- approaching rev9;J,.,~ -"'~ff la.c'R'.... ~o.a.,eJ.._Jand literary circles, ~. ~,4;j: , there J,j,~,.<M'also "positives." ""'~~~;.:4'< '!'-i.t~~,.';•,i;,...h ,._.. �, I I , Digest/Black World, Aug., 1969) that during the 20 1 s, many whites went to Har em to "forget the war and engage t eir new Freud an awareness by escaping into exotic black cabaret life." Hughes records this exot c indulgence in his auto- biography, The Big Sea (1940). Numerous other Black writers dcKay in A Long Way from recorded these white 'diversions": Home and Johnson in Along This Way (autobiographies). .. also Johnson · in his novel In tl1e • ,D rarila of the peri"od was dominated~~ by Eugene O'neill{lffwho ............... • ---- The Emperor Jones and All God's Chillun Got Wings featured major Black characters._. America had niSJ' efore a first~rate dramatist. ------- o•nei l, tJ~:la ib eodia- pro uced Ironically, t olgh, one of the vehicles for O neill's ~~••was a Black actor, Charles Gilpin, who starred in The Emperor Jones. �/ ,,, I ' with the exotic trend that had continued from Jack London (The Call of the Wild, The Sea~volf) and the white writers of local color: Page, Cable and others. IQiil. Shan~~ Harris, However, many of the writers, e@ rbhe !'OI i:ul" like 0 1 neill and Dreiser, had begun to shake off the mystique of the American Dream and deal instead with "illusion. '7 Such was Drieser 1 s theme in his novel, An American Tragedy (1925). The founding of Poetry: A Magazine 0~ Ver~e, by Harriet Monroe (1912) signaled the birth of the New Poetry movement in America. Most of the new work, including that of the Imagist poets, was showcased in Poetry. In 1915, the anthology, Some Imagist Poets, appeared to rival dissident factio~~,Jh!c?~~~ted to dispense with traditional forms. Imagism a u s ~ • E'lra Pound's theories and • French Symbolism as well as Oriental and ancient Greek poetry. Chief spokesman for the Imagist poets was Amy Lowell who was joined by John Gould Fletcher and Hilda Doolittle, among others. During the next two decades the group waged a successful battle against the dissidents; but they also re-worked traditional forms and cornered a new reading. market for poetrr.4-n America and England. e_!:.J:l tF tu • iee ,O"f~achael Lindsay, ~vocate of~th11 and the reading aloud of poetry,...- is credited with having 63 «i1 �, 7 ndiscovered 11 Langston Hughes. Blac~oets who participated• ~~141, .. , in this "revival tr of . American poetry r.,., ..,j_ ereA enton Johnson and~m,,uw!t-ct.iMJ William Stanley Braithwaite. The most significant development of the period, however, was the Black cultural flowering, principally in Harlem, which has become known as the Harlem Renaissance, the Negro Awakening and the Negro Renaissance. Central to the 7enaissance 11 (critics differ over whether it should be called such) was the migration of southern Blacks to nort ern ,.ban centers. With the working-class Blacks also ca~~~ack intelligentsia, artists and activists. Current Black creativity or scholarship cannot be understood unless the Harlem Renaissance is placed in proper perspective because the Harlem period is the most important bridge existing between slavery and the modern and/or contemporary eras. ( 4€,. .A., ; and second decades of this century, ~-~ ~ n 11 and prospects of the "Reconst /';,,' loose hold on Black Amerj.,eans just as the ~· American Dream s diminishing among t-l· declining influence , ny whites. The Dunbar (am~rlg poets), Booker T. Washington and submissive s~type of Black leadership, ., I' allowed room for experim~n'tatio -~and new voices. Most Black poets discarde.d 'plantation dia""hects and senti111ental themes. to America Marcus flarvey, in 1916 and '\.iho founded the Universal Negro ''Ii· ,, Assoc.j.a"tion, had reached the height of' ,,/ ~2. Considered the most influential 20th Century 64 by ack �I l "' . 1 ·f f'· ¥" ' A ..vvQ,~ ' / I r.., tfe l·l./('...Q- i )t .,W .,.,,,.,,iQ~1;,.~ ~ ~-~ wt,_ ••ice i,e sketch out tqe impRrtant ~litical and artistic (C"'l-fePJ;it,.JW .{l.u.,,~ developments whicn led'bp toAthe( enaissa::;. A partial listing of these developments ~PIM~include: I. Founding of tbe Boston Guardian by Monroe Trotter 2. Founding of the National Association f<;lr. ~ . , .,,,,./.. r,_, ... , Advancement of Colored People ( 1909) tJ-~4,fl~v,,,,ci:4, Founding of the Urban League (1911). Vo Founding of tbe Association for the Study of Negro Life and History by Carter G. Woodson 3. 4. _5. 6. 7. 8. 9. 10. 11. 12. 13. (1901). (191.5). Establishment of Tbe Journal of Negro History _ 1 11 by Woodson (1916). - · . ., . · ·· ·" -..,,,,_!ln1t'!-W,,n,1i-,f, Black troops · in World War I.(sbadents&!a """--~,......, "'/ .QoU:gl!~ Et, m~tHf~!'l 1'!~!"]Sililti::¥eJ!, ~-~ &a•~~~l~~~ • , .. Great Migration of Blacks to northern urban A . centers (1916-1919; but,,~be )imq ~ntinued '!~f/t~<l"'-~ · w.t1 tu the ~4 ■ @ntJrj s ~ . t'J.'4 71.N t . . ~ . u The recording of Black achievements in a'k. areas; Black scholarship is brilliant and sustained throughout the entire period. The writings, especially, of W,iE.B. Dul;>o.i~;; Ch~rles . S. Johnson, 11111M.- Alain Locke~ J-A.t,~ W~~.w)UifV The high point in the influence of Marcus Garvey's Universal Negro Improvement Association (Garvey, who came to the U.S. from Jamaica in 1916, preached a back-to-Africa movement. He was imprisoned in 192.5 for mail fraud.) Founding of Opportunity, A Journal of Negro Life (1923; Opportunity-..t2,_ublished much of the new~ ,...,.~~,~"' work of the Renaissance -p~s-ana.- pros-e- wi~I'ters and offered annual prizes.). The flourishing of Black Music and musical dramas (Noble Sissle and Eubie Blake do Shuffle Along, 1921; Louis Armstrong , with bis own band, opens at the Sunset Club, Chicago, 1927; Duke Ellington opens at the Cotton Club, Harlem, the same year.). The post-war Pan-African Congresses (Paris, 1919; London, 1921, 1923; New York, 1927; DuBois was primary organizer.:)=oil? the Meet· ;gg ,) --- T h e s ~ some of the highlights of t h e ~ b . . . Q u t at least a passing kno I . "" ,. ..,_ -~ ' , the student will not _ ....,...,,,_... ---...-._, be able to,slfl~:~°-~•<11:t;h:e""'poets of the Awakening *~ ....'il~,,,.,.1t,'9 " . . ·""" 76 ~~-2.~_:_ �;/ on \_:ames,., V Weldon .Johnson edited the first/( anthology of • Black Poetry, The Book of American Negro Poetrri1.922I • .Johnson's work was followed in quick successioli~y five • other' poetry anthologie~ Negro Poets and Their Poems (Robert Thoms Kerlin, 1923) AnAnthologt of American Negro Verse (Ne an Ivey White and Wa ter Cl1nton .Jackson, 1924) Negro Sonfls: An Anthologi ( Clement Wood, 1924) Caroling usk (Countee Cu len, 1927) Four Negro Poets (Alain Locke, 1927) Of not~a so was F.F. Calverto n 1 s An Anthology of American egro Literature (1929) which contained 60 pages of poetry. Cullen and Locke were t:t/o of the major fi gures of the Harlem Renaissance . along with Claude HcKay, .Johnson, Hughes, and .Jean Toomer. Locke edited the anthology which heralded and chronicled the new Black mood and achievements: The New fogro: An Interpretation (1925), which remains a classic today. He also wrote the equally important A Decade of egro Self Expression (1928). ~bodes Scholar from Pennsylvania, Locke received a Ph.D. in 1918 fro m Harvard and is still considered as the foremost interpreter of Black creativity of the Renaissance. Cullen published Color, his first book of poetry, when he was 22 and was instantly recognized as one of the best young poets in America. 65 �I ; I .Cr,,.~.~.-~.· ~ . ·~ i!il ~ . . t i k r ..( , t ~-?tiSW<~O!WC ~ ~ Q - ~ ~ .~ ~ ··•~-~ •· !i 'l:\,,c.,. . . -~..i.',,t,o~'.Ch\ ~~t.<rt;.',:"'-"4•t,~"t<,.'.~,~~~;•,;,~(l ' f'_.!,t,••~~'.48, , ~ ~ · Cullen wrote in the more formal tradition of English poetry. meticulous and careful in his poetic workmanship • .fl,1W-ifilH""'-m~~-~w.~:-Mlt' l s a . D ~ ~-&C.Q~~Q~ . ~~ . ,.1< ~~~a,err7e~;$•,.ffi'f ~ 1:M' ~~6-t,· ~-.ail!~ ,, th · · · • l ~ I .. ri1~~~!J:ptm:e,.,,:r~ya1:.1J~'-r:rr·,A1ne·rfeli • · :,,,-.'l; Cu11 en, Al'ma. ,. ol!rt:--emp'S't,·r{"I'tlie-1'Mtt~t:t·on','•'" A.me'r.t'e~M'Y'ff~:@ ··,.~P..oeit'!""'}!i-.,(;\ha~ 1 ~as among those Black writers of the 20's who went ~b to Tower fl to brood over being called "Negro'' poets. . ,.,,ae,h~e?e~~;t,y• ~ft~ · ij~ . ·~ '-"'flot"'l'i"' rif"u "-t:'fie''"B'i:tt't'tk: •kpe-1r4-en~... <•ut·""s t'trt1fdw~t,l/;;!(tti•t "-•~1a~·,.~;;d•!l:;~~~;:r:~r"'~; ~¼it :t~')•it'.=Ch a~ acti·rt·~1 e,·<,' ~ ,,;t;:;.r ~= ,,. however., .,.o£ ,,l}3t,S;,€idNfntt1f ;B",,;·t,b~~r'"'a:tid '• 't'l.~t-t1'e'tHl ·\,~iif't',.,4e ''t;•b e,.,t·. ·• _} f amo.~.a,,. . •,Jiilllile!#'~- · " · /'.1 ... -~, - ,, ,.., .... 1 ~~._'11,':.~{~ -~·•···~-,: .. ~~'.\ What\ is Africa to me: Copp~ sun or scarlet sea, t' Jungle star or jungle track~ Strong onze men or regai black Women fro whose loins I ,, ·'sprang When the b ds of Eden .;sang? Long it;f"'use of poetic devices, Romantic homage to Africa and #' -~. pical imagery, the poem probes hidden fears and question~/ ~f think at all, Baldwin says, ar ~*'11 constan ly on the verge of insanity.fl Cullen, howev . ', is probably known for his sonnet, ,1' flYet Do I Critics -·~vel, o not 11 which has n both praised and castigated. seem to be able 66 agree as to whether Cullen �"""i-,,· .,... s saluting-; ptt ing or • ~i,·_kiu;,,t(l;)L •. he Black poet. at this curious thing: Black and bid him sing! .,......,,,,.,. . . .~ - , . , , . ...,___._,,......_...__ _ _ _~_:JO!l_!~,- ~ · ' ·- ,..,,,. . ~ Cullen, other key ~oets of the Harlem-Awalwning ~ ~'Y Crt. a+c.~~'l.J&wl important Voiumes~and ded to the~ritical flutter. The Book 11 Johnson said McKay belonged its most powerful voice. He to the post-war group and was was pre-eminently the poet of rebellion." sonnet, 11 poet If · native Jamaican of nature. dialect (he came to the earned him the title of Robert Burns of cloaked violence in many of his poems, as "The '\·Jhite House": Your door is ut against my tightened fa And Iams rp as steel with discontent; But I po ess the courage and the grace To bear. y anger proudly and unbent. ~1:cKay use to Russia in 1922 where an attempt as an anti-America propaganda in connection 67 to �~~ ~ f1'f'r"•r~, ~ ...~~~"N ~ f;._~~• J ~~~~ 1\'.:•1 _'i;,4li'1.~ , ots and America's racial problem. 30' s McKay hobnobt::~<k fjrt-:tt,{;;k:-~ 7, ff,, . as Geor ~,;,-'1fa:'x ~. . . . . . ~ ·. · · 1s ~:-...tp~~~ons:t t ~~,~~'i"1: es ' ~nard . · · ., --:z., Dune an, , f - w. , • • Isadora Eastman, who wrote a ' J ~ ·.;;,;;•·=~=-;...;......;..;.. ...,_--,Hughe~ and Cullen won nat onal recognition (and poetry awards) at about th.e s~me time. parison ends. ~ There, however, the com- Hughes was one of the widest traveled of all the~naissance writers. He was also the most prodigious and multi-talented, writing successfully in all genres. Hughes, who when he died in 1967 was the widest translated American author,J\:Js■*- <•••me known as the international poet laureate of Black people.J ·.W~~M'-i!~~~~~m•~,-.i~~-141Mal...~w~~ ~ Al'~~•~ ,-'lf,.f/(QX,·. Mli'S , s of Rivers," in which he the Black worl~ e was to becO):Jl,~~ d read Black poet--among ev · • ~....,.. , -...,,, Known for his mus . I d ~• his famous poem "The Negro Sp <, -i quality in the Whitman-Lindsay- ~ ~:.:,¢it e. ~ ~fBi::ks. # :: . I 1'1~'-" and ~j ..~finenta -ff;{e, Hughes · o 'J-ij-.,~nd was one o:r ~~;; a:r most promoters o~iJ Jay 1:fright (In#duction, Henry Dumas ~~~;, -.,1{·. l . fore- ·· ~ f Black poet" {itic { 1~i9r My Peopl · . t ,1 ~ .;,J:,.,~,.... ;,,,!., :, • 1970) noted1~hat not until the appearance of Duma~'frwa.~ Hughe ·~.,_~4 , "·?rti~ . know,\~,~ of Spirituals and Gospels was rivaled. Hugh~~.t,. ,~ike Du~•; was to do later, haunted Black religious and secular . ~ •sh;,i,l,"""-~: •- ·,. ~~1!!1,1 •(l!5 ',,t ~- s, th. er~~ere ".&~,R,,,9f!,.~-;.t: __.• ~r-<.~q"~,;lt:!";p:1;.'!; p,<· ~-. ( r ' ~~c•N. ~~~t:; ~lac~~J 1us1e, · ·~.. :i:r- wtb • 68 aJt~'i;my .,h ad · b'e"@, · ,· )l ~ -~ "-~"-,'Q/1('$1 '<,,' ,:,,,: �carried on the on the rich, spontaof the new urban Blacks, them with the natural as in ".Jazzonia 11 : sights and sounds Oh, silver tr Oh, shining r the soul! Six long-h A dancing Li.fts hi tree! rivers .f published volume, The Weary thes to t He was one of students and h ndlers o.f ibed realistical y, genuine 1 tradition--/ i legorically and /P ,,.ff! ,l'~'t';r:'J/; As a ,.11'' scholar, known for his anthologies and his seminal interpretations of Black culture--music and the Spirituals in par/'/,2. ticular. Of great importance~ his,e_ntholog:,.- lt'l•e ioi)e8'r •iw• ..., !iitn:..:~ Nee, : a 1m-;;;w.where in an illuminating Preface, be 69 �cited-the four major Black artistic contributions to America. 1. 2. 3. 4. The Uncle Remus stories, collected by Joel Chandler Harris The Spirituals ("to Which the Fisk Jubilee Singers made the public and the musicians of both the United States and Europe listen") The Ca~ewilk (~ich Paris called the "poetry , of motion ) .... , ~ ......_,_,...,....,.._ ... .,_.......-a. The Ragtime ("American music" for which the U.S. is known all over the world) Johnson is also noted for his work with the U.S. diplomatic corps, his pioneering work with the NAACP and his brilliant employment of Black idioms and psychology in his poetry and discussions. "Lift Every Voic Black national anthem, was wri~n in 1900. ,~er:;::;r: ~~ ;.C..~hneon"-e""~ B=~""1:1!1 &,--,~ 0 black and u nown bards of long ago, How came your !"ps to touch the sacred fire? How, in your da kness, did you come to know The power and t beauty of the minstrel's lyre? •••••••••••••••• •••• ••••••••••••••••• •••• ••••• Heart of whats ave poured out such melody As "Steal away · o Jesus"? On its strians His spirit mus have nightly floated free, Though still a out his hands he felt his chains. Who heard grea "Jordan Roll"? Whose starward eye Saw chariot II ing low"? And who was he That breathed that comforting, melodic sigh · , ,,_,.,..,,, "Nob ody knows de trouble I see"? ,.~~ ,_...- • ·' ~.,~ One of the most unique voices of the Harlem Renaissance, however, was Jean Toomer, who along with Hughes, Cullen and McKay make up Locke's Four Negro Poets. A complex of person- alities, talents and racial mixtures, Toomer was a constant 70 �enigma to critics and fellow writers. Although he admitted that he was of seven racial strands, he acknowledged that "my growing need for artistic expression has pulled me deeper In 1924, Toomer's Cane and deeper into the Negro group." Set primarily in the deep south--in Geor g ia--it also deals with the urban impact on migrating Blacks. Love, racial conflict,. sex, violence, religion, nature and agrarian themes are all ~ lored directly and allegorically, !. f(i(i'' ;.-. (s • .· ·~~~fi;~~¼~l.t..~M.;.,"{"'~a-.....-,.,,..t"'i'J.':;•,:-•r;. rt,-,,.1\!,,lf~l'~ a class ro-ALJ,n . "" ~~ -Today Cane is' rega ~ . . , V,,;.tti:~~. - is exto"'i ie~ b'y 'Black intellectua:J,Jit·, '"writers Bi i and teachers as single Robert Bone, in The Negro s~~i~ ~ · was the "onl:' ~ ; ~r -~~ J 9J;.-i.? P "-~ .,,,.,.... 1¥,'.t tPr~pated on qua-1: t~ffis '' in the creatio m." Bone was, of course, comparing ~o Pound and Eli'ot in anza prologue as i~~roduced by a 'li ,u_,,,, .,-t# , , ~f!IJ" Her skin is 0 can't you s Her s k in is . dusk on tb'Ef t''eastern horiz it, .p...,,e·ffn• t you see it, . ~~- dusk on the eastern horizon sun goes down. . , ,,,,;~ ~-➔ts•~ Obsessed,,, .,i:t •rff·s eem . ,, onate intel :'Ii:~•)'.,'\'.•"-'( 1-.;'i;i."" . gence and li_?J~a:tstic virtuosity --Toom __. just as com:dortab~ : ' .. cTtm'$""§'"'7.,,t a with beauty and natur~~~~t,1.';d wi 17 . ~It J'. l.;n ~:r.e~ 'f!'•""' 'fff th S<;,..Q.n.et.&:"''"''""'~"Ifo-;e mber Cotton ....,,.,.,,,.....,. the followin g couplet: 71 ...~w!'w,,, . . · �~!:-3-~~~rc:a-ret-:....rij~~-t:ee:a:a::1W:1il.1:E~~~~~~~~~:1·ii~~~;;; -~~l:§.!:,., Brown au or"t1'ffl~ 1.me _...la of year. .... ·· .,J<f'J,;'....,. ............. ~ ~ " " ' Rae pride, the lower side of g:tack l i f e / ~ n t i c ,;. .,.~~ were the m a i n ~ of engagement with Africa the enaissance literaturef painters, musicians, scholars and activists. Garvey had set up a regal court reminiscent of ancient African Kingdoms and had infused his followers with visions or returning to the "homeland \ His "court" was resplendent with hierarchical titles and lavish regalia for parades. his rleet of ships. Black Star Line was the name or The prevailing spirit or the day was one of Black indulgence and many whites sought for, and got their share or, it. Th~ Black Awakening was not the exclusive pro- perty or Harlem. For as Kerlin points out (Preface, Ne gro Poets and Their Poems), the mood or change spread to other sections of the country. Some of the regional or community anthologies published were: The Quill in Boston, Black Opals in Philadelphia and The Stylus in Washington, D.C. Important, too, were the collections and studies of folk songs. ~ 4.'.&Q 4St: 11 1/oteworthy" collections for the period included: Negro Folk Rhymes (Thomas W. Talley, 1922) The Negro and His Sonr (Howard W. Odum, 1925) Ne~ro Workaday Songs Howard W. Odum, 1926) Rainbow Round My Shoulder (Howard W. Odum, 1928) Wings on My Feet (Howard w. Odum, 1929) American Negro Folk Songs (Newman Ivey White, 1929) Other brilliant and exciting poets and writers shared the Renaissance scene--though they are normally over-shadowed by Hughes, Toomer, McKay, Johnson and Cullen. 72 Some of these �writers--most of whom did not publish volumes until the later G~ l' be--~ ~ ~ ,, G~ r ~ v:tt;' period--were: Arna Bontemps 'A Warfng Cuney, Robert Hayden, I Sterling Brown, OWen Dodson and Melvin Tolson. Prose writers of the period included Eric Walrond and Rudolph Fisher as well as Hughes and Toomer. Bontemps, anthologist, critic, ~ ~/ poet and novelist, published in leading magazines of the period and won numerous awards for poetrY,. ~ J,,,· _,-.~ r.. ._.., ,.,,.~,.. -~~.... I ,.._~ ~ -- ' of poet:ch :2e~oal~. -wa ~, ,i.84; Cuney is ,Mmii•:'ffl'RJ!.'~~~ known for his brevity and preciseness,aNa-~i~~~l~1i~e~p~o~·ecmm~ll~M~e~~~Mii...._ past ha ..,.DJ}~ .~.•mJJ,&1tL~~ett~!"'~~-~1!~~-,tr.!'l~fT55!liffla:~~1'-~~.-eiG.a~~~~ ~ I , c ' 1 : t i ~ ~"'""""· ~~-. t h =: r~~ ~~-- p~l~ t; ~ ~~~-. On the street, . ' <-=-,..u:aakd4£ , ; ;-· '1\.bd ~i.ra}l.,f!}t.~.l~t*~ ~~ ...... , .,.. ., ,. ,:,_ ~ ~ Brown,~!!iTI.irii1iliias, pursued the folk tradition while cultivating an ear and technique that rivaled some of the best modern poetry. His debt to folk idioms and characters is ob- vious in such poems as "Odyssey of Big Boy, "Memphis Blues, 11 11 "Southern Road, 11 and "Long Goner'' ~1? ::e.~~tfe.T~-'%.:tB~;:J:l!Y·~~~~;,: ;"'=·' Brown.:,::rtR!: contributed to periodicals of th~..k . ~ perio141R\'P"Wrote a regular column for Opportunity, lished i mportant critical studies. la~ pub- Dodson wrote verse plays and collaborated with Cullen on at least one writing pro j ect. He too won numerous awards for his plays and poetry . Hayden and Tolson, both si gnificant modern poets, were to be beard from in succeeding decades as critics and outstanding 73 �)1 ~~~~~~~~~~rE~!m~ market crashed in 1929, white patronization of Black artists ended·. Black creativity and scholarship, however, bad grown up during the first three decades of tbe century, and important writing and musical development continued~ Migration of Blacks to northern urban centers was stepped up before and after World War II--with many Blacks being attracted by shipbuilding and other war manufacturing industries . Afro-Americans have participated in every U.S. military conflict since Colonial days. ) During World War II and Korea , however, they were used almost exclusively as fi ghting troops (between 1943-45 Jim Crow was abolished in the Armed Forces). Nevertheless , Black soldiers, returning home from European and Pacific war theaters, still faced unemployment and lynching; and in some southern cities were forbidden to appear on the streets in military uniforms. 74 Baldwin is one { �I of many perceptive American writers to note that Black men, seeking the fruits and the realization of the American Dream, tried throughout history to adjust and 11 fit 11 into American society. So, in face of official American contempt for his ~ humanity and his welfare, the Black soldier marchedl\.with an "equality" or death into the Korean War.:,. James Weldon Johnson had opened the dismal period of the Depression with Black Manhattan, a social history of Harlem. Black Manhattan was one of the dozens of studies on urban BlacK communities which had been begun by works such as DuBois' Philadelphia Negro: A Social Study (1899). Like Johnson, many of the poets and artists turned their writing skills toward the recording of Black social problems and artistic achievements (e.g., Johnson's Black Americans, What Now? and Charles S. Johnson's The Shadow of the Plantation, both in 1934). Some of the writers were subsidized by WPA grants while others managed to obtain jobs as teachers and journalists. like the common folk, walked the soup lines. Others, It was during the period of 1930-{t, that white schools of higher learning started accepting more Blacks, as students and teachers. Generally, America witnessed rapid advancements in science and industry. Radio drama became a cultural mainstay and the motion picture industry provided a new and exciting diversion • .:fop Arneri~ Baseball continued as the "national pasttime 11 (for Blacks, it was the era of Jackie Robinson). Jack Johnson had alre£";......: azzleJAmerica with his pugilistic skillsleft was the prize fighter Joe Louis �(the "Brown Bomber"), however, who captured sports-minded America with one of the greatest records in the boxing history. Louis's defeat of German Max,Schmeling (1938) came at a crucial time in U.S. history--when America's rising might among tbe world of nations was being challenged on the battlefield by Hitler. Two years earlier, a racist Hitler bad refused to acknowledge the feats o~~ star Jessee OWens. In prose and drama, white American writers continued to straddle a thematic path between realism and the American Dream. A distinctly "post-war" group of writers emerged. Dominating the period were Dreiser, Sherwood Anderson, Sinclair Lewis, Willa Cather, Thomas Wolfe, O'neill, William Faulkner, Ernest Hemingway, Tennessee Williams, John Dos Passos, Katherine Anne Porter, Erskine Caldwell and Carson Mccullers. Using symbolism and allegory to attack war, decadence and tbe atomic bomb, American writers often took as models such Russian writers as Chekov, Dostoevski and Tolstoi. Many employed the stream of consciousness technique--a style influenced by the "new psychology" and Irish writer James ce--which allowed for uninterrupted explorations *on~~-~-•io characters who "streamed" their references. A similar mood prevailed in the poetry--much of which dealt with social decadence, war and the mechanization of man. E.E. Cummings, known for his typographi- cal trickery and general linguistic and syntactical experiments, was one of the most relentless critics of bureaucracy and war. Such themes had also concerned T.S. Eliot, considered one of the greatest modern poets, in such poems as uThe Love Song �of J. Al~red }f~" and 'itphe Waste Le,QSl ... The Ima.gist poets -eie-•-~~heir development via such voices as "H.D.," Ezra Pound and Marianne Moore. Other modern poets were Conrad Aiken, W'illiam CArlos Williams, Wallace Stevens, Archibald McLeish, Hart Crane, John Crowe Ransom, Allan Tate, Riebe.rd Eberhart, Randall Jarrell, Robert Frost and Carl Sandburg. Crane, Eliot, Pound, W.H. Auden and Stevens have been called the major voices o.f the modern American Poetry. Historically, Black Music had been marked by white imitation and exploitation. There always exists the need to create a "white" musical .face that can be digested by Americans at large. From the minstrelsy of plantation days to the sophist· operettas and musicals of the '1,t'IN""Uf'.~i-1,,,rf- , this patter"r,e,e,,.,e,t11~.,..~~~ During the modern period, Be Bop became the musical heir to Ragtime, early Jazz and Tin Pan Alley. While the big band and Black composers--Basi~, Ellington, Fletcher Henderson, W.C. Handy, Eubie Blake, Noble Sisle, etc.--continued their important work, different kinds of experiments were going on among other musicians. From these new formations and probings came some of the giants of modern Black Music: Miles Davis, Charlie ''Yard Bird II Parker, Lester "Prez II Yo~nny ..;..R~llins, Gene Ammons, Art Blakey (who studied drums in Africa),~Ch~Pozo (A.fro-Cuban), Dizzy Gillespie and Babs Gonzales (Bop poet and singer: I Paid My Dues, 1967). From the musicians and their supporters emerged an underground "hip 11 languae;e. This tradition, of talking in metaphors and encoded cultural neologisms, had begun during the/enaissance. 77 Often, too, Black �vocalists were featured with the musicians. Some of these song stylists were Ella Fitzgerald, Sarah Vaughn, Billie Holliday and Bessie Smith--who died in 1937. The mi gration to cities also saw the continued rise of urban or bi g city Blues. By 1900, however, the Blues had gone through several i mportant periods of development. Some names associated with tl:}e modern (31.J.l (J,:Ui1.~'.V">YIY? period were Louis Armstrong , Fats Waller, Cab Calloway,~Pop J Foster, Eddie "Son" House, Robert Johnson, Johnny~e.ple.-..,.L . Leo..dbeL.Ly, lit · · Roosevelt Sykes, Elmo JamesrB.B. King,~Jimmy Reed, I+ ., w Sonny Boy Williams,~ohn Le ~ J :ne,:~ : · ,-,~ lilll),{..(AiJ osh White, Hooker, ~g~tnin' Hopkins and Big bri!.t'~~f" / ~ · ;'e,u Several~ table Black literary explosions occured during the period between 1930-6f0, Important were: the publication of Native Son (Richard Wright, 1940); the publication of For My People (Margaret Walker, 1942); the appearance of Invisible Man (Ralph Ellison, 1952) an~nning of the Pulitzer Prize for poetry (Gwendolyn Brooks, 1950 for Annie Allen). Native Son, a novel, featured a Black protagonist named Bigger Thomas who symbolized( and in many ways contained) the anger, rage and pressures felt by urban Blacks. The book was the first by a Black author to make the best seller list and was also a book of the month club choice. During the same period Wright, who died an expatriate in France in 1960, published several other novels, short stories, books of essays and miscellaneous prose. appeared. In 1945 Black Boy, his autobiography Wright is significant for many reasons, foremost among them being that be was the first Black writer to deal, �"2- t.. accurately and on par with the best rictio~he day, with tbe philosophical and psychological complexity of the Black ur':J..n~te . In doing this, he opened a new range of possibilities andf\_f ee• Black fiction in many ways. -Se~@l!.!!!!,. ~ ly -: ~ h : ~ ~ i o n writers during this period: Rudolph Fisher, Zora Neale Hurston, Claude :McKay, Hughes, Arna Bontemps, Ann Petry, DuBois, Frank Yerby, Eric Walrond, Chester Himes and Sterling Brown. Wright, however, was the first to forge and sustain a major Black art piece out of mythical ~ac~al mater·a1s1.Uin'IMaUll'\w~a had. win, that no er writer ~r, domi On the Mo~n, n~d ,,,. J;;Oq""' , . ;:;.. Miss Walker, teaches liter - ture at Jackson State Colle ge, was 22 years old when she wrote fl r•[f21_, II Jl,_ For My People --one of the most faiGo"trst--poems~~=Gi 11:. Her book by the same name won the Yale Series of Younger Poets award in 1942. Rich in cultural folk refere nces, Black phono- logy and social history, the slim book br li ntly traces the hope, humor, pathos, ra ge, stamina and iron di gnity of the _ _ _ __ . . - - - - " . " " " ' "~ -~ - · - · - race. ~ . .... • ti ,. -~ 'l' the daintiness, ba~~~~ t ~"'and-, .,l_.ifi._b;l-~Sjj,S~anc e . ,. . . ,.,[... "' "w,.::,*~•W,t 11;~,,!<,-"'!:1;</M:~1>\\,;-,~,: .~ ~~_""·~'H .· ;.1~ 1!1:il -~ ' are true-grit experience~J the religiosity ;.t_.. . :g~~ks. ,.,;' 1:........ : :1.'~ Yet, along with these The poe1s ~pd to~: -,v 6nations, Miss Walker presents excellent sonnets �~--::...E= llison, who bas not published a novel since Invisible Man(lfS2.) remains one of the most controversial figures in American Literature; much of the controversy arising from what he says ( outside of fiction (see Introduction). Communist-oriented papers generally condemned Invisible Man when it first appeared. They held that it was a 11 dirt throwing" ritual for Ellison--who combines naturalism and complex symbolism in the book. Black novelist John Oliver Killens also gave it a negative review. Generally, however, the work is considered, by Black and white critics, to be a great novel--perhaps the greatest American novel. It won the National Book Award in 1952 and in a sub- sequent poll of 200 journalists and critics, it was judged the most distinguished single work of fiction since World War II. The winning of the Pulitzer Prize by Gwendolyn Brooks (and Ellison's accolades} told the world that Black writers had mastered the "ultimate" English literary crafts of poetry and fiction to a degree which no longer called their abilities into question. Many Black critics feel, however, that there were excellent volumes, before Annie Allen, which should have received the Pulitzer Prize. These critics say Black artists, like the Black Experience, come periodically into fashion �(e.g., Harlem Renaissance)--to be tolerated at the whims of . white literary ba ( s. ·~ ~~4~~~~~rfllJl/a~~kM4~) The citation af M Experience, however--despite the fact that the prize was not a major announcement in the Black community. Blacks, caught up in the post-war mood, job-searching and a quest for social equality, were not reading much poetry. ·- ss B~o.oks- ~is_ univ-ersally ~.e cognized for her sparseness~ : .,,p· I and comple.:t.~. c~ntrol of poetic d?vices. I of her effectiveness within •spaiial limitations is the parents 1 said she loves tb; ·"1'nus,h ".• o:t' tt{e people . -· In one interview she language_.,~·A itne example "' / rom "Notes From the / ,._., ..;. Childhood and the Girlho f ~ ,:?' Clogged and so~~ and sl ppy eyes Have lost th,e, light tha bites or te~rifies. . . . . . . .. . But. one by one 'J,mey got things done: . ;.--'Watch for porches as y u pass And prim low fencing nching in the grass. r [ I l ' ' i t / Pleasant custards sit behind The white .1l~n ti: el II.ff ' :-i;... I' ~~lamed by the spirit and example of the Harlem Renaissance, Black poets of the pre- and post-war years continued exciting experiments. Miss Brooks recalls that a brief encouragement from the "great" James Weldon Johnson when she was a child spurred her own her way. Some of the poets of the /enaissance, ~>,Ji~ howeve~~ writ·n r ~ i g ii~n~r, genret ~Poet Bontemps also wrote novels--the most famous of 81 I O'-f' 0 �I , them being Black Thunder (1931, an adaptation of the 1831 I Nat Turner-led slave revolt. He edited and wrote, and some- times collaborated with others on anthologies and biographies for young readers. With Hughes, he edited The Poetry of The Negro: 1764-1949, considered a break_,..through in modern Black literary activity. One of the handful of Renaissance Black writers to survive into the Seventies, Bontemps died in 1973. Some have called the period between 1930-54 t~~the ~g~ ·~·f Langston Hughes in Black letters. Indeed, Hughes remained prominent and productive throughout the three periods-Renaissance, 1930-54, and the Contemporary era. During the pre- and post-war periods, Hughes continued to turn out everything from newspaper fiction columns (Jesse B. Simple) f~;;~: ~~:~-~d:ii~~~:::i::~ ' " (1932), New :--::::: Four Poems and a play (1938), Shakespeare,,.,ifn,, Black writers continued to Negro writers." Per~aps the pe~d currently amply capsuled in t~ese lines fro g I! i \ ciated iscussed ::th ( i\ is Hughes' fa .t / "Dream Def erred" .,;What h~ppens to a dream ". . . . . . . . J and esp·>+ in their works, ca ~...... a tradition, as Hayden n~;-es-,~ i;:t"a.d.~t~ionally as li \I \. (1932)~tsboro Limited: j f f I t~· I ,. �II zc- ) i l .' Hughes in poetry, like Wright, Ellison and Baldwin in prose, faithf'ully recorded the Black mood. Like the others, he also predicted the social violence of t h e · • Q+Jhez• :tt1tpo1 banit dfAk and ,Yolumes 1? i1,.0ets f- of the. period. inc'J,...ude \,J]terl}ng ,1;.;;own, ·,H 1 { M- Southern Road (l932);~To s -e~ ~ 1WP~ ~J,- D~,l'r "-'!) , Rendezvous with America jl944) ,,, ,I and Libretto for the Republic of Liberia (1953);ANaomi Long Madgett, Songs to a Phantom Nightingale (194l); ; Selected Poems of Claude McKay (posthumously, 1953); Hayden, Heart-Shape in tv~ h'tf!Uflt 0' Hi.¥i.~ the Dust (1940) and The Lion and the Archer ~94~); Cullen, \' , j ~ ->€r''.' ~ The Medea and Some Poems (1935) and On These I Stand (post,hu. C~fZ iit B ,,, Eg u~~lf(,O); a~ 'll;.z;;;,/a..J~t~1L~ ") mously, 1947); f\and D6tison, >owerf'ul. Long Ladder, (19q.6~ Also writing and/or translating during this period were D u ~ Randall, Samuel Allen (Paul Vesey), Margaret Danner, .....-a~Wrigbt (who also wrote poetry), ~.Sl,., lh i •-~'A4,ll!il 11 Black and white poets exchanged ideas and socialized, as Black and white intellectuals had done throughout most of the history of America. Many of the Black poets of the period, consequently, were introduced to publishers and the reading public by well-known white poets or critics. Such a practice was to come under fire, during the late 60•s and 70's, by some Black poets and critics who felt that whites could not judge on Black writing. Reviews of the period were generally favorable to the Black writers who showed great finish in their work. Hayden, Walker, Brooks, Tolson and Dodson were among the poets who received high praise for their technical virtuosity. • wrote the forward to Miss Walker's Stephen Vincent Benet For My People, Allen Tate to Tolson's Libretto For the Republic ., ~, # ~ f �, . . ,. , . ., v, srj , ~ / ,!J:w, /Jiau ¥ llfl/a (/_9_ 6 ~ .,....;:;---...~~a~ .7) • ,,-I ~~~~~ rJ 6 ~~~~~ /?-)f)~ 96i • ., "- - !Cl (a ~~~- Lq tao ) ) t (!. _..J �l i from Poetry: A Magazine of Verse--regarded as the white / American olympus of poetry. ~1-,r.b, · • C: A ~1>1i,. One of the most important anthologies of theAperiod was The Negro Caravan, (19~ited by Brown, Arthur P. Davis and Ulysses Lee. The ~•••- inclusive anthology of Black /Mterature, it remain~ of the outstanding textbooks~1"(;2t:l,• tiaek w,Ii,lfj,iR~v Brown also published two important works of the world, the Supreme Court decision of May 15 closed the book on one era of Black Americanfistory and opened up Pan- I Wright's Black Power (1954), a dora's box on another. commentary on bis experiences in Africa's Gold Coast, may ve been more than ·ust a hint at the what was to come. , corn's box, cs hir d "th 1,., +- lld FO -i ve "n, a ne re,-,~ of l ci r OCCl l q "t o I"' "' .,.....,, r 1- P. k wori ., · is 1a,... .., , , · . -inl ,"1,,., .Jr. , fo 1 f esr. -fl '11 "' "- - P o ·dA , " of oun < 1 of' h-ite , Ch c1 i vo-ic t0 !-: t' II r , . C " 11 n _, ,., "" . f' l, ri ,.. . on C"' C, oth .,,, .,, "' +,:,7 1 ' r n ('\ r 0 d +-o tr::p Q-,- Tn iVA , .... • f") r cl V b y "' ~, . I ~ K • re l T .,,, t 'Y ) �c;'ood mo r' n~, nJ bLveJ1hl11e,tz(lwJ~r~Je11 - - I.ea.ti beJr III cont; n<_;:u;..l,e;:..a.......,._ As the ?0th Srntury onena its be1-ild..erod(qome say eyes , 11 sort them !!!!!D~ of c nnri;e j ere " ~1s n Blac k noetryl- and the 11 Pho c ' 0d 11 ) - -not the lPA..""'t • a 1ong .._,_j_ncrease in the_ rt • \li th theN1 mber of f publicati.ons t--- ldnc t1' ir ,m rk(due to the n5 oneering 0 ~f Dunbar, Corrot'"l rs , Camyibel 1, Cotter, Sr., "nd ot 1"'rs), Bl . . cl,. oets could t 1eart •-lll!lh!!!k anticip te h ving their ,m rklt re d by ''.-ii te ed.i tors . "-41:11(,ljll.e 0 /t-m.y of the oets uriti n in the first "nd second decades of the cent~ J.".J wo ld never be he~rd -~ fron again,A_ a few of ~ , , - - . would become · minor·'l lio-.rits of the ~-~ harle ii.en~issance . he noets 1,rork!-}dj\Jilf.._~rnrisin div rr · t-,.r of styles , lin~uistic - bents , themes , te perrmentst end -=ind C""'le from nract;c lly f-e ti . 23 ,i;l' the •est I 0 verv corner of' the U'l1ited :State5JA.AM dies ...,nd 0 011th 1 eric"I . ~ Ies ie Pinclney n'lJ.(l e cate ories , Kel ft" _ ler(J 0 AJ - 1939) 11 )n 0-19{0), Charles Bertram Johnson(1P80 - ), Ben 'amin 13rr:1 1 rl.e7,r(lR'.)'2 - l 39), i\:1.YYrlond f}nrfiAlcl lJqndridn- (l't'~-F'J ,, Jrun.es Ed1 ,rard T cCG 1 ( 1880 ) ot o Le A -qoh "n n ( ) , m elina Ueld "'ri rn ( 0 -19,S P) , Jesdf°' &P,JJ_Se'ty~(l e~ - 19?1) , \falter ~vc,...ette r ; ,--- ,rrs . ::;areh Le01\..t?leninr;(' ffie Lne 1 e~some(1 8~ - ~va Alberta Jes~ye(l897 - w,dns(lf'i3- , Leon~. ~2rris(1e86 - ) , 1/al ter Adolnhe Roberts (l8R(-. - 19(-._s"), ), ~ eor~ia Douglas Johnson(l 0 86-l9h6), ,.,,Peodo.,,.,e Henry ShacveJ.-"o,'.'d(l88e - l923), Mrs 1911?) , .J! 5 BTRij. Oh!'lrles 1 lilson ( 1°85- oscoe C. J8mison(7°P? _ '"pe ~Mith Jo nson(J8ao), /\ ndrea Ha.zafk riofo ( 1895-Ddgar Baily( r ) , Ui 7 limn ), .ToseDh Sea·.,.on Co ter, ,Tr . (7 95 - 1910) ClaJl'i ssa Scott De_cney 1 ( 19 O1 - 19~7), ~nd ~ scores more )' �29 ..:.,.-~~.;-~~~.;;;;;~,. Jrunps were r1cde by ,.;- el don Johnson dev&aon his Cotte r , Jr . (cut dOi•m to e""rlv to a fe ~'ft others ~ ow · ., d is i~nort...,nt Pi.rt ne at le~."'t note I\ terling Bro m. g •a~b~ ofl this SaundP,rs F enton Johns n , <. gs iuc1t1 ff°' d J. of in Dorte.n c e, be.,rond eddinrr the Johnsons, o c c 1 red in the fi_rst t; o dec8des . ~ut , fo r nuroose s ~ and cont;inufu t;r , 1rp f\...no t e that this 1- as not:if a period ina c tivi t,r n!llone; noets . '~'e chnicall , t1-i0rc ~ ex -as ,.__.....,...,~...... Prit!lentation . ,:{ost ol the helned ph co out the dialec t vo ue or ,rrote noots ei th"'r :» hprmless -pieces ')"'.rd.ens , death and human sorro T• Others urote on natt re , love , h rshl.,r "nd bi tterJ., of the 'War • .6. .___ e - s ~ , wa-s a leadinr; ':l.J ack s n olrnsm n of the day occE>sional J. v :r,..,ote noetry . 1 i 0 nd only f' rose - noern nr See "'nd 4m Soti "'fi ed t1 ?5 "ten z as , it is reminiscPnt of ~ provided f eJ ~orr: ,,.,,, c ial isf'nc •• ConPir-tin17 of ( il.-,j .t<'enton Johnso' ~ reel II) "no ~ri 7_7 "'1rndt. ccd ~ 01,e-,~ne: "'r,.,.. ret la 1 crr .{ t11<'or ru1y r:ood st dents '11,-,"'jnin, Sc 001 fo,-, ~eaci-, I, 1 0ve rt , r·e - - A lJra__ma ti c is "' J.shii, oy L . 1 i 11, noet rind educ.,tor, rote e of the f' enior HD.Hf -l-ic, ,ijfa12!11 :ehi&Ls:mu feeJ s t:re Af,-,o - American 'cons tr j ned or,r:,,-, es· on to c-j ve r in ,rino·s . t1 fee~·nrrs abo 1 t 1 is noet,-,y hri s a ~ treng th r0~~ r~l...,tions . P ~ 7Js 9~/!"-fffM- ~1 1~ ~~ f -t.J>~<i • t,,.,f'va · 1 o·f · i~ ; :rnc· . ' f.!.1-": rJes .Johnson • b ishec'l ·na J 5c 1 1 isperinP- (a pa111nhlet , J. 900) , The _____ _ �30 Johnson tt ~,,.,d rd.s noetry and 1 re$ N(_he r"'fl<lnr ~ t s an e~uc to nath of oas mw:vb I anrye rs to be a i r onic II "life"f is ~ JI 1a 1 hen he .a•~ some tFj"' 'jill . 7%) i Qil621%11!1!1J!dM.l For hi T'lw, An oc~aion"'J po e~ttended n 1s d Clonr . "7'..--:i,ra·wley ,X bs forchourn , .t rva d nd the p-niversity of CriiCf'go , [Ind for YPf-lrs tau,,.ht at so thern Bl.., ck colleges n "--'n.'7 ] ish den rtrrient s . his nioneRri'1.P' work in ~ ~ e ir nriTTJ." · t"'r"'t1.1re nd for 1 •• • ne nubJir-hed ~h9_Ft T.risto ry of. the Ar1 0-rican Ne ro(lOlA) , A 0' ort Histor of .l..!Jni;'].ish Ur>0r1 (]921), A 1~eF urvey of BnC\li.sh Litr>rot1. re(JO:::>S'), T'rie_1 er:ro Genius(l937) and r0gro Builcers g.nd J.iero~s(19.37) . It i'"' to BrauJey ' '"' "'t cUes th...,t we '11.U'"'t r,o for vitRl infol"!11::it5.on on tho develonrie'1.t of ol,,cl• AmPrica.n noet r y . ~ rrote stor>j_er- and nooms thnt ,._.,, cl not been co lJ ected /~ no.Y1.rlri de;o s poetry . , ,.. rich I ~ '1 11 nd sometimes fncial 1 n ~ e r n . T·rme :.-o v·10 ., · ti .Jt ~ 1 a d vise "I l. J... for some thin • 11 .,econst.rJ.ctjon Or ccn j t Ap.,.,arently cribi tt1Brcd by ·che o >ortcd t- 'Dct . l_ l. f e Ve '~,.. c nte norary viGlencc , r_;8inst ·31...,cks , he asks: 10 .t!.no r.)1 to 7 i.ve ...,nd die a s12ve ? Zalka Pestruza 11 '"ecal J s re ay ' s n~ rJ.eri Vane r 11 in t} f"'t everv prirt A n...,tive of Ginemnatti, of tl c Hom a n is daneinr, 11 -- s2ve her f2ee . 1 ~ ·:mdridr;e suf ored a stroke 11 1 rh n he -ros 30 yecrs old "'hich left hi ·1e~s 'l.nd rig.ht arm n'"lr...,J.i~ed . 0 nhqreefter -riting ~o"'t of his nootry from hiR bod, hen bJi~hed \1 a.~ri ·n 0'ton , D.C., '"-<oh"n0n ~.liw•=-•••••not n blio:h a voJ me . Pei+her djd TeC:,,.Jl ,r•,o ~ ' b e e 111~*cHtor of the ndi=mt �31 A o:el j_ns ,xxx1~im].re nl1 blished a three - act poetry remains mcollected . lay( 1ric~:iel) in 19?1 but h"'r orn in Roston , he "res ed c'"'ted in ~~,._•...,•'"•" •1-,. ,. , vririous schools of sevPraJ states , a.na l...,ter t ... u ~ 1)10-4J..,; veprs at Di nb'lr '"ir-]:i Sch~ ¼ ~ ,C . ~ " " " - l . n~ ~ ~'fo r P than "'lir:;htly 1 61 {u~ rendo] ,m Broo l rs , 1••1ss ~~ . GrJ.l . - u< · f noe t r,r~ nt! A..3 0IDC O )ri 7 i "nt;, oir;n,...nt , she 1ritAs of love, reasons , darlmes"' and hie:h snirits~ " the 'e 1 1/er-r-ro . mat rinr; ·Jears -- t:rnified in the nhr:1se Alt"ourh she h"d been 1)ublis11.in'3 noetry jn 11 eriod5 cals her fi rPt b5.g breal, c,.,me 1-hen Bhe ~!!!!!!~~C~11~lJJ~elln~1~s~ an oJo~v f ""CaroJ~n:, Dusk(1027) , <hflinc th@ r ..'...hilJo of tlao until t oeo t, f th e di st; J Jed lanr,11aG"e in modern Americ rin Ji te-r>e tl re . ureciC!e and uenltt ~'ii e sixties "0 ld eov ch ines 1 as inc 1 uded in I!! ot I 'as ~he foll 0°i nrJ teke on their fulJ nnli+ical/c11Jt r2l 8if"'l'nif'ic8ncP : 1 Ana r , B t she i::i inrJ11dPrl in th0 br,,...t r,ntboloP'.ies of' -fro - .tl..·---u"l ..... i.can Doetry au::i et desn:::ii r~") . F'. [1 as ?n innt;c fo-r the t.,ir Du ois - irisnired 0 Pconrl .c'un - African C0 nvress in ..-•iiEf A n .,ti ve of Ne" J e-rsey, she ..,tter1 ded Cornel 1 ( :?hi Bet2 hnpa) and the u11ivP-r>C!ity of PennsvJvi:i:r,ja , an0 Dl.lbli ,...:bed fo 1r novels: Tl1 r i~_·' nf11!"j0n (1°2!:.), Plu,,, Sim( 029) , rn~e~1-dn~!Jnr_r7_Jr8e(1031 ana C0 medy , A ·ric"n :Sty1e(1°33). :rer noetrv s ~ ner5 odicaJ" durin('l' th0 t1 en ties nnd thirties., ~ h~-r> "l'Jo~t f "l.OUs 0"-rr;d i-n erotis 'di-w~t4 . ~I "erifl..,.,, noe!.ll . J5n s"lired by o en ot,.,t;i on frori ;::;o io11rn 1 e/ r :1ruth, �3? the noem vie1rs t,he Blacl- riother "seared with sl vory ' s ·,1ortal ~cqrs" M ~ ~ows that her sons qre ?.lack f oet btill visionin~ the "tars! aDriarently ~-~=~•~-~ snAnt tiMe re fle cting d1rjn~ the erlod between bee-inninr, o .. tr1; c nturv rind. the rlent1iss,,nce . ~ o 1"1.Ucb of the • t ares l • t O ,,- ~ us in ,..:::r1va t C ] lVC • ii 2& I) 11 1 ~ '.;1,6 - " oetry ,?:~, P,-- some t • • le,,, Fa set I s vers 7Ariir:ors rccial tones and sometimes not . So·1e of ~'II:~ her vn.oul.er1_re of French(she taugrit the nn u~P-e Dnd t·,.,anslated into bnrrlii:-h sevPral ~lest · the seen · n l\ra,;;,. t' it 1 es of s 0111e of ,rhe.,,,e she iriterDoJater the oets) . This is <'rench words into the ·exts . Generall her tone is mdet, neat and ell 1 -rritten . a native of Nor~ G,,rolinR ~~..:.._~~~~~n~r:;-;o~n:;:;-1-;'.",f1it-.;r~e~ltJ~C~o 1 J e r;e in 1 q OJ. ::md -ro r ke d for many yerrs in +;he rail',ray -rnPil service . In '' G redo 11 he nnounced that I ani ar1 IconocJ ast . 1 Jitli nbvious irony, S adC'H rus of "nn-1 f-' is "an .1-'-norchist, '' a/-ins c·oes on to clDi.:ri , "rid "i e eath of e and bold~ess of subject r1attc-r, To ~on . -·:is C'1ords nnd Discords ~T 1 ras nubJ idled · n 190G 'k1ll.XJ~l/l,V 11 r1,ii ch incJJ?~f"l critical notes . d(~P~'J• ~::1rris, Jamh·on, rs . F'leminc,, 0 . 11 In his n11dns "ntic~patcs merica(Adoff, 1°73) ~n y ti nd h:i -Or{: 1,..erJin ' s ,L .. j: ~--·--ok~nZo(l'I''-'~ f?Vll'-"'.,, t ~11 ._._.__,,,_. ) rr . j_'e1,-rsome, Itoberts,~hl=lc 1reJ.f Tilson , '. rs. ,Tohnso'n, .rtazafieriofo, Purr0ll 8nd B"iley poets contributinr- to var-i ous neriodi cpls of the day . rere R"lonrr lliB '11he Steel 1'•a:kers n.nd Ot:ber -~ar Poems in nc-rn hlet form in 1918 . t,e served as ecli tor of the t(ichrrond (Indiana) Sla~ ond bJi:ilhed short - stories in ~h" 0 entur_r. '1'fhe Steel l n.lrers" is P"T'OtionsJly '""nd tec1--iric~11y a'dn to sone of tho 1-orl: of J"hitm::in(~l=llt) e.nd Sf'n<"h ,,,.,i:r. It nrrci. Pefl thP 'fll6 steel ,o,....ker, --amonr; Ofl ~rris hifl~elf 1 �33 film numbered 2..t one t;_P'le . In 8...YJ.oth"r nl8ce , asks the •rh5 te ~"rY'iS r.in to e c ce-nt bim '"'in c e , desn:hte color " d fo::,t e differences , 'l1he .i..errro s the same as the rest . " 1 bli"'h(;d C..:Jo ds and c;U,"''7.ine ±R (J,. q?O):in RoPt n 2t ":;h8 inception o f ~wt.n~- . -. ~ ~' . p~ ...~ t ! J ~ IC/'-l~c,M-:4,~) ~ tb~ rtJ n2,is<1 ... ncc .A..a nonP- the " earli~st l'le<Troe art:i sti c eff'e u ti encsr contrib it · ere to er""lo-rr f-neP - vr-rse ,ith \azaf·r,,,ri fo "'nd :i 0 11 ;j oYton . Sexton ed to v::,r;o1's periodicnls ,.,s did .1.aze.fkeri efo 11ho<"P 1 ork t e anne'"' red in '.he Crusader rr a i:en fro 11 1.'he 1 e I e t'l'ro ai:rrd n in V" rio s nJ "Ce ".LJark SymY)hony . 11 11 1 Pl1tiiWii!ll!Mi!.lll!!P!l'll!!!!ll!'ll!•.._thi s rind ternneraP1onr,s incl Jn dj n.) in Tol. on 1 r omb T:b rover " S(')xton "America: nlr-iys line wi J 1 be s en C" evi 7 i:,-en-·, s 11 "nil ~ rnp "PS en a re . '. nay,ents , only , d an P}e e ta-ny ec1 ,, c ·- 5 on . e 111 ' 1. sks , in 1 ecry,o Ch 1y,c· , " "'!!!lliiliiiiiilllil;;llll•~l!!III!"!' for . 11 inanlv ~ ' Anrl not ""--ontin(T rnonev - ITJ."'lrprs , ll r;n the m nner of l'(tokelv CnrrnichP.el , - ,,. he 1,rarns , rho11J d For t"l-ii 1 world 8 '::i m rk to 11 re 1 7 f's h0 fi t the 1 e ro n "Ven . In addition to anr.er nna i·"""natience, thi r noet , 1 so e:;·presses r'"'ce ,,,,......., - "The ' ,,.ro 1.JoMo..n . " Tf it ,1ere 7 ride e ft np to h · m to 1.. l)ir-lr a t e0'-rO -,oni~n . 11 t;. · ;n -;io 11 11 P, T( ' ld se1ect the wonderful eon of the hall of fq1e", poet -rv 1r:re l 7 , -' O con ,l ed to fil'"' ryr zincs , E"'C 9e --{fizaf eriefo , ~ ·JO""llan for .. nry,o n 11 /J othP):i' . '1 1 ·1 fo1 r 05 f' t - J i ned <'ton "'a"' r~ [)ri.et r)~•=-,., • �3h Burrel] celebrates the 'prace snd forti t 11 ~e" r , ..,tn°sr of h.ti.p,cn] 7 i-r1. th!ltk~....,..., "Pl nclr . . . . hi . . torv ' K sk of the Blnck rnoth r. xl:re: e~rth mother to Create nor the c.,ntains of the st; · fro- tr'ericon 1-0I11'1n . is ' c f· lson : . . JJ asn . a ohm slit :1s0I11ebody 1 s Ci,iJ d" iP not rood uoetry but its s ibjAct . 1-ie and ser•rod tiine i-n the e t togeriter ,rorkcrl as 2 nrint•er "'nd th atrical uerf'ormer iss")uri qt..,to Penitentiary d rinr- which time sI11alJ boolr of his Prses . Shnckelford '·T s a n"tive st· dicd Bt an of t.lillia Csnada 1,-rhol\.•t J J 11, ;nnu'"'tri tr..,ining rcho---1 nd "'.Jhe "1. 1 J:ni ideJ phia Art 'useum. r · s ntry_:__a Other i'oems , wss n11bl i'"'hed in PhiJidel·-,hia in 191e . Jamison uublished l,earo .Soldiers n.1'1.d Oth~:' __Poerris ;"l South S~ . about ncnstles in tJ-,P, ldr, (Tl:b"' 7..,+-ter noe:r1 has and ,--.. rry 1 er.hin s" 7 "+;PS t e bt"'Ve --y r:rsndl.r r::i se . 1 11-i!"'.\SP, Jose,,h, love, .is'"'o ,r·, in J 9 lf' . Jamiron -.rr:ites Hope]i::>rsn"'Pf' nd coura"'e of J nc tr')0 s, J" T>'isonf uoint is~ouri, BniJey ' s 0,1 V'1.# vvi~•~ 1r s rcleas ':)d in 1 c 1L! . '' L1he ~l rrro 11 A nntive of l2.c 1 ririrl 11 l"lcwro Soldiers . 1'1~0 of the fle} r of D nb..,'1'> 1 f' "Colored i:::>oldiers" 0 troo s 1-ihose r 1 ,t, fonrrjit instePd oft! roe 1 ·inF 'venaenace for r.heir Fronrs. the hn,.-,dshiur of r f'o'I'> 11 s')uls A ,., ica 11 o~ noeMs( he ,. l llr.r,ame "TI ir t tlin~) 7 oc_;ous to lifr: ej.l , ue 1 r..., al 7 Rt the b"t -:=ind uarn. that the "bal 7 may bP. '\-t' 1 rl0d" as a plea . bot b t ( " r . Self .. is at the 11 �35 ' Jf5 ss Jes,..,ye •·rro te ovi n"' no tr~,r but i~ mu ch bette rork in devclonin · and e dinr ~ rofes:::ional choruses . 1orn in ?nsas, she received music 1 trainin• t •estern Uni re--sity in ovinf to new York hanf'2 s Eind Lan f"J"Ston Frij versi ty in n 1rih.ahoma . Cit~r in the t1-rentics , she contjnued -10-,.,ld.nci- Jorl I R c o .,nosi ti ons "nd thot of t e >nen to ( ilton ' s 7 ,:, c rdtlq oi 0211 i . . ted ribove . r:sap::;uur Her "'onas #., 19311 ) ' "'no. ri'hC' _u ronic l e ir ,J noted in o 1 r d;_ . . c ssion of' A1ex Ro ers , es ye s11ccessf lJ y c ombined tho -roeti_c ?nd the 1"1""ical lang u2g~ (t , "'il".lilrir to str:irt 1-ri th I). Her noem, "The 01 r-)1. t e;,r are so :::i-· naer " rec . . 17 s t 1-rork of Co,..,,..,ot' erf', Dunb,.., ", ,Toh..nson ( J"ries) , noetf' 'mo m for he,,, 0 e rour oth r n' rho 1,,.,vc brj 0 ·en thP g Ein bet rePn t-he t1 o art f'orms . 8.. 1"0 :J II nne i TI • j S"' J eosyP 1 ~ "ior8bucl 11 rlnd ,,,. . i l 8 "'t'n is riot ' • 1· f'e :rirl •-ro,..,·rn(a 7 onc:- vi+-n tl-1 "t of 1 pr r,on+-erin 3,,,,t1 n1 l 9 r7 r 0____ ~_:::J c of' l_:'£__.,...,, ri r,0ns . F1or P. i e::') sec c.'-~ ons , �Dl ring the ueriod of the Renaissanc e , ,,oet~ such as Georgia ( i£>c,c, Johnson f"r:iuset, Anne S enc er , J i c e Dunbs r - 1 el son , ,..,il 1 , §) ci ay , James ~1 e1 don Johnson , .Uandridge and Cott er }m.:bu h"d scriiew d recop;nition before 19?3)) ~ontin ed their o t ut 1 \) I either throur,h me,...,.,zinP- or book · • Hllch of this I! 1-1ork i :G. ~ he i::iook of _.,. '"':"'------""!".""~.it' r • r0corded in Johnson 1 "' _ can 1 1\.erl in ' s '~ . c;J_l ,o tee;ro Poets .-.nd The:i r°'!)oems nd C Poetry of the Negro( l q?l ) , and in other such comnilPtio ns and periodicals . horn in ·~8f't V· r inia ..,nd studiAd et the Virp-inia has Seminary in LyncQburg •r.h 0 r she ~ s ent nost of her life . he re Anne ~pencer F'.1S cent y relocr:i_te d in CaJ ifo rnia ; but .,J s for a 7 ono- time li br'<ria at Dpnb2 r Higr ;jchool in Lynchburg . 'i'his noet ' s 1ro r1.r r--.. h<1 rdl mrer reflPcts r2cj8l or noJitic 1 concerns but she is one of the most technic~11ysure of a 7 J Bl..,ck the oets . She Trites about ,;romcn , love , carnivals nd Jorkings of the •·- - mind . In · ts brevity 2nd conciseness, her noetry m1ticin t~s the work of G,rendoJ~m )rooks and is JooseJy' akin 1 to 'lngel ina Grimk ( trioue;h the latt<'r t s work is re ciaJ _ y - fl::ivorAd) • .-., Fer poetry also be<. rit~ r in the e"rlv yeors of the cen+- 1f! 1 r-ut, of _ _ ~fch 131001'1-i nn., Y'] :i C _ cind st~rle c'- n be seen i'l. Cnre1s," ..,ncj:.her-s) . SJ_ ements · ayden ( 'L A D-i nAt r1i_e Cny,nival. 11 1Te PY:1.el i ve r, 11 "Hi ghl!;;- qi:qsa0'e and -r. }in. t "Dd <J,y,9 told ( jn on echo of the ro wtics, th..,t Rl8ck poet i11. the same ""Oft •lma soI11e k:nshi.n to the 'l'l'J.OV:l 0' C]"Sf' noer1, it E"eer,:.:-, 1rit11 \J , tte-rto11., 0 jc, lln i:.>1--)n]JPv rid h.0"ts. "YJ.c,J<tion'j ·rJ:-,ey,e;n t 1-ro Jov rr nevPr �37 ~ advised, in 1 17 , t ~ be 1¢201{ II col A 197)1, no one STI!"l of ye pro ifi c . "sen"'jtjve,~nd lrnenly ~ t her wider oudience . o mf s,-ucm l x 11 observant" Put as of cvm Pr , e tion . Con::- j d ri n"' h0r 0 f' Y'S, 0r· od · c a ls Fork c·n be fo nd in sever•r:tJ ant11olo,.,.ies nnd Tp,.., of tbe t1-renties . Criticf'll ssse'"'Sm"nts ore,,...--:-,-. n-iven by KerJ·n , rmm ana ohnron • ..:rari.ns \Jelnon Tohnson , ~ , e noted e r j_,-,r , and Other Boe~ ir J917 . Tbe ~,,.,k inc~1ded din l ect •el AS standard .t!,nFJish cor, 8mor"'tive ni Pees . 'ot higbl..,r 0 1 1 f' conventional "ir:inal , the 'ork was one ri.ore ste..., in the lon3 r:tnd frui tf11l dPVPlopm,mt of nerh ::ps t e most i mnortant fi~ure in th hi"'tory of ~""'was involved in ar mriny thinrrs as c o Afte,,., his se e m s ~ d h 0 ve been h nnrnl:--r no "ible . 11 ork on Bro2 d-ray (with 1 ; p:ht operas), he 1-romked for the re -: e l Pction of p'- 1~ck poetry . - -~ t beodore rioosevelt, served as d for his nolit5c<>l 1-rork) in l 1 nit0d 0 t~tes Cons1 l(a re - i c qrarrua and Venezuel ., ub7i:::;hed of Anx ~~ - Colored L edi tori a s ( for r,o· e than 10 ye rs) for the years . A deeply P6'"YCholor;icn.l -Jo rk , l~pw Vorl{ in 1912, wrote ~ r:e and bec8.rie uto b,:ior:r~inhy de" 1 t 1 1i th r 1 1 ch an exDlo!"'ive contenpornry tonic- - tbe theme of ~sint -- thst Jo1nson 10' ld not sffi"" ri"' OTJTl nn:rne to it ti it ~ • "" reissued n i.ntrod ,c · a 'rinr OYl hy t'1e , rl Van Vec'"ten . e.:b th,.,t ,Tohnson I s II rotberr II np ,'h5tfield, Di.l~oi s, -ra,,1 ins flnd oth errs nas ri ;bly Draj sea by Jere just as stronrr rni th. T j 1 ,h.it an, nd if'o rC' ofl' • te ( 11 intel 7 ect ia:J_ sub0tancell . , s r ndnr Bt 0 s �38 ( should be ..,.rn ned -ri th the noblest AT>1ericc.n c,,-,nn1e:rnorati vo "Joems), and 1 1 other jnf1uential crit;ics . "his first book mows "'trenr,th, ,-.. fl 11 virilit 11 and rob F'tne!"s thrit wo11lcl marl{ Johnson 1 s futnre , ritings -- erpPf cially 11 God ' s _ro~12_ones(l 0 ?7) . jiH mhc noems 8re natriotic . . cornrneYrJ.orates the 50 Fi f't y Yorirs 11 wllich anniv1;rs ry of the J'.,,-n_cncine.tjon Procla!'18.tion), nost lr;ic( 11 0 S01 thJ.ana1 1 11 ,descriptivelv 0rr1orous( 11 'l he Glory or' the Day:f 1 ms · n Per Face 11 ) and didncti c ( " 0 rothPrs 11 ) and fundament'l l The J "st ~ i ...,portPnt for for wh t it rncorn.s oem, t;it?\lJ:.~r;t; is as,.,embled, is an ::irtirti c n. le ck 'nn Unkno,-m Bard 11 ) . of the rmkPrs of the inr; actual -rortl.s rivid names from SnjritunJs , ,Jori..nson st renrrt Lind h"'n ho -r :it ar,..is-sry chqr,,ctPri:=itic of the s e sonr-s nirituaJs . reaVPS i n t e hPj. loved !!' i :t?sls\sliWl-- I""""") and to 1 rhich he a"voted so rnu<"'h reseo.rt ch "na J istenin0· ti:r10 . I,.; roouced by he "ays, is ':':hose sirroJe chiJdren of the s n and soil . 1 ~th~ .Johnson 1·n ir,too , that ~ ~ ou1d Dot be • 1 O blcc 8Jnve sin~ rs , ~one, forgot , nf cd , if 1:.rork rl om he d t1--Je torch . AJ tho igh "'ift,~ Yen rs j s a "'tronP-, col 5.d lllW:l '!Ork, r.,ce-r,n,,cc-: nu~ lyrics, es.ten i Yl h · • ~ Ce ws end dll pj n I ti 2 t: Are tnnes that reD at ~hn cry of the hn, rt �39 Jith a woman 1,ho is t intAd bAC'lJ.sc fl C' is e the vj ct ; m 0f One dro p of Y!J.idn; r•ht in the de m of Ji fr, b1 ,rho finds hornitality i n the 11 11 "8tin "t,,,eam 11 s ~his n oem re c nl Js Cott e r ' " ",,he ,,1atto to His Gri ti c s 11 -rhich de icts the preclic8ment;=q:a;n5L( nrobably CottP r riim" J. f ) made up Uf Red 1-12n , but c, h rnh l e fold - - presumabl~r the "9la ck COY'l unitv . rn. 11ti - r ... c ial 1 ll <> cl.r Hr.ln , nri ton , Gel t , nd Scot , ho lo v es tr e dark - s dnned , cur y hai r ed " u ts SF8 t music :in 11 sj ,.,., i la r tension in Y"v :=:0 11, . 1 ti ·rs . JohD!'lOn To l y i::lon ." w. he to ses and turns betuecn n.dvi . . inp; er son th t tri0 "d, sk,_r Dal l o f sriedo s rcrAPn the hirrh,ray o-f Lour sky" :::ind enc o 1rsrrinr; hiin to 11 storrn the sull en fortr0ss :1 fo"Lmded on ra c ism . In additj on to -rritinP- ruch nowerf 7 ~n.d J.r.stin -..,ootr , r·s . Johnson rns of u.•illllll!il;;""1.- "'er'd ce to vou.nrr uri t rs for sev"'-naJ. dAc<>des . bosterl A 4"ernale co mt r - nnrt tn L'Uln-ston lar 1 ~ ~ nna spontan°0U ¾ Me t;nn-c, _ .; 0 Johnson , noetry of the T,. :..\inff'.1 D:i_srnond(]A91-1915r-) rDo did not ntil 19'i-3( 1 J~,,,.,_o__\n_1 l d DiP- ). DisT'"lond , Ji 1 nany -rriters of the p0r; od -1ro d 11 rinf the hen,..,is"'Pnce . Dj_sr1ond nf 1 -Jas not 0 ne of all .0nvis e h:,Tsi c 11y prPsent in nrJ eI11 born in V~rri;inia ::ind, a trock s t r / 'Y)hys;cal thPr>ap_ a f tPr 8tt ndin"" ton , he c1t R, "'h I ecical College 01r~rd lJ"liversity •~c:.demy "'Y).d t o lmivf' r sity of C icar- • �0 Dis ond , 1 ( crisp and noi. rina t poetr ftl o urote some protest , i_s ore im")ortant to us durinr,; 1b.hiirn rr ntcrt 1'h~ \for d I s onthl"" 11 of ove And eriod for his jo rna i"'ti c 101h) for several years . rhey also co-edite ( 11 r ____u orit~ gazi~ d ere they botl-i~ n,,bl isherl poems and ) articles . Tohnson ~ 11' d sPvoral of his nlays performed in C icP l""O ,h th Pekin ,..,he..,tre ~-•llll!tlD==:i111111111Wl!i--l9A.. ic 8nd the H[lr}em ink be+- eon t e noetr o ~ 1 :=, enn s nee . city ' s n Tiesake ni V"r::-i ty 3Dd t,, rr,ht sc:tiooJ for .., ye r in the Sou+-h . Y>7 V ri +-. "'T .,... , b 7 ; " ,.,d noet-r~, one( TittlP D-reaming, 1017) in C ica~o, no ~ y 1 07 ._; • ' ~nc onr'"' of .,_he Soi. l, ~r:inct1 0 - tiP1e . Tr"rr1.o., - J 911 e .. vork e+-;r: ,;p..}-' d hpr'l. 0 Pnetr: (19 ?) - ----r--- pi bl; "17"'0 ~_:- s of iJ,.,r,.ect ~:1e-r· ca, ::-hort ~torie" . A narticinant in t.11."' ''no ,tF-r re"Ti val II in "iiil!!!!!!!ll!~ r for P'"le!:0:Z., 0 nt.hoJ or•v of I and Tn sn ing that he 1.'78 A i lii<"' , orlr Bccented nt1'ol0rie 0 0 ~ ..:_h_e_I fprri foA-';7tr- CPn a c..,,i c<, J0' n~on h A t..-t .Toh son •JaS C Arn.,,,,; f:. Poet-r~ er J t.. '0 -] cna,:,: .. If 11 O"'t of dP-spair nd Jtirnately the S the only noct nriting :.in e: ch ve:.in(as Bro,m , Hedding, ,--- -T0hnson , h ~ ~)!.1'.~i..+-,ics T as+-;~ I-indSA"' 7 aclr Ttlf HOY' CS "'""he and s~ndburg, 7 -- 'A,T)rovi wU ' d~ a,J~ n av0.nue B t in nool'l.~ ~ such as . 11 'Tli red 11 , )7 ~ycr, n mo-re t "'n " dcsrmir .. 11 11 'Tlhc Scarlet omPn" "nd 11 n, lers" he d. s .deflecting, as 3ro m noted , the 1:ree-ro noctry after 19 L~ , 1 resent, 1U s PYnerir:ent,.,tion to Pn_t or into the of \"njo I'O""try only 1 11 II ro o:; n ch tre es of Johnson can de"l ,,ri th either the br Flin rb,,n blues or the do :n- ho-rrie , 111 e sl7all OV"'rcome 11, 111otifs . Ac,, 1ro his �1 ---~ wo T'k do es not contain a cons is tent sni ri t of hope , ,J"mPs ,Johnson 11 ~r~ is m0:::sar:e nirrored ide s 61 ' 11'11. .ll@lllliiijlo_.-s foT'ei.gn to any philosophy of life t 11e 111 e el d on ts no ·ro in Ayrierica h:::-d ever Johnson thou,ht this w s uresched or precticed." bout the s"mc time a R 1 l< enton r- OP7J -l958 G Johnson 1 s ,rork , of the bl es erq -- and ~-is ometiI"l.es f a. l led its "father . " iM!lM"!~me~mml!lliiiiiliw:m~ iR 11 11 riT'0d 11 of,., civilizati0n .Jhich h<>s riv n hir1 0 ~ _ · and find 0 1 1.t th t yo up ore co lorP.d. .. JT'i_ tes about roustabot ts, nror"ti tutes,. 1 laborere ~ 1e pro~oses crr • • • i t is b"tter to die thnn it is to grow Johnso too rnanyll children c'<inricc fn.,,, ther.i. to SJ'1".,,,,.,. in the Ar".ler · can drearJ. . and observes . hat st :vong ri.11 and is , as JFy ·' tli.e p oet of the d:i snossossed . and Fenton Johnson V'"' n-rFints , 311Dt ,--.; ht said of Henry D1 "-J;/:s el so r>J" .... , the noet of the bl 1 es ; San Greenless hris noted"- "the blues "re a freedom song . 11 In br0alrinc a my fro111 tr,.,di t-i onal Bl ac :e ------:-, noetic dic t ion and orm, Johnron not oPJy received influenc0 from the ,h5te exneT'imente r s ,-.... of free veT'~ 0 ; he horro.Jed heAv il v fro~ t~A bl 1 es and , at this level , nmr"t sh"re so~e of the acro l Ades usuall~ rc 5erv d a] sole l ~ for I,anr-·n ton It is no·w re si nn7 M .... 11 o~t '3h-es . idely "CCented tbat the b]ues do not pre8 ch v"A a tion . To t},e contrary, the b J es ) telII\Af:>o onal f~ilures ~ r r'ret 1'18 1 ,er ~ -' I~ ho~e i n the s-i_nD"i_nrr b only one of tbe man~r no et nd n.~ .:'h? .[ o-i11"" on'4- ~~ ~.A-O sA..t.'• •..-•...,.lllliillil••~ Do 1e r0slly beJicve thet Johnson meant for the c"h.il_dr""n to be thro m jn take the bl es dno- r 7 it r"' r ;r uhen h + e river? '1rom_· ses to n;y,no-r>e th n ,-re II y my heR.d ~ �do;;n on some r ilroad track " ? Tohnron ' "' "note of de:::T)air " 0 d·stillation of cyh:i.c1:1l 1..reb the djtties , ( 11 st. rhi_ch ".)l"Oc'li1ced the sorro soncr , the 8nirituals , jolrps, rl ymes ahd blues . At the time John on I,n 1 i s ..., l es, • 11 .,,he 1 II e1'1 his Qlue , " . 1'.)l_A,P.8 and arr8nrin-:: tradi ti onaJ b ~1es ~ --• l . l ].{0 lip 111 eJ 101, .,,..,, s ~aJ.£, -1 .ote JJocr 1luesf ") AC · - 0m~n, II 'It ' e Us Che9r tre tnis Jist " fl] ne is ct Pl> - i th rruj tars BJ ack '"' Pr 11 in reali tyJ nJa y0d "r" ITt,j me t nes of the day . 11 C1e 0 rly this if' ,_, ld be . Tfo n:rPsides 1-.rorl 8S a nrjnce of the bl es t;: • t • 6'7c-tjme")! Johnson '~ is in rrior t :=mtt,oJo "':i.es of Afro-A"leric< n no etry ana cri ti ca 7 ,,eose"'srients of l i" hRV,, ril e"dy been notAd . c sions of th ~or no· e thoro 'P-Jl dis 0 "Oetry - bl e"' c0ncent sAe S+;enhen nenrl rsnn 1 q Unc1erstandina; 1 the Ne -r 'RJ " Ck Poetr:r, At the of oetry b.., ¥ d- m bi b1io,.,.ranhy~ n , h";)+-,er VIT . of t:b0 Sea on Cotter, Jr . r1°a5_ 919) , t;he Drr.:>c-oc·ou::- son of the Cotter already disct ssed . vo1 ' ich ct t st.or i ne hnd to And hie, co le ~ Yi a-vt,.... ne: C/'"\tt9r died /\; the rnoc,t rl t, br->rc11Jic,. c,lim volume DrleT'l ••el"l&issance +- er c an eared e carnc in1ov,,to-r, r,n +- _ _ ~ denth nr0mi::'~t:t.~ o r - Ar1er•ic"n frril from chi dPood li:e. D,nbar , Cotter at Fic,lr Friive.reo. ty ·hen he d vc 0 U"S hj_c, fnthe , Cotter Sl'OF"' peel �- I , f a sh::1rp ...,.K_w=irenes"'- ( in rhe "3--nd of Gide~, 0 8nd an evAn s~..,~ er abi ity to exp~es sentiments Pnd fPelinrs . i~ J}id 1.'h t Shall .l J•nn • "ll in I' rni c" uah,:,s i s nio c os - -thin s i.., 'fhe re of +-11n t~~t nli ht a l onr e c '1.o e s mu ch of Bl" C c A Be"f 1P1'f ) of the pJirhttf1 of B [' Cks ith nther 1 oetry ' . . concerns anticin Iles ear.r 'Rlues , " Jaz z oni" , 1 'naisnl'1ncn , Cnttor ncv"'rt~el 11 ElSS ~ y M• o-nf-- "'nd eoo secs jn the be!'.'.1 t of tre 1 rl re i 1VAIJa t 0 0 1 of i fe an orde r ed by uod , Cotter bofsa.ri 1 -rit i ri~ 1v)AP1 "the Lr r n t M .lf' ic. "11.. 11 ±oeil pllljilllll...liliC'~ - • Hi.s toc},nique , ' s , combines t:b~ bA~t ...+¥"'!!1•~ raditional WentArn ne 1 oetry f r e c ve ~se . ~ · 1/M .r~is n en ~re" b o t m v e of ovc , l~J~• ·. n. , A."'l Becriuse I Am Pl a ck " se 1"1S 7 to h" re berm lookin Somnthinf" io boldir,/J' 11e forr-rard to a - hr'i I c, II '"' 11 7 ,I ,; nong ba ck ! T a ·d , f f' Ll;~ it DOePl o c use .... , 0 ~~t ~ ~~ 1 ;~! 1.rhy whites "re so amazed th t he c n 0 i n the ir i n0rt9nt f 0 ce, II tan d 11 oo k them stra i_ ;ht in tl1e ,..nd ''sn ak their ton~ue ?" Cotters 1,ror,. an e"ns in o.!:._Ar1e_:--'ic..,n JEwro Poetr-rr , ~ o Carav_12, crlin '~ st, d:r( " 'l'he st"MP 0f thr> f icnn riind j s u pon 11 Jott r) , na ,.,. . ""Ofl S ' r Fork nd 1p1-,, b] i '11 ed nor,l otr • ,. I, �" PRO -r.n--rrs: The H rler.i. Renaissance A- ~""" ... ~~~ - -fl.-......., n,,c K~ ': Rert2issan c e(see PActton I of thi::- ch"per) is norn,<>=1Jy recn ou'b-~0 1 rin,.... of cult r"'l ,..nd artiPt:;ic "2 s gl 4 i :ri Jhat Jmros 'C'l don Jorin on act;ivit7 C'"' '3 P :l; 'a" -a2rts 1 E'd the ,lnerrro / 1 tvra actl'aJ 1 y b o-an nnd hou 1onn- it 1 8 sted . Some s y it ti Y'le 19,.,,..., rind -ran un-'-i 7 F'J5. Ot'--,0-r <"'j, e the fi : r ~ ,,,.,mt· oned StiJl G p,,i+---a ;j+,.,+e ) ------------ -- - - 0 ~, fo,,... fm:trln 6if Jiil!lll!Jllt hnve . Ele si.,. nte v 1--,·"' theater, ~ ,,,A· ,, SAd in tho con::- e,,...va.ti ve the ~donted s0n of 2 triornh -rp of a • e-si,odi Pt parsongg , Lan,.,.rton (1on? - lCJ{--7y Ministe~ .~ ' n-hes Gnent 1uch o~ the orc~re ,-...... of thP- in·ent; es trove] jnn-; so did rand0 instances , and h 11 R ov,.,_-, 11 ~P ~o- 191, 8 Claude cn. ayfho orth Africa 11 -- in r1any f _c.u-r ne and lone 1.1rite 2 -rn-;, "teri.ous 2non7r"li +- ~ several ,:;, b ,f"re • Often neither "enaissanco, StArlin 1 11 -ras born in Hew Vo-r1• • ._. , le·thnr Jed C<:l 11 minor 1 i T" 1re uho died ot' a yaoc:s; 1-rit rs of t11e ) nor Arna Bontemns ( foi.,""'l"t!-. ...,._.,. " n 1b J..·,.. 2 l8Jfte 90? - 1973) 6 book'"' d r· C1' th t ,~ 1 J..ri " • e wen t·1 es NT �e Crisis lsbeled the renais of 1,;r_;~or an rebellion , i_s chiefl,r i ..,~1!1!¥11~""~!!11!1!!8!!11'1111'!1~,. for his df 1 Je st Dio 11 ) ~1 f a 'Yl"lo s sonnrt wr i ch windr do1m ( u f ) to the fdlfulo ·Jino- co nlet : 1 Fo,md "'CribblC'<'l on · l'e , ql ls after th 0 Attica l nrisi rr of 7 07'.;)·• r 2fter a s0ries of cs tre bef>in~jn~ of the· arlen 1'12de ,is entry into the 1rorld of 7 Pttors t 1 :o ve2 Y'S earl i.er (1 °17) oeris ( 11 '!C1rlcni Dene er" and of two i~e 11 ri th the publ ice ti nn Invocfltion 11 ' ~ to 1-~,.,,..erica in 191? frol11 arleri ) in Spven .ti..rts lfo.P-R.zine . is nati7e JaP'laica , h0-re h.e- ~ ~ 1 uronean li tor ture and ntd loso hy , State CoJlo e, he f"na7Jy, ent on to Harle~.~ ~ ~ - - - ~ ~ ~ - • ~ '= flnd ,1 , · ~ he worked as a r,oy,tey,, "ai t r Jtre c: t urant nrou · eto - .Tam8ica, oet of a_;a ect 0 cfay ha e"tnbJimod hi s reput tion as a 1 roflec+-i_Y",.,. r; s onP-ti CV~ Voy,k , ~~ ~ )rncvm i-,,. 7;tr:,-.- ~ry nr:id ~ , ro -e ,. 1', d:!:11"1t-4w b; or,-r 2 eavin e nl OY"J.ent ns a no 7 j ce an on the isl<> d . hPE0]-9ct J['ta1:>1;"'lino~ '18 Before :iife - lonrr fr "end~hip 'Tith oljtic 1 circlAS, 0 ax :Enc,t an( rho hi cal note for • c:c;:::::::1:±:a•1z·NN!• c ay counted nrionc: his friends some �to A Pric VO l 1 7 03 1• fn~o 1s critic ·arle!"' .::>c 0 r'liere ~~ •ITe 8 ( 7 ')?0 , I . A. Richards) · do·rn(lq-,?_ ~ nn __ Son,.,.s of-----,Jrunaic8 ""r 'Y'd ""'Ued in 19 1 9 __,;__.._ CookP , 0 pe0 # tro~edy , by th0 .,.''fl!lll•-.m:..llilli~ of' '1 7 ncl s . in his l i ·e • "11_.1 t it ,h re :-1. T~ neT,r vol 1me of' nrose 0 ind Le•non J" ef ferso,.1:, 1 '>,ou~ he l 00 hed o, t 0 nd Fn s t n~c 'Y'e ot er cont'Y'aditions nd -~ e,rs to rruch of rN' din .,. his a l to bi o f"t'" nhy ( nn I,eroy G..., rr , 1--ie denied th t tf'P ' in ho rev r , c·n b0 ~~ine1 b T,onL__ __ __ __9r,e, 1037 , J 70), his e a)"o 1 or o· C il"'" ..., C ,J I"\ l •. 1-ie best "o ·rco �; ronic that · c av'---- i tt: ritban C, c 17 ed tli.e "Y)n';t of ,,r- ·n"'( arr_om__He?ais""'~..:)c"]l9 hi...,, k hlricl, Prome si-ce nont of his noe~e clonl 1ith ~~~~~- ~liPt t uics c,uch eus," s (' '- 7 • 7 1· ~ " - J_(.,/{.~~4"'/7/ n1or.her, nature, rio"·,,n_ ,.,.io, _one incs", I\.:. ) C, "nd dAscrinti0nr 0r Of noe~s he nub]t"hPd onJy about 1 jternrly dozens of - can be c .11 Of co rse ~he-,.,e is*Pethin.,. 11 eel nngry!' ~ m w'- i, 0 And ,: ar.t ..,r8rp f'S steel with discontent, •• •, Auch in much of t:1e TJO violent. · • ~~t~ ...._An~ most Arnnrican lif8 4'.ClTPpnrloare,~ -~n th·s sen.e ~ locks tr,r '-:;:b nt is not overtl is tr e of'~pr,rclay In,-,c· co' ld be l..,_bP 10 c miiild:m 11 .,,i 1 :·tant 11 or ,.,n+i "'m"L, nolarizinc ten"'i oni37'iSh,..,t ,.,,a!re nno . ., , R" I •·i7 1 c0r1e b ck to 11 violr=mt" --h"rhori11 , "n r 1 ri thin 2 f in-er.xf rame • ~ s it~$, orld of tears, . h3st influ ncos on P .ack thou3ht and art of his d 0 T cKqy -n0rha1:s did nor, 1 no,r:I thflt hi , Fri tin'"';s insnired vo.rio~nokesme.n ror Africnn notinnalis~: Leo old ~ed r Senr,hor, J ~mane Soce~ Aime ir toda Ceso·re ~ial• ~~::::Wl.w;-,~~iiiiila betneon h0,\..,,,i~itnnt •1r,i+;nri-s of the t.d11 .,,ro - 'ln 1- ~j ~ seen , JO(Q ' c:i ,~'3 xH) 1;, d 1 rino- this n0.riod, · nter~"'ts in _. n some I he f'n l. ']--d"::-; Phit,e" 0r01 nd ·or lin $@Pf i BliPP/W. Jl st ated ond ~ rif'J'Jerns U')f.JU.L r c;;." c5 noted mi tos . I•'or ere indic +·,·nrr a ne r ....._ n--tj on lnclT"', inf' ired b: tho --·ro 1 -rn s 1 nnr ro..,ean co,,ntri 1 M[' d cha:rr1on n d Emt rtn ined sc·nlined anr:;er of his l2c 1rn , ~ iti the r- 0 , h ro nd rec worJd r~ f 101 "nd 11ronn anda in �, . 11 non'"Ct - t,.. .., rAc:'lies 11 and D""'M;on in ~ i-:'1.err::t . ove n.]7 n~ f is a noet of prission , tlfii"'-1-., di. efore in 11 , sa,rs exprn::::'"'ed 11 0 iord in jq n·r e"coJ n0W1'"' 7i 1 •p to 3ino-, T L0ve 7 II 11 1 .t'olnrit"'T~'. 11 in the h" rids of whites- -or as a prod , ct of ~ct:ence, 0 ther 11 ~~•----i- ite Cjty, ..,,~ger !lnd hatred . no0tF1J(D, ois, :inc' ence the ryoet of h8te . hr If nlled e]<'lnn ,Tot>n:--or1 J&iJ'lC<" 11 fee jn.-- is S,c L1l::1tto,' B t , es tern ri cl·nP.s" ~t:~ .~ ~ t h e ,,'J:/tJu.~£ • ~ ~-•-'!'lt t.,o,...1ec; iri the Hnrv of' c ;r "re t'h "" in ortrnce of tl--ie e"rth( nc1 ~· e c,-, intry'"'ide) , o.i."i 1 lf'iOrunP. t(_ lith 0./ Bl c 1 v5rtuos c i ~ l:la c e -r ri dA r c e 1 e b r 0 ti on"' ,_,.f~:;;J;.....o8-.-~~~~B•1·iiiir..12!2.ia.M""'' c • f . , "F < r l em Dancor 11 ) , a P fric"n cro'"'rroac, /\,:~~iPit ali::::~ 'nd re 1 i ("ion.:-1. - ri"'1ti id T'l "no ~ m n ~~--~ii.i.iii!i8"""'1'~~ Afri c..,, 1 Tarlcm as (; d J. _, P r,[ kP son ..... et f'orm.• vse of the . . ,.., , ct '"S .., "Jolitic...,]/P"ciaJ ,ro::iDon, he P'l'lrt be i en c redit l:),-,i_nr (jn"te 0 0 o:" t(1 :isp·1ra ed- -c.f ., form ; n+;o D T~,0' ins) for ~ v~hj c 7 e of protest, Jove :=ind re ce +, Dride . rnin •P tl•dr 11 hfute" b b"'P.rvcd th"t �11 ~atdns Ol')ened hi"' "'Onrrnt to Tbe l~ew er-ro " 1ith -ut in no othe:r' m1JtI1:tr:om nu"'rter, before or since cJ: y , does I cian Fe thinks ; n bJ c 1c. Bl..., c k R. C and trPp;~ ; rony --1-1i th the f:'o n net . G'wnndolyn 'Q '""' .ri 1 1 11 er me""lor'-- ble " so l!lter invent 7 And C • len I s 7 -:-!... ~n01 res -1i th 1 7LAP inconcl rivenPSS that vPr es on /\1 1._ ~ c ritics 'el'l into cco nt . cKa, ''b. , ,, 1 i 7 f u o ~ ~Tohnson . For - C ay he sonnet i"' r.ontrolJ od an,,.er . 'is i,.. in the "'trait - j c 1ret of -t-h0 ,j' ... 8 loose form of theropy -- Bc ~tir1/J'3 an,.,.er of n"ti ve f-1 ;te liternry J<:irrp:d C!l menitics . i.re c <:1 ,.,. t Ta nts to be freed . is open - endedness r-r:ro rn ,7,uc 1• n , J!f. ~ r centlh.ries 1-1'1en I-"'c ay Tr r,edy , u "The " As a c orrect and c aref 1 y II <"$ id §PtiP n1' iJtl're<i dP rJ inr of ~es t0rn l')O etr""r , the " 1 f' n.,..., t sed it . lv-- d beon in the ~~ /('."1;11,i,~,..."""IIP., J.ines(in varirn's stanzaic natternr) , it is de jr:rned to nose so irm in i for " ...,,. - h1le , an d close in a of • robl em neat ans' ~e' # .s nt-.,. e~ ' te t ine nine) or tl--ie se"'tet . Presto { ~ "'t 1 i in ''bo J vi ng •I I, ,.... " r1athernat:i_cs 0r c"'lc ,1 -µ • /\-'JaA I,]' 14 the 'race prob e l- o rover iq not c annot I (' ite so e[•s:r . oner .Crfl..Y fr· .,____t "solve 11 a lvnchinrr . ut r'e paces it lyncrinrsit1 the rnoRt nne,"'0r1e, ,..r 'esorrie context by er:_u 0 tinp- the A.: ..,- pj V; ~'t ~ to t e cr·,c5_ fiy-:0..,.., nf' ~ ,...i:--t(ro0 C1 ~'.~ p ~ f..., i in ,...esoJ ' +-1,-,, n.,.,8 7 And_ ·_t-;le t lad:::i, lvncl"'P,...s t -0t Dnncen r01.ino t ~ § . d f C PsrJ.~r -l- i_q is not !\r"l0 7,, or Sant- ll 7 lert 1 s he 1 ,-,a rcli; us p,.-,,.-, 1 1 cl~ Ghrist , :=c,...;Si'1 . lt 1•½ ~ to be , th.~nrr ;.,.., fi endi rh rrl "'0 . "' P.tr2rc0, Sl- f'Elesne ... ,...0, Snenf'r, 1 'nd .- Pverl _.;;> • J ton , ro1 Pn C()"TlG �50 ,c r.i v 1 "' PO being rk. 11 nr"'"'ti r:;e II ant:bolop;:i es ( orton, renresent0d even i w,; -e vlnrren , t, .... · es in Lit0rnture and others ). The mo"'t c""lb itious '"'tud 'he_ nnitcd JC an of Hclhy tn date is by ro S e s, >1 incJ aes 0')'1 P ,-, ( 1 T lroo rn-Le1.ri s - Pl .., C lr p O e t rr:.i. tin r• S 1 t ·qg,rl\ S ) • ) 2 1q~ i~ Arthur P. LJavis 1 s ~rom the -- ·- - - ' ::mnendixes to nost antholop-ies , 1 tbe biblior:-r:-,phy section of thjfl Fork , and e~ ec:iflJly the 1:i"tingc-; in Blnck fl re bl oodeo '')J oy, ceven rnciq] "trains "nd looked re· P,('. ten .uvidPDCC to r ' ,.,ort the fact tl1nt .oomerl\ · - blood and 11 n"'",...E'd 11 C'"'nnot be fond in his I'l"ior neith ' ' 0 NI'. 1 ' Tork --Cane(l0?3) . ,. ':f.lhe 71ue written jn J93A and fladly 11 rirlilln, b ' overlooked, i-r 1.·ric:1 he tries to unite ..-., the disparate eleY!l.,,nts "'OD les"l-ii 1 -ton, 'TlOt"l r " 0rtJy " ·tor l::i±R he 1ras born in hif' mot},,..-,, e co >1 n t 11,... ,_-: '-'f ter of p d_,, .s. ,,,ently -:ncrbac ' Pil c ' ' rea of iap 1.-i nn-ton . It ' rit "'1d robl'"'tness:"r,o,..-,e found sr:f) ore color , >no-r-e "'8iety. 11 Af~er ). c: OQl11°r ' r. T?")"t 11.t Io' i"iana "na re- 7 oc to ; n 7 mhri pv in rr, t .,oo'ller s her0 t 1 0"'1otion , more rh:rt11 , t t andin,.,. local lb}-ic ~chools "'1 'includinr- D111.b2r> i )') another , nPver becomin ~~!!lrU P!"lr0 1 1 o ~ c in on0 colle e v <"'Prio"s dor'rPe ,., nclid....,te . l'rol"'! ~ rent t' r0 fin. 11, ft8r ~ 11 ~·li_ ., ::'Pries of jobs , d ·nuttin J.E'1f' in "'"VP,....a] "vqrt- a,....de J.ittlr-> T'1."rra7in0s . l'oomer J-, J J 11 • stories JS gj b? �l'nf'on, A}f'red Stie"·litz, P Gorh"Y"l P . ~o"enfeld , I{enneth Burke 1 0 T L ter , ana other" . fn lr months) of a sm"l 'i'oomn-r 1 ~ j fe -ret, y,rierl. to " nsvc,...,olor;ic"J disarray" r-el f - ·n· fyin 1 ...., a 0 nd he turned to mcthodolo,.,....J • . USSlf1n, ,. r1ile :be also J-:vcd A.,,,. 'l'o mer 11 I dn "'1'1 'Y>Y'-i ,~,,j osflxuo1l e:·o,,r-iP" rt:=iJ co "lune . :.rn ou · cir p11~ces ion ,in ' ; l; ~ fter r.b S8C"'Ylr1 pned: ed -1-,iro l,Th; ~" l 0"'1en . not Jrnn•r ! '1 VP • r • 1 7 i •re O 8 r ' ns. II 7 l f lf'iO c1"'nyi n er othPr, J }"l'"'VP- '"')UP-ht to let th,"1 Ji1( i, h -rr."'10ny . ••·t ·n t;he Arirl ~ S ,, y,onPr" of' Y'l"'Centi vi t:r i nc-rPc f' 0( , I lfi'o nd riy~ elf 7 ovi n it. iv " +- J co,,lc nev r love th0. oth r . �Al thourr)l .Tr.iTrJez •eldon .Tohnson comT) eined tb"t i'oonier r~f sect.( 1 le edly o t of conte~pt for reciaJ ca+-erorizinr) to be incl ( c0nv r,uti.on b0tire n 0t r iri ..,..~!!!!"'!"--"!~<~:~r~~➔l'.""'""'":"!'~C~'~' .._.. . . . ded 5n the c:oecond h ,r,n '3ro·m EJnd ,Te n ·11-feeJin s ~ the t o rPnaiss"nce f5,.,.·lre on +-he ,..., !'.'.1Ck intelle ct als of the otrrr , rj t r ouite the r l' 1 rim E'""'1 t 0 d 1 ri tb lit rat"re y he cli_d . "l"!cmviniw:rimrfl:':m?!Pl ~ er8. o denicted Sl<1cks_.,...,~,.,,'°-"- Ol!l'lit - ut al · 11fluence t eer11s to ~ ve ~:-,-x occured between hi.'111 and .1",,...t ::;r8ne . And Roh0rt. Bone( ec,,...o ovel in .Americe 6 "ne on iir7 e~e 7 T~ir is all P-Ur --,ri sinp; si "1.Ce :iall C"ne so J d l As a -rorlr of art , unit, 01 'D J ou1i. with ~ s t ~ s than ever, it ,,...0f'Jncts room r 1 iot. 51n coufues . s ef+>ort" to acriA of both c:oeJf "Dd m1.rnos~ . ~ C"lled V",,,iousJ ' a novel, a coJlecti n of def' er rnJ:.e S0nr o-P {o:,"ri_i, Craka, and tbe rhvt 11JC' of' ..,d ot,hmr, onl · ld d by l"cl ""1iritu'litv fro - ,,1Pri b 8 11 ritual . C8ll!le h8s three b"sic movP ents -- ---- oomer 1ad be An int ,,...e,,.ted ·in )OtJ:. musi c cmn os5. ti on Pnd nai nti n .,--wriich i D.VO l ve ( 1) llAor i a and +-he 0ovt"h , ( '"J) C ic r;o , lPslingt-o~, D•• and the .,,..-iYJ. whPre Too'11.E"'r ·mxe" In thP first prirt of C:-;:;-fl many 0f C\ectinn, ~ . · +-h0re "re Ul'YrI"'r0l'S nj ctl1 res of vonien, ,, 1 ~ , thc>vriA. Jike 8rin+-b<1 , poned to0 f''Jon . 11 In t 18 sec 011.d vie1P rban ~oome,,... r ?i0QC~ 'orthern ec~dence t·•~~~ "nd c0rr•rytion ano no,,...thern I\ ~ , �53 ~ ed,· c tor o 8 ot,th(Georgi a ) to find h; s f' frj c an roQts . lie rather ~~ ~ cl 'rls iJ.y /\t-,,,ro11f!}J. a Peries of :rite s dur · ne: uhi cr ; sm to Toomer uses rw-~--~. reirrhten the ~an ' s fer and co~n l ex s " f:'bnis ", is airii 0 r to n l ay . 8 -r>intha 1 s "''dn " is l ilrn d sk on thP. Crstern 11 horizon nnd i I d.1 ,, ·,. 11 o rdP in t h e •1. es ays the nlirr,ht rnc 11 east0rn . ·oys of 11 ro gh out tr _ b oo:V , 'toomer r e s thy,ouph ti ~ t nd "'ometjmGs eni C"'J']."ti c DOPtr'r • e ven P1ore J e" XlR , 8S 0 f aIT1 crorPs b t 11 i n t,.__ IL"'auer II sh" r ryenj no- their f' cy t ~es for Jso ,~Qoi•_.~, fbr a P1"'S'""qcre . P,l~ck beauty is onetime"' su~,r:5 sin° in -!-;he con text of 1,rhi te be r rennesf' Pnd b1· t 11 1 ovembAr C('\ it ton ~,t_ ov ,,,., ri '"''1cd . .... ri.,.,,P f'::i 41 fJowr: r ~ ' ""' nrr~< t;o,,.. and nine ne d 0 • T")J"""TI I ... n ()O>TlflT' ns 1,e co1 J.c~ ,,..e"'t i t.. ,,,J, - , , -11ri - -of the :::PVP-r>e l both1~1· , p _ ,..., ck roman in f',,-r> 0 ·e -r>' 1 .;n a S0n , II of PY>':::lc:<,ns 11 7a -f' o•J l if'e) . In the ~netr;r .::'nom r ·rrites l ;n' p. . -rnenoed, rome 11ev r b 11 Fact! " is nn old , tired p · c-' r"'l(r:i,....,i11. r11ral vs -y s n, 11 i t:r : 11 "'nd t e cane scrmts ·,o p0Pt c-pi l the li ves -- bro rnn, dama 4ed . t:,ncl1,., .;.• PrJ.or m aues rion . ., d · r0PJ.en 1,rho , nd +:1- r-. con cent for C -2.1~• �'1'he "'OD "inrs : Po r O po1 r t1i. t ,,qrtine; '"0ll l in "0n , the trRdi t i on is j n tact .!Xn xm x ,T st 11 -oou r" the ~on I nd let ~11. vrlJe CBl"'ry it a1ona . And l et the •r~lley c rry it ::- J onr . The "'onr-s of' · n the , e ,...8 11 "' v0rr 11 ,Jill be tranrforrri.ed into bril] i ant dirr·es , n""'ecr-rij 11 a the birth of bi r- R 7 ck ,i2 sz b"nd ( 2nd fol 7 o,Jiri('1' +J,e b 7 1 Pr( i?;J. a ndy and oth r T ). h0 oni c co,.,,no,..; tion , "'ti_ 1 •Jl J · np;ton ) plaintive "'OllX ,-ri l by ,,., o t J s ~ I." l{rmnd 1,y "OTie to a C"eries of "'tri"tj . s 1rntc11.e:::: , S"VTI'p' sie , b - otrc>t"J to nbe "'"'TD CO "t ttaf 3-t_blendin s of Af'a,0 - Arpri.c":1 foll,. rm si c , Cane -- "cco,...d"nr: to one critic - -" " at 1e"st t ro rlr>c"rle"' ahP:,d of the era in nhich i_n rork of "rt, is :omm.mifrm ' . e "RJ ue eri rl. i. an . r s rr · tten . ea.· i 1-y i 11 ri f'1 ,,, c cd by F.ane , overlnolu,r f'or v0·1 sand XN: i.-. fina11, "S X C SC f PGPlS nd to be 100'111''r 1 e "' q lot to 'i:.:iJt -· tm~n ; its s· ·eep ..i.tiW -=::::a...- ~~ e " ' of Sand urf" . nur"l a de n°.,,...-fj rial 0:Pfort to ~Htti:Jfrrd?J:m .... ,,, t ' , pJrmt: t" of rill1S"'J f P dli ff0rent 11 lj ve jn h rljlOilY 11 . ot h"d )-neJ led tlie do0m p"' -l- 0 rri ci vi 7 izati rm in J 9 ??. ( n11_e • aste_l · nd) :1nd 0 f.1\1;:, -l-' ,,_ . s. otJ:, -ritPrs er,,r-3 , •·0.s intent . nt olo iz, d in Back -- y c ourc: P, ½_rd h d PrococlPd '""l i ot . ·it]:, t1i.i.s , 0€\d h j "11 • .c~nnton rocl,, 'J.<>tion . ohn!:'on, of Toorie,... h d �55 :Sut it i"" in 11 1.e.,,,i<'li qn 11 th t h t r1Jch fatP ~rrl~~~~;~~irht not be u1de erved . "c rving ~en end h·rrl 1 - 1 t1 -- et me? ite n; "'f""Prs ,--trike -,rour choice. ir e r'"'ft, ese orif'n'"' nf dooI'l come in the first "ecti.on "'3 t the fecono rec'~i Prh.,n"' , ,n lvral<i::,, +-11e co-rn-inrr of C ire lrno -r a] d 8 1 t 1ese 1,T tr>o bled 1 r,hi'Y]_r·~ 11 • 0-_rl.~JJ~~'G ~ -N . ~'i\thefvno!'e l Pttf'rs . rp-ec,ted . For S omer . red thf!;!-A~ ..........,~ 1' 7 re l C ., "t I ..t.. curio 1 s student, 0f 0ne of' t1--io m0st cornp7c x •or'{ nd cross between 8 nn;-cent sex., it s ., bo-•P 1-iotr. s"'X nnd rr cc if 7 i fe -i b l ,i te P1"n, ~ven sex 8.l cro"' ses ., r e s ., te"'nri-et• .,bo 1 '°'; hiR JC' orimer , ' OS " e uoem . ne r n:n(for thP 1~ plp vqted abo•e race and other pro bl em.::-- . Bl f t nd,,,,-ixt,t e 0f r"ces .,nd co1ors) 1-iho i"' spirjt qJlxy l'.l Rnd nsychir he orJ. d or1J.en 11 and We tre eJ7 nigae s no 1 r-tl8clr ni ·rrers, 1.e 1 ,en-i_ures in A'Yt e1 i cf-ln 'r0omP.r '"' is an a ch iPver,ent to be •"l"' tever t:b e ov.tcome , recboned ni th . A f'ro--"- re a 7 so r 'Jr or · "'ms " - - i. n 19 3 l • obio ranhy, Drir~h ,·n,p of l oc1r ~C o'd:,.n -/1:1 ·< ner t P oo'l"l0 no,=,tc of' t 0';1,-,ey, , ,. it;C,.. l1 l"'PY)" i « "'"T'Cf) ~ i t if' C"l")Od . 11rn 1 rn , rte de in , c1in Ur'"' 1 0 rr,r-r l n roy,lr ill V"rir:,•"' 9 i. 7 7 I c 11 ,T .... n r00r1er: An An otqtE'd ChAclr7 i. t ~-• •=~~::::ip- qnrl h 11 1n ..... () 1 n ()f 1 -]ri t; ci , ,t "'CT nf' r h;h1·,.., r nrv. ��S7 ~~~ , r 18 • ,.,_ r C, 7 7 en r "' ,.::.•._ · i th : o < ,re , - p f" ■ ~ ,.rh hi r re ,co~ a; ub j_"'hec ~ t a r o _ f'Dd ~ ..._•~-,c,i~•----- ,, ~ Sil a s 2 laiilr? a , ~ ,, st,,<'lent ~ 1 4 n,oetr his f " rst hnok(6olor, 7~?5 J. of n1i,-; s "'1" fj rst ti"llc, ::in e t·mc in ~ nJ.,,-,o t r·· rst "'.'lnet . It nl sn rr.flrked t e Pl "Ck rlrod the ~ p'.Pn P'Y'::l,] 1 • r \T Y f: trrrdit-;orf'o r ~nry75ctJ ,J ats :-,n(l Shel~ y. rrri. P-bt h r b,-,0 ch "r of 1 00I'lflY' 1 To} ou. "!"'1'1n; " live Black noet • c oetry. 4','1 . ~ e e~nP1c i ally ~ 1 · "ck' " • - t t ,,., () t i r i t ..,, , ()11 ' t hr rhl or f. hJ q ~ ,-, n n6~ .-0~~ oet"'. n1 • l\.."ri n +- !Cl "IT n~on, -rwt re• ~ riJ--~ • 'v,'\ not , ~ th "lr'l"'i ti 011, for " 0r'"' 7 e i ?n Y)C, 'hlp • ll • +-0 ~ "' rin occnsion h r, 'ch,.. t- 11 ~~ 1, l l .i,.., o,__ l P fot""'l of " ' f'o ·r"rd +-0 C'Ol"'l nrn +,i 0 i r tl P )""'O bP bi 7 it t1~ t Cp olinn' �, I ; "vn 1 .,sA by r ;rs r 1 bscribe to tt,j o "'l"rti c ,1~ As the tic t 11 ~ ~ for T>111ch ~ ri+-nvi.stic ye,..rninr:s t01 8.re'S ~~r i r verre ." Tee;ro tJoets ratl:ienffl tllan an antri'"' ogy of found in ear },i_!=l S0me Poe~s(J 0 3~)Pn~ his ~ley--=--!3-:°ve s r of h1. s ~ f'2 0Ptry can b e <1U vol r nr f-r>ic a n i 0(Co or) as r ems , On ,e I g+ .... nd'l047 ) . C len ' ---::::::::::::::::=-;::;:;tj,,·1~~~~.,.,~;;.:_:=-r.~ , transl8ted n_d_ 0 el in his l a t ____ 1 rr to m.l.I'19rou and s 'IFt o r l~.,,...ics for nusic "O-r>rnd on ,.. d.r"TI"'tic 80" ( "Saint I,., is ,Jo'11"n" n0 _ o~ ,.. = ___,__ __ ~0 eFvan. -· --· .,. i·ith trP Inrd nr to t 0 '}nd , t½.at: r:.odlc Yet do - 0f Jo11.te 01'")r novel: l.:rod 8 0 0 ('n'"' In ) s1':s God tbr .Afro - "'1.P:rican poet , occurs . c0nc~ 1 oinp , after hif:.h Y)rai se of ~nrrrl "'t this curious thing-- ~o m~ 1 ea nnet bl'ck nd eu "nd Unusu,..l r Pre erroes . And '[\ s ~ oet J"'VOS \ If soi n h P r:·o. e ·-1-v,m ' freor beauty . is true but C,, 7 1 en 1 " Fh it o ,. . r 01 1 t of his obili+-;""r to ,..,ndle �a 11,.... ven ,i. o.,. o trjr 1-s 11 b 7 n_c·- ('. C!erv2n+-:3 Prl, ~ ' "- ~11 o ~onl• 11 P1· c"1i d Cf n E'"'ti"l ~1-0,.0° . ' e of Sac~0 "nd "Arterican no~t,fjb 'nnzetti , eo~ f!,; ,, Q," ot 'defen<'lj,,,r "Rlnc'~ boys l{an •nron 1 d A.~ Pil A]ab:?!'1.P Co,·rt . Colord" tre hanced The ~ 11 reir cP.·1se, _; il:len says , is '"'lf'o 1 ~ 11 sL(.)rt 11 ( _ devi""lely i .e., (J I ,. on ::. "ne"er Cal vary . 11 "'n1p . ' 1 Tn lac') i~•-rr umd C , J~n I s Jon,,."' s t -0~f ~+-~~ ,___,--:-,_e_ _t,_'-,_-e_w t~nt~~~P,~Il~ _ · '-' nck Cririst ( I' bJ.; she· in France) . 0l"'"n . Tj "Pl • to the s 7 ynchAd, ~ ar south"r'f'l ~ T O "". ~ ;i- lynch-~ng, nn thP rt0ddinr c"lled trE> ~oem • c,ildic;h J.1'--"·"'t · is>"'l. of or, dll m~-rc< ~:i ci n-rn ,, . E' b8d dream . " ~ndeed., des-rite f~ -}_-I(' /\f •T'"' f'; "~e VE''1.f' S"' n ccn ,,,~J 0s"' 0 ·~h r ,,oerr's)., Do 1 t'VPl . ll �, f9 . 1 I ~ ~lec1-:: pnrrer) ~ i_n ")l' ck grief ntinu"ted noet;c clothjn~ . -,i.11.-,.., noetr:) 8re r'"'ce nride , encl r"ric,.,,, ~ PrevaJent thel'l.es in Cullen 1 P be no r 9e? 11 cynicism , rnd t v~ I Afr;ca( t o 1111 ) , ~ er5.tarre 11 8.nd m ny o+-hers), reli"'.ious and 9,nd psvcroln •ic8l conflj ct, love rnd death , sniri t :t.12 " Ql ' A " ti '8.] freedo , feri ori ty , or !J-f ue -,,,conri 1 or r cial i 0 thP tensions craat ed h;:r bein roma tic ;1n:\-tive ~ 1- ite"' ,A,C l--iric,t "S a fl,mbol the n 11. ,,.l-1 t o f of c0nfl.; ct 2nd c0nt:y,ndj cti on . Cullen c,aw A_re faJo-Arrieric ns as J n a Ch-r>5 pt-j w 1 ~ as t ruP t r rrpav( • ,h · s l'l"'S thr01 ,.,.h in "Tlany of his -noer1p , but roi"Tiantly in ~ .. 1 Sot R r-ck 81on,.,. I "Bc.yrit...,Cl'e": e rn i~Je boaet ; d es , s o f th e tm c e - t,, -r.n 0 d ch e e r , /it 1. mouth thus, in my beart -rr Do I .,, ";/ do1JbJ e '1 ,...,ck A'11ericrin, traprn')d iri Christian attirej b -r:ior t::be .Z:ac1r o:r. d 1 C'"'t;on r~.:1--~ 'l"\T ' rit,., a finrl _.,, 7 J .:l rr"O...,<"'c'1 ..., rr,.,,,1'18 ,,,... nnr 8 8 J.-7 f1Cl i"' Jj •e,,.. :d 11 ied to C +-1--,nt C 11en ~ ,7 i i r.}i tuous 11 5lbe.,,,t cel]s it i"' in<" Br' d" tr~ co11.t0 ~ ...,rt. ur::::P. 11 1 1 ,'1t'...!r(iAY 2_ ,.il~~ .T.'oOI''lE""" t/(~ r~c- 0 nirrht ," ci e T"'n~ed to II,, in the- de"'ol "tP nc' inrido '"'0)11 ci i ~- :• L4av ,.(.j} timAs d "'0ftsczm:xr'1ig: ''"'· 7JJJ1t10. ,Jild•l'."noss of J f'Il "hook . , ,.,cks 11 �i"' nnblP. to l e •tl 1,.. . 1 r>ey "nd I d.e:::n · t '"' 'h A" rt nd hP,"d" lrno -~ ,_ t,..._ .l-' t arc cjv "lized the :runremitt1nt beat" of hi"' 5nnres<1ive i".l ~·-de "1......-rivi 0 r .=__..., tetr metc1r A-c las.,.;c '"'t~tem0nt _, on t h e ~ i n r s of' a"' the mind nd of' a a]ien -ror1d, 11 te-,,jt...,,..,.e• 1 h C1 i "' v0t to be s,.,en ~ t11.e ·"1.anv ," f,._ ;n an svcholo icul ~~ . dir10ns i ons +-1-,,.. t rPJ ated 7 1 en . his a:ncl t,.j 43rr themes nlso ~ervade ot. r ioems by \2._~ C i mi l"' r rvv,~-~i " ired b bis _ Or-Dortl · t"lr • C' ...---,_ Al tl-io11p•h ~l"C { a-y>t; csts •1nd thi to ree , 11 t y 1{ rs 11 ,rprc not 'mt 0.i !-;h0r f, ce destr ction 1"1"00 cte!' r:illy their ~otentj al 01' -Jenr or ~ m" S 1?" r'Ild "tenc O r "nd n. t""9 e) ~'"'Olli zinrr needs• ,t C 1.l en "7 'Pd. the ecl:rn of th hu.'TIB.r1 pnrt . - o Cechnfoue c t=nr ift'"' 1 ; J 7 n-T H s . ., J 7 P-r> ,.., 11 1ritos 8S 11 J-i 0 ml ~eel!n " • :nc1 : t: ----- . i or-ntif · es f'J' ed r.d n. 7-'"' to nsn-P irls s . h-':; tie co0s 0 c 1 r 1 i 11 • 11 St r 7 • n ...,. ...., ro nn II bolt ,lock force ·nd i~tel!ectuol verac;ty ':,c~jc•s ond d -'-'dn::, ::;~ . V; ..,cent his 1 'Sc½ -·.,,"",,.,, , ' , , d ~ ed n,,bStc" !ones 0 f-1 ens e-'.)j-+-.anris to them , nrrJif'h verre :f'OY'l"1S is 11at as ·',,,ta.rtl;ngn as brin~ a 11ri -res k -riro t titutes , abo t =any :m ny 11 bro,:rn 11 d ~ 80 do , the rorrif1ntics out . , l h s (~e_ �ed F0nton Johnson , ~nd others h d co~e to kno r neddinS th A Ayes of a .. into ,1- b 2.• t t er . ·'1 l n C, 7. 7_ en 1 s 11 t i Yl e --~ ..,, ·or:ir-in ..,., -ri f 8 e. o ' C 1 0 .... t 11 OD I S critics aJlude O rlr • o is ct once shrinlki ng Pnd bold, s1rnct at . t ic . 11 or vis c not re :i 7 7,r th r-ort ,,,G 11 nd . 7 pr1m1 t i. ve ' DlPCe s ol"le f ee_.s • • 1--i_jrn'"'e] f - - r.mch lilfe 0 11.e feeJ s in r0. 0 ing i +,p C·ll Jon .,,.,oYYJ.ain"' one of ho br5.J Jent Metea,,ri tes of ~le. cl- noetr"T . c-- even - is ~ -pa"<""lon h s Y""t to ½e su:r·--2.sSP() • 0 1 mon("J' illlllllr c0ntcnnoY>[1-ry A-rro - .B:r>i. ricfln no tr . ~ ~ our:71 he does not convi n e e the r"' der -r,hat he ,.o, lcl "'ctu 17 ,r "Z,... 1 doec (ijc:<-:;n J ({) . d11r1n/J'-J T l aclc i f r, '7n "strip! ;.,.,-+-9Jl0ctu'<] . ,, 11 2nd do tho "I ovrr 1 .... d2ncP ! J:.-, Afy,icens j 11. A . ' . ca C"t 'u"dns ( ...:"E' em he'lo.iz oncc J, 0 · l~er1s I\ J d"tc ~nd incicive as"98flT'1Allt* of Cu:iJen . Soc , cJ.so, critj isrn b-,r Rcri.enib red,, the o f1r-r Fhicb dh roni W Ps the ne..., th - . -OM9-~'') vn-rteJ< I:.,,_, t PO . '1q_n7,r oetf crin+;"inr the "TlO,t un to~ ,Tnhn°on, 1 efrlinro , - _._en_ onte•,"" ~ i"'t5.n""s in the Ch llen sectjnn of 1 1-,,01m, J.?cl •rit rs of A 1p.-rj c -.- to0j oi:rr• nh"'r - -------11 , "S --·o - i"' 11 • ed i_p 1927, the e"rJier nse 11 do ym ..... ,---, n: 1ne . Pp~j Il"" ',t78 ,wentie ~ tion" of H"cl ,To:bn.-.on A r.-ric �I.? ; ,;_ d0velonment ahp. O'ltnut . wi tJ:i his r'O etj c "\It err r o Poetr:rr( l. q?? , 1931) ·ms nne of the hirr)l point s ~ the J no:"t"'nt f'o r r1ore th8n the ~ntrolo,~ of a ul c1 111 Jo(Tro II olern.en ts in "'ince Dunbcr . Tt W9S ~lso the ~ir3t ~ntho l o of Blac 1,.. cri-i--,j_cif'TI h"'s to bqrin •-rjt :ht t ,reen rlif"'"'rAnt the DO' -1--~ j n c uc1ed, r of oetry , r i t~on fro-A eri c an Ja1'l.es :1 ldon Tohnson . · ris5.ons of Jn"'lnson 1 s concern i,., the 2'7thol Ou • ri 0us in ot e d dj tinctions bA - di ~ E' id~1tifird e o t::, r 0 nr0rr.nt, U . the f'irst rust 0 ined effort on the n~rt cri J~j c to i d 0 nti-f::r the · "t the inds of di lectq ) nr! rrave 0 the .Ji '"'C - ,., ' s es s en ts of .,oble1 of dialect Jo~nron de cl~rer th t it -r,ossocs ed only t,v> e 1otfuo:rm--humor a nd pa t h os,_,'3tc 1"1 5 nn- rlro·:n , ch a :::tcte-rnrmt .,e..,ctjn- 15 ;TC"rs 7 ..,t0r , ~ alno nri" is<"u ed +,he fnllo"·n,,. cri"llpn ·e to ·~f't c f')1"'1'1 h 1 l,~~ '"' P"' t1~ 'oJs fro!'l 1-dt1"~ 0 10 ..•o sti 77 'old t'l.e r:,_ an b,r ;;;1nb0Jr f'ro.,,.., ··itho "util..,tion of +- 1~~, 1-I-; , nrl n · on1 nc i ati.on . 0 of voic:inc tli.e r!.eenes t rrd aJ J ow th0 'J::i do Pt nrrlj_sh snel· i.nf 1 f'si J f "vo·" ; o. form exnressinc· -she iriar-ery , rri.or ar.d n'"'thos , too , of tre c 1;C'ble J..,c': poC't3 : +hrt vrill e·;:press t1.e ., . . . cial "nirit ~ ·ril l out . ) J orin~ nn coJ~red noet ir, tho Lir,ited St . . . tes n ed s to do js +-'l.P i3 n0 ru ch s co rrinn-0 of oP-ro , but ~,ich wiJ <> l "o be "nd hi ;h"st Am0t:Lons '"'Pd 2s-,,i rations , Sl'D .i c c ts and -1--1-10 , idAst 0 c ope o t' tr<:'at ent. �It •ms a ,.,.i 7 9:nt:.:..c brothe:, J. 3 0 sa~ond, Tohrison also 79"7 , C,i:it tre, , rs rublirhPd jn A I ·= ---=: eJoct0d noerrs(:,t. P te-r , l"'lt f'0,,..T'"-i ;n -·_p O ; C"' ,c- ·, ...,_.,.1;,;, el"t~s ___an Ircic1"'rt ' ' -· y~ . Tntn·oT J.']0. riebl ,.,. " t- q.) \.- 1-01 ~ -•r n Al f' :::'r'Ol;f~c ,..~, by t-h0 time he as 'dJ hes 'l""'ection DP,.,. o.r, -1-1-c >'l" !1,..., "J. <'~ -~ 7 "r'l".,.'Y, P~'"' "'cl 5n ccn'lbine:tliona n ""to""lob-il ".Yl P "'C"irl nt 1938. T') r lr s f'o .,., ,., 1 q r ,. r c hop I"'lllch of h-" s o m c' ,,, lP-P""O ( 8(' , I .-, Ph0ve ~ or C1'1'.l. 1 'Il~ •r"s ~ , i~d~cnt0d by Jn~11.so:r1 ' s ovm 1?,efPce n "F e ( the r-ne8cr-erJ strodn the pi•ln5+; 11n " 'i ni< n th P:amut of hi~ •onc'e-r'rl vnjcp," a0 OTIC0 • m in rl-ij T lft ones r'n0 _ in rict,,Pl y fitl 'I") t ch~ 1iJ.1.,t j c:; r~ A · ves "PS •rery .,..hythr:d.c nance, ~ncl he bro1 (l'hti11.to rylay 01.c" - - hat "'ri Jl J sa_r?-- �o,...r~I'\ '1.0t of' on or a tru'Tlnet, b, t 1'.'nther of a tron1bone., the the -ricle "Yld v"-riod r"nrre 0f 0motions encornn"Rsed by the huni. n oi ce--nncl .ri t1' ...,.,,.eatr>r n1e"ded--he bl pred, hP crashed., hP tr,,,ndered. T sat f"scincted; eP1ntjonal effect - Thi,, scene C:ity. rile II th.nt he +-bEl p'Y' occurred "Cher t cl- urch U: ½nsnn ... t+-e"lded in r,..nsas p ae 7 iverinr:, Jnhn"'on recalled Tes str ttiY1[1' And ,.,..-- jott-ed II v.dn m note"' ~or "-1he 'Jre 0 ti on 11 • God ' s _:i,,,0P1bon0s co11.ta:Ps fron a te .xt i tre Rib ±noluc"e x 0, j, "Go Do m :>ea t:b - -A Fun ral Ser d1d 0 011, 11 IheCre--tion, 11 11 tr 11 + 11 ld 7 t fl~ 'l'he Proc'li 11'ql So-r , t thri r if"'l-t '"l0int 0:' t!" r"thnr ~ar n -er~f,.. trPn o ts. t} e:rr P r., '"' _. 'Y' 1l # Ch O f <.:.,.., the ~ 'rnson . to . . . . ,~J Y,(<'CrT1~• · <"'£'l"J.e was, ho• 00try--b,,t r0nE' 0f . P 1 021 J_ ,_, 'ii r To' "'1< o:r rp· noe-t 1""1."'t tY>"'nrcrnd th[lt f0rn. f,C'IlPr[>l 1y r,J--pt of' ~ jSe 1--np;u"n-e @P'1 • s ;;..- whitA AP1°"iCfln or Ln,-.J.isr:rnnn. Jb,t "'Oll doe c"r--!l']"t,c(ot "'.'lie is in"'"ji:J rrrcial f0eli"l'"':~'.,0ur.".'1PS oy P1:o· jnr· f'o-r' r 0ntnneit7,"', Buil<1ir. "li,_,r ,n re otiti')n, ancl or,,nloJT:icnr- free J npctCl t-nn T l{"l"l-inc<u ',p_llrpr\,rrnct Ster I 'r I r:a,:rn ~""c,•Jp r tente·~t--aJ tbo' ·'b 101 1a n1r>ced fl] 1 ro,:n "'; 1 J int r ol~tc bl "t['nt .;; rel i...,.io s 1 c· II �65 , ~ r(. '"'Yj n J_ v s, use ("es ~ into the tfx-1:; of the serons. It a B]ack r nd o the· r~s the fir"'t time ~ tic rl i om tr . . t 0-c h . . c T' n0t to !'le11ti0n fl r,):-,nj r inforentiaJ. Kn.Aeled d0 ill ~ I I DJ_r c' enin in trn durt It se TIS 0nl; n ,, -l:;,·r l thr1t ?nhn"'o11. J, ck 0 0 l +-1-)_ ,..Il t i S• II 0• .... .,- t 8 A"Tl ~ E'S 11 p "() l .... /'"" 11 ' ck 'he iP ris r- f, ce 11 ":1he · e r-ro tor r1 y i C1 , �'re old til'lle nre"r"ler 'rne nore thn 11 T 11 secrets ' tl:'9 i j - i'l1nato ,.,.,,..".lncti ln0110nco of tl-iei r oJ.d Afri c'"'n tonrue<=1I . 11 ...J2ecp~ ,li.e'""e 11 -1~0:ri,...11es ,, nd Bibl j cnl ] nntTU V,P~ - - "1 ''rntificd a :birrl-ily rlevo]oned "'rmce of s01na anci rl-iythrn i'l1. hi_-rn,.,eJ:!: '"nd hir ~Anr"'r>R. 11 r 1 hA~e tr •er0 the I ~and 41~.;;":~ rod ' s ---, ., ' :'rornbono s. D0 btl0ssly, t"l--ie voJ. •mc 1 iC" one of tl-i0 !"'0~t preci011s iri tl'R ro.,..i,-11s of' Afro-A'1Arjc--iD ff 1 "'e.rrions- -and yet thei_r of nl-if'tf'Vl.,., j""~ 1")0 anfin"t.;on PAt r ,1er nnd thPi r intuitive eT'lbr ci 0 nd fo71o·r" Q''J' 'lf'. ,..., e a t"'Pd.: ti. '1n of T,y-"\C1' in C, ISIAililiiJi!I~ D· •nb" o -r a 11 anrl : 11 r r r- ·o "'l ~ Ju, 1 n ' ,.. n, ;,... ( .., :irie ' ,-...,. _ c0 +re dPsec.,...,, :;-·')n of '::hri TJ.l"I' 'omrn:m:kmro"J.R Y\l:,W..•~- ICT'-""U\Y~•ff ·T":.iti11.r.' II ~~~~ to tl:iese nerson FPO can 'l b0r>e is h' rdlv a ~ undAr whicl-i Johnson J 2bored u ~ 'he 1] ac r c 1r "''l "11.ity Fit'1i-r f th -· r r ncl ,,.. -; te nT'cl r-- '1tl-iP.rs vW ~,... i"'"V s, to,vrAirA frn J, crn •ded hoat ( r(',riini cent of a "'J nve .,.. ; T>) ~nd or ~11cJ udj no- 0r 0 cri. ti ci 0 1"" o ,, i te 'l'lo~vi rs on . ., modern J iner . onte '"lS �1rhen hn wrot e iri 1 el 1, son +-el ~ 1 11 y:o : Iife f0r MA Rin 1t b~Pn no crystal stair. reco - For uri J e hotb r1en folk t:r•nuh:: do r "i th h i s uc;!.1.es fin,.,.er on tr, 11 pl·lse of th8 pPopJe . 11 - th \ vPrse ~0rn 5 n .Jo""J in, r isrouri , tn_an a rlozen bo')k~ 0 noet:ry, sevAr~.J vo1u.rnes of nrose and pla:rs , "nd s,...e:ri his 01.-m draT'lPS of hi,., rPr>1 ~ i_ n h cl b i i l."t r,~• cJ~rr, ~oAt . l ive •,r:it' "C 1 to 0nA o f t e fi7r:: [1,'l~ ..... ;,:, ,., ..., ro nn t r'Drl, n 0 !l rrH·, y, 1 0-n C 1' 0 C, i-> .,..,:,~ , "V lnno •rl-t "'8 (;'-t')n c0 nl1ti0~ ,., i p 1-;f' •iiilil~:L'-..,r,~---~~le 0f' hi f'Xi CO, l '\at._ "i:n.-i,'~P!l. rj,}1 r,-l- r • .,., P...., c e , "C' 007 a N,_ ) Y"'Oll.tl'S , e ..., 11 c- "' , "'fl( "cl- ') re+-l1-rp~ 1r• Tnhn -"p J... T ' ; 7 a ·'-Ja A to T j i e11 ' \ St t E'llt",X J. ~ jY1 )r-l•1nh-l..-, ~/,Jst O'lt i.n <1re0n11i c. tb Ganery Vi lJ !l ..,.e, :9lqnrs, i.:z:0 Qn • 0 1 -r Vor'•, 7v, 7_ef't ...,r , nrJ-r-in ..,TQ~j,-i'Yl 1"e9 -r.r tr.e ~•Ast Cc:1rt o:' co"ntry ~ :;:..;lill!"I 0n on iob<', 0n to l-ti i fy,ica . {(eturninP.ft s ?~nd bi rt1,fqy ncl TAnt to �. nuri.b "'r of va-riPd ox,,,...r; ,-.nce" (see l'he ~::i r- See j rntu-rned to tli.e ''"'hinp-tor, 1).C., ·r'l-i0,ro 11:ils '11otl1 r ir ·he J ournRl of tr e office of V "'• Carter fl,i. J i "tnrv• r-ir J/{ JJ., l\J P. 1t3rnss SY)ittoons") - . at the \J'rdrinn P,, r k a busbo_r('see ~ TT, ro'7d "r as__I "a11.ne.E_), ~~ l.'11."r;cn. filf!!lllllllll:' of and I chance to ., ,, eone of hiP noe~R to •nchel Lindsny--~hus o 8 o t e l J:(dril!!!!!IK~3f ·hes c::>reer tl,-r>o fh t'1e 11.eT,rspnpArs. H .,£-..!, of -noetry incl de ,.lie 'Jcar"IT <Jnes(l<)BA), F'ine ,,,, 7 othe~ 1 Jrprnat::i~-~cJ..t..at.ions(F'JJ , B.c.o±tshn-r>o ,-;,,,,;+-en.(Jo 2), .,'.be 1/resm Keen r :5.,,,, 0 -e_. QDd"'-r>( J. 0 l1-7,, Sol,--.cteo 1nemsi 70 59,, ont,..,re ... of a DreP"U ) fe1_>:>AC141°~1), As 1r r,..)UT' l'omf': o en, 1°' .3) , (a Jone Qro11 Is Lf' 9+; Sten,d.[ 7 oJ,.J)' .l:''iAld..5 0 ]? ooa« !:or Jpzz...(_Of-J_) rmd ~10(7 col];ect~( • ,,7 "'0 I }ilj()~ l .e__:,•~7rf i'Pv::✓ ~ ~ ~~<lqri) ! . ~ ;" - nn<l t1rn J;,..,a.rb· £Q""" of sort rtor;e~ ?n~ nov~la "",y:0.t.P~ (inc l ~:krie; c-·'-;o ie" f'-ro-n tl e .Tes-:o ~. s 1 1ple :110ri8s TT1_5ch ~~~;::;;;',f;::;;~f.:;~:=t} .. 8 1 er l :.,1P . . rin[·} ".:_ f Q l _, ( 1 , _i r n.: .::r,,tec'). -'·,r, . c'.:; 3 ) , . : :_""J.,,...._::-ri.o..n~J=e....::S~+.;:,.;,· i ':....rl:=e 8 cJso for yolm,.,. rearl :::>s ,.. s , e 1 J A,,,,,,y To 1·rn!Ll, I,;"lfi"'OY, I', - Snnclburn-, of suer T1.ho1n Tn8t 1--.e Y'" t'()l ld nrid s)<"Y)d 1,,1r0". spP'.'l.. 1<'.:,~l... Tl-to T{c l'RC, ,.. ... "Qj,,.,. :::i0~, "'Ci"J]y •. "f' l if' u,,.uidinv u ·res �(-.9 1T.; th c. . . , rlie l i.r. l'!C\, ~ credit ~or or.; .,..ritererti'?'1,...l • in chr-i-r..,tPr :"'( ..,,....,] d•Tin , f' i;hi '1 ff1'10Ur'l'h, ~ ~he r,...nctice ji' o-r r adina poetry to i.-.zz • ti.-r !'."i""l e 1 r n i:1 >"ivPn ~ arnonP' 0tl'ler jflzz rreats . And in~er-urcvinP" of Yf1l1 S1.C .--no ""'oetr 7'\ <"i~c• ssed 1 b13coP1.es a vertt1 "l back1 one of '17 ,,c'{ ar :1.itec~ol:"ics • or ('",<t=l"llnJ 0 , ,... o-f' ( rene,,tPdJ,r~.; "tf'Y).i_n>"j to +he r corr.f' 0fllr in 1 i 11 p"Y>n~e. of 9essie S..,,,ith to raf in rh:,·tl--.Yfl .., _ (..!., GArt·;,,...7"'T tre P -rrJ.8 -f\•s.;on o"' rt:rle 8.llr Or)irit C 0 , . , 0 r , • C he Po,. d ·n :l ,7 1 .;son , 7 •ndC\r"'t,..11.d tri s pail :: j Fo 11 C, lontp no E' t ;:;;-r t0,,,,p0_r"rv :.::._..-.;"O.:::._l ·r_•i G' tr...,ee st"ITli tic ear.n b]UPS 0 "'1 1-'o_ct,,.,y • .,.,,,..,icrJ y QY>-"rs : • u •'..,0s "' A di le~t(ry.,,,i""lc'l.Pi]-.r O' f J l '1. 1 "')1':l.Ct·lc,,~J:· o r;· book 1-iP ntiblir_P-d. ~uc• ~0rr e-rf" 0 t·ve n Redrii -r.r f'0cJ f', fri_c.,_r : •is 111u0s < Con - intn T'b n "'0r ), n0 tr ai~i.o~al - .,,.,.,,,en ve~re. ~ · ~~J.ACt,~·-•i!iii;!n is ~~·t or c- 0°n in nc'l f.,,,ee - vpr '1 �I I ve kno m ,,..; vers: of 'l.l1r-nn hJ ood iri h y srrJ h· ,....rmm flee C, veins . 11"1.?ri Jilre the rivers . . . . . . . . . . . .. I"'\ Y"I '1. • • r•· n 1'.;tr. Pl nc 1c ...o ::i 1;.lry e 110 1 t r t t· , K R f'nrj tun 1 ~ --;f,·e 7 J - " f D:iri....,,.,.s o.., 11_; c COT'I}"' . -n "v~i~r, c-tp.,r. on,...r-v • t-r : 8 t,,_,r0 J!:e l h t 'lf-lE)DG "nncj nt II 1 ;Y\("I" yr' 7 7 • pu into 11 'Poer,'' i'i-, f' i pot>t Pt to e"'ro , II to E>hout 7 c ritr -'-he/,~ 0 11 Jorer rt,,..nte 11 ":{, hlve::- f'orrr- by '<ro1:'"'l., or 1'.I)i'n-~r:.00 of l'"'c'~ life anc "l"'')bu.lt "~·--rc-!;r n D"'<lc'ly , 11 11 rnre be i a,.,il more s 1•c h ('VT'P-ri"'11ccs c? 7 J s +>or tr 0..e-.,.;_nE'!d c,tanz..,::: ; 4- i rc'I 1inrr to co e to +;' ~-h0 o rl\ '--, e i ne 'he Jine ren "tfl.eo. rA00n~ 0no- 1 ·i no m· ones. ,,r- '"'S "Or'"e • t-ri.« J"'Pd.;, :n fo-rA,_ ; .i.. • rq"' lV) -rl:Ih ictic �71 m. t-.v-, t.,,., ·ody, 1ri_07Pnce f'll.T'10r, Ot' Ir> coT'rppsr;on . y I'lc 0" u '1es i"' able nr,,..rs, "l"ck n'"',:>ty P.llC Pi('l'•t 7_-ife p½_-ite "'1.9n 1 r rn(l n·t l•enp u6 1i >9d . 'e roe i ~ si,ittoonr , - ~ ~ 0 -1-hA ,,..,_~l:J.Y ....:.,_ · O, "ilver tr r-! .., ..; ri ,.._, ' rj l , ; ~ Cl')Y'lt -' ri .,... r- t.,... " .l "·-f ,"' rmr::- i..,_ 11 h P 11 0 t l')f' 11. t n .., , 7 ! 0 .(' •1 7 ,,+t0. •1 'Tif-• s th fr, n.r : r"cia""', t..,, H' T)"r. l ,., /1,< 7 -: 8 .''rte "B' '"'tnrd h--Y 11 ·i., r"' i ct 0. ql:iich rE>.,,,.,'5r-or· ,ritri hir tl,-rnu I '1 c_.al ,,,,.,;ty, r~ce n-r>i(0(tl0 ,....,.1i. ti, <i -ifrir"''Yl ~· ntqq ~ 1 'Ch 8 C ,7 ~ All ().,.., c ffn7,r) , 0 t 0" '-tis �,,.f or Fork . oft Tn nt 8";"'0 _t<'..;c1dlell 18 f'Yld lJ,:,nc,Y :;,., tr Jn"IJ.9S hef. e c " l"' s ,T. "o r d A 7 l e n' s trffhe S0 C0 ..,;,(1n1n_ 1s Y"'DhE'l l 11 ~1ob il e dnnce . And C0 nb91:i 1 -17 p rhv+;hr1s Of ..., c r>"lC P. ,,,,,0 "9 7 8ck i 1Y')..,..,OVi88..tion, JI1 '1S c l ajr>'r; ~1-t t 'e~ waht r •10 ,..; ,.. . excit5 1" f-"l l 0d ... • ._, ~ s 8"''1 lifE' , c . . r tri c 'o de·· 1· • · •pr . .; t· p~ _I _ •nc1 r ~ - ~0 1 , 1 r '-vhi to ,,.., r - • "'! cl-iurn' rr '"U'c0 in ~ .--yd c0 7 J Zr tr" Y ;htfi '"'1d l a""raid ." C ,., ,...,h :ues · · c: PJ'.1d tr V led t'hro·· 'h"' 1 t n-.,- ~ · :icl-;: c c>n ')rl d . ct 11 n·i - i·~,"!'·,:;c-,:1~;""'.""1""."""-:',:":~~.,....."""='~---;;..L ~ .•~•--r.L!l::f-1-..; rp +- 1 1e,r CV>Cfltlvi ty rrhe':1. 1::>lcn~" • '1 11 A Jen ~ ~Vo f1'1'ld /.,b:•-.•~~~"'"""" n,t ·ru hnP .--1co T..J.,.,otn Y')Oetr;r "bon+- h e i11r (_ 11 t lP k n o 1 -rJ r-0re +-hnt :;hf'ir own Y'8"Prvoir of ::'1")ontrne~ to "'ice-"'ton or- rmnoy the • ck . r e nroduce::- . ; n Poetry -:,., n'h "s tr • '.) 3"' 0' d Ylf Off hr. 8nd hj 8 b"h ltpra"''" I Bl_"CYf" C"Yl talrp. rnti c,fncti on jn ,...z,c:t trbuc 1 the...:. p lei? ' { fJ. r 0' r 0011-l-;h e rv 1-, ,_ r pnclin~ "''oulclers �73 Jn an Prticlc jn ':'h~ latjnn ~ F' f' - ~ cloclnt'ed t 1--i" t t',9 11 voun1?:o r II dar'• .,.. sl{in11.t=>d r nl 'llf' s . "i ri cii v-i_ rcua 1 n_q ror,ncon I S c'1 n l } ro "rti, ts ... 0 11 f'11. .; r - ror ... , ant IJ/ll!J. P, . ' 1·0,,Jd e.xnrc8s T,'' If t=>.; t·wr ,....± Jnckr OY' Phi_ tes true t· ·t l1 ,.., ~,.., ,., ·h,,. c-n11rce or hj s na!Lvete. i.c: t ' i r 11 .........::.2_ t0y,i,yn-r _-, tn;neo a ~ . n.; ,,t he fee78 nr tr·" r q ln~ ,¥" Cl --R-,-,1;f-ilB 9- A •rid II rl 0 E'.,. '"1 C "d riot "" ·r 1.; n · 0... 11 ; c, .... 0 ll" +, r11 e. ,.., =n s~·c in E'l.,. ·9nr,", f ri,., " T() "Y'! ~1..,-e., • • nt; '17 0 c, • r 'r e -,.....xu.~ J clr l() n n ,..., •p t"'i '1 81"1 "I")() r' F t rC ,,.,e r "<T "' C"' (> ' -" ,...,.l -nP.d • c, rn )Pnf' rj '-1 [)11 '; to C, +-' 0 7Q C, cX 70 l:b.i c-o : <:'I on in A f' t l ] .c ,.. , II ni:-vA.,., ) hrtt r 1 . I �7' T ~r0 Jr', 1 nr]~n, Hrc di>1"", ,Tohr'"'n'"' bj o g,-,ah:y �.,. e , A' -r>o • Ana .i , f't ,.. r . .,...oA'-,-.y "'ceno is c nnot bo "n0.erstoorl. 'm1ess r:1_0 I""if'::'8llCP. r,q_rl ~~ .,1.,,..~!'l(""'T ec,tob j :r' 0 ( "'lt;"tfuon~ hefp'l"; ., 0 ~ lh,1,Th~11'14(/90J.-lr?J), ~ r-' ~ r ~ ~; 1.i. n~l ~;tt:;;) .- rae _.' ,:;_ 0Y1cp,, I\ C, t ,,.. nl 0'/0 7.. ~;;;-~J;)do7vp e,c mined. T)l-;"11~ of' tre Rs - , .,~. G9 ()l:- ) nm~, Gr,o ~011 ,1 '"" T ri~ on, ::) 0!1"1d Jeff'rA;r .-."tt'ef'f9oc.t) (17 { \U~ . y (!_'1 0 .s- ), eJene ,Johnc,onl\) cr,iy,~ lcl.Pe~, ,e"'i::. 17 -,-andnr( ono -1n1:.,Pi · • Otl'wr C"n bfl <'!i f'Y'\ 0 ~L 00tf' be ""Onti oned cit t:ho 0nd of t r"'ed -~~.,., wiriely alonr: a spec tr I'o n;r o E <, '1 e,n ,.~n 1 • o ~:i;it:::' r r-nc, 6pDortuni t7r _......__.!!l@i...fiiiilll~~ ; no 0"1S a "lr>U 0 -'-l- ri" ,..,_j t , r e '"'0ene 1 '"'. f 1 tl- 0 / rE:'erlor>1 fir .......... ,..,j ficrnce. ~c s of "'he C ri s ·· s cont::ai-ri"' ~} e bee-it; ron,..,e"ert i:;ion 0f ajor ~i,_.; of r~l..,t:: ve, d 'he i:1rrie'"'r"d froYll "' o"'e di.ff'e,,..ent cn.r>00rs o .... #1.:. C.-r0 7 inr Dusk(J'"'?7 ~ r" 'I\ 'er~Pt;:,.~t:r~o~-IYt# or_ • rt. f"Pn-" r ,-j l}pn ' "' cqn �ln O et r-,r O f ~'b f' e +- of ~he l~sscr ~novm n eteo Pre in00ts, 7 g71 in RaY\dall , s transit~ o o et,...y( 1969). lack ,._·"i , nc:IP.rson do es not 7 ist one of t e" e And 0nly res t ar- .,.., "ck A ,.,,he roetry • nnPC! tr0 FJ.r0rf\: a]l T"" of the I O poets ,8Y' d ryrac t; • cally :t1P. i rn a nf17 J ov0r T-rn book. i: of' e lorton series d I . ~ l'J.lll0 r '\_ • c:r P 7 on ri nc rlerJ. In "Frnnk ,I'' (~e fon,... d ,_, P.M S n S i Cl C, • oh .,,,... "C n+-0 r 7) ,., Y) ., en:.=iissanco 7 A"1 8Il ; and the TOI'l"le ,, rn ,,,; eo ,., T'Y ro c- cri +,j "':5neo the O"-'--r,-,.,./ ., C' 7 0 r r7 r,ri oets. ,,,. , .. ----- --:-- · ·h s .- a n r f'na 1 C! sance 11 cal 7 s A.TI<l. wn fll so secs cnnti.nuin qy, 11 r1 ien-nnd-exiJ II t:b11r1e fro1'Yl nnte"l'l s. the 1 ° 1 O I C". �3 <)3 t,., and D'h.P. s,, 1 a&o. ~ --.:aWI::nili t rio-r•e j 1:i:;1wo incl, .d0s ..., iE1t :::rw lfi -u,xn~~ Lo1Mmnvm~ n1.U""e...,ous 1,0 1ks , pa'l.T"rlets 8lld "'rticlcs.~·ii.__!i_.M.....,.!!IIJll!!ll!!lllll!!~:f"!:~•~ ~ . Yi s novAlS iYJ. ~ ( 7 S 31 ; ,. . . _f¼od -SPnds - - - -Su"'c'lRy -- - dra:rnriti zed 1 ' A 1ericP11. An_ ~n-~~ ~-"l"~<:_e t_~ o( - - Tl'ore tl qn 'JQ C0l ,ritJ:, ...,.l rios) , dA_n_~J}pn r"': Tl-ie _~ool- of Pr>rrtivrr.fll9 E-.9) , G-r,e,.,+- fi]nve ond_j, wor'rn iPveniJia, c ltu,., ef Tis rre 07')<""..; ..-.3 1 ~ Fi." 1 r 0t or nnt' o~2!"~r .,2~_ro Po0tEY__!o,,, '51 .1n0' Rnf'rerq(J 01 ,l ), · errro FolkJo-r,0(1()_5C f., et ~J. ur1r f' t n 2v - -------- ·r.,.,0 r - lea r0v0J f'or rr0y,e I YJ.r th.~ ?O 1-iistor y,-,, • e rorved "s tl ivereo·it i "Y"S~ ~ Dw ~ t-1- P f'nc1. Jib r rian 1ti"'r of ,r PArrona ~ s r'"' e..r ti-..ror~rovt ~~ c j i:~~~=:t; de0 - r 12 trir> -, ur::0 11 I 11 or 11 .e 11 o.c"en ' s ) ft111i1 Con,iteo Cu 1 "Us . " TTi'"' 0r en I s r.l p0,=,+-,rv ; 9 W,.~ . ;_,Ju..- �• ~ A co c~,,,. cnMf'nrt ar r,p al'l'lr)'•')_,,. '1"80° t1--c ~e~:r i of' f"MC 'l'00!'1f"r 10 -oe-1-s (> C' "C f'n 1 -1-() C, ~ont '"'"rf)r~, 11.o nl; 1 e n, 00ks U ,1' ; r "r ')rP.1"8 r c' , b a! -1- T)S •rri tfl r 1 ') -f' i lrl,..en II 1 f'eed on tJ-, .,,, . .;... C'/"'C C-n.,o l lP-11.t y +) .,. ,.,0 7 le 0 n C, "qllrc, of p. e 0f f' e11_7y that n J.-,ck ~ "a C R tj '1f.! l ,:,vf' ( 17nvf>'"' b .,,..o • m t o e ~ , de enonbJE' tr ( ition of' ~1 t ~ ·,t reco:;ri t.; nn or ; :r."' ,....cr--t ,,... 11 end~ co fo~t of' "'t"bi]i b t 1-1 0 S "nd 0r~·b•Ar, s t t'ft'Y) 0 n 11 "' i f'-y,..; cnn rveY-~ Jnl)nr "'Ld C0'1.Cl1•d,:-,.-. t at i t+er f'rui t. 11 i l 7 i"' 0 ia• V WO ld ri..stinn'ty nno tli.e . . ont€'\"'1'1""'"' 8 Y)O n7 so ~ an"4.f it the tas+e of sl v.,,, t' c d"'n.l"ct t:r~ct;t;on "'tjll bi+te,,.. on the-ir ton["le O'r'te'l1"' s does j u t thi.-. is 11 i.:rie lip.tnrn" 11hi.c C}')"'ely r 0 A:"l'l°bles Ct len'"' "!Ierit,, e 11 "' d ~ one1"'ln 11 "Pfl"V"' 11 0f' d8nce of ri:iin, ~ et u 11 reme 11 b-r>ed r"in, jun,,.7 e c-lryi, 11 11 11 M go b,., ck into t:hf'! d·• sk . po0 +-,s. T'k l .. e-•n,., / •dne"'"' are 1 Sf) re 11 the friendly p-l-,_ost," f.flE'!d dr,ms, ri f':"'i "', 11 11 10 ... nd then "'' t .;rr.t'"", .:r e,.,t 11 : ••• 'mbol s or .; "n.a,,.A 7 ent in . ., nc 1 •rri t' ..... C"". vi .; bi l . t �s a , • · rou-l:i the con~tri"1.t n-r•0ssure ( c. f ., C,.11 e11) to "'UCc0ed -!_:;he r..,ce, ontE:'mp'"' d conrentional ed ,- stro11, Vf•]o - ., 'f\.p,..,i-tn~ s 1.-:ith occPsirmal free - verc,e eY erj Proo :"lal l'lnd -,,o, erful, n sta ina(t is oetr . t l 00ks ahnrid to ontemns I T r o te:rre he ec12 ted) lC ( • icl - n.\,~l,,(l,,t~'-'f.1- , : P-j s r:,f' ~ Sterlin()' B,..,0, onte en1-;y,n7 +- ~"~A unt...,in 11 , st ,ry, o11r•J••-••rlil'r~tl. 1 "' -,ef"Y'O CarP M2_. Fo"t' "'' ½li~ 1 )~ 1 "or1rn Pee "11..c'{ ,lorld, XX(Sente!'.rber d 8r Lb 0 l n 7• 7.,... ., ,...__ "',..,ks- Robert • erlin' s cri tj cn.7 -~ntho 7 ory, A on"' ·tl+-h An()'e1_:.n2 Gri"rlke, Le·Jis _ " ....l·orr t ,_r·e A Tork car be Art' ur F. Da is I s Flro"'IJ. t:he lJP.rk To er, and rrhe_ 1·stinr lar h0 GoJ rrotha . b,..,ief reactions ~ i I ui.77 Crt.:"11.bJe T th irk it ·ri (ll? i f' f'-i .,.,oim in r rialect) exclai~ed by Sterlin~ ,:;, o~r~~~~;~n~t::e~M:'.:r-~p~, t; e 11 s us in "Go 7 ,,.o i":b. a One d.., a en+-..,t-ton/.. " ~on~ ·· 1 ,· ~ 0 ~ 7 ,, 7°' - 79. lexrlnd9r, Anne Spencer, Arna -•·•• ..... n_ .,....0.,_1., •. ·· "' rt t-:· e of' etA _- Sc, onterrps, �... Vecr Vor1, , ma "'l:11=1 i:tt•nded 2f8Cl-iers 'Jn1 erre, Col 11 mbin r....,iVfrf..;ty, +'or tro yeflrs ...... "'"t:?bl i::-h-; st11died in t,...e Fine Arts :!Jenr.,,.,t"'lAnt--tre oafte.,, A ' nc_:.. L a dual career as "l'")OE'}t ,.. r'l ortist . Sre lri~rr attrmded Pratt ;_ ~+-· tl te, t.auC",ht ~-'-[l ff' of Onn')rtun~_:trmxDU[:mq1111ll!.21l!m!m ,r11_ey,e SAvnrel of 11'"'.., n08Y'1S ri:>n ; er h9rfi11est ems ne rAcn l s depth of "'">.lack rori..,11. ood reven.led · n t;l-i.e no etry of Frances crp0r, r.-30,,-.n"-ia .Joh"lson !'.lnd An('"cJina "!rimlrf . 0 To A Dnrl! Girl" o eens." l-le r 0 cf11J the 1 ord nforn-ottAn 11 fro!I' "Sonp; 11 ; but it abounds i"l the sor,,,ow 1 s rnate 11 but if she foy,r•"'ts r er slaYe bec 1 r,....,-,0,,nd she tir.1.e and another ...,J ce -- f0r n~tural Afr·ica -- Y'PC' ,,,:K: Cfln stiJJ th rot r-;r-rn.t the"e 1"')0'11s �7 nootr reeE 11 y, 'J'i ~a. ti,,-, 2arn.e duality in her "sad l")eo....,1 t .so, l" nn.tred 11 is ohar:r nnrl_ st"inr;ine ri~o a d~rt of "inr;in~ s t~il are reminded of Ri dd1 E" of t1-ie Sn}:,-l .i; nx . n 'JI .•or C "r,sr ,. r.i 0 II • , r oeris on ~ c "To the Du ,._; P ' th~Me; i tr..e Fi "Y' dr. II cott D"'l ~ ne""s .,_ "n,..,y <, , lt L-o:r _ 11 -'-· ,., +-vo tirnrie t t ,T. Seo t t, tho V01TS to 11 f'bandon 11 -1,.,t>self to i11 "n e f'.Po rt to th t of Arna and endurnnce . AcadeY11y -1 n l' v0 id theA 1 onto~~s fince it is deep 'nd f ows from tr?ilition, stslllin om in n-..;.skcP-ee Instit'l.te, Alnbarna , , ru .t!;nr.-J and 'nd t' en t:3ur·ht three yen re, the fanio s at / D ~ber ~ she ell ef'ley C0 ll e,,.e , • fter i('"h ::i cho0l ir 0 ttBndcn nr".ldford Ph ich sh.0 Ji:, "Dinr--r,')n , D . C. Accor~ .; n~ 0rco-rti ve and �l ~ r o not 1'"'c'- 1',. · '- o ,:--f\disnJay ..r, 1 • 7 -~ .P-+-" Or R ~1~~ 1T'O.,,.., • , 7 7. ,_ '"'On, •+v ieo A fl] . O"t n. 7· a,~~ pro"erit i"l +heir S• to h;m. rJlris 11rrtic1,1ar asnect of' ~~1 0 try r-iv~c ri"'0 tor- ch "nAcu atinn cl,. p<'] "ince noer.,s devoid of r..,ciaJ or nti..r.; c flavo,.., t"'ko on s· ·nj f'ica:rice nren :O. rwa " 1, o 1 on ~.s. Du'1ois , ur i te 0 ). 11 ·L':r,o irank 'orne, t did not r uhl is:b a bool~ ) Colle e of the City of 0octo,.., of Optome bry. ~orne Trornc, 11 -roes ,sse"' Jnrleed ~rorne is 1 i ne s "nd ~ 0 c"'r-rj t}v=• ~ orked ir Chjc8ryo ,thPntic rj +>t of ontry," Pccorcli:Dr- ~o Tarnes cf"'l, c'rnT'tic..,l, rr" e-.,, eii "Drl .-.7,,,.,o""t b"re i , his ~hot>t conori c 1" n ;ue. ~c. "Joe co r">ue of hi i;!i!a Y•y rnv"' 7 ve s ~ot rd ost o+' CPll vie ti..., l'!" s it , nciortj fi c inr,uiry adanted to tho n0t' s r,"e,,ti'1Y'line:, r . . cial iri 1 ,c,tico, �9. ~nd v-;ctnry as fact or idea. - --- · ----- 1 ";1Diba1, OtreJJ.o, Cri"'r. s Attucrs, ' and ~dcs 4 fo"', s ~ 11.erir· rte end. 11 - t~rlinf r- ·tE'r t;or, .-,n-1-icipatin: 0 " 11 TQ -f-h,.._ OAtn ' ,,,_,,,,,.,,,,,,,.,,. 111..-'I, "Scotts' oro, .,..,8Cfl 71 S fl I1 t II, e led 1~o"'t:1n'1.ri s" i11.to the e ' e; ·vi ""r dj d ye 7 acber, rr ·c,,.l,r ,,.,... ; tre ,,n e nl di"' POY'l d but ,.,.; ve Jesl" • !'1.8 o VA 1 ; ri,..,. tinn .J d 1 ri n fl c,-•n inr- j.,... O' II nrn0. 1 r ~'10.c",..,.e of sc·iE'nce 'A \J!,,r.-S:J:J:;;.f s a !Cl ~ csODC"S o trt ta i_.,... R for C!"'IYJTrf'rl. r-1-s ort I"' l'-c~ide or.hPr r.oetR for "'ir~inr, rne C9..D. ' Overt re, r-., ~~ or.l ; Sonl'l''r. ii ) 0U"'"aint I 11 'Tlo II V.:W.n . " ·vo, tt~i.,e P.X e -t- ;PE'"' t l 1 Q t e r ti e ; ,. . -· n VO 1 E' d i n ''nriJ,r of ber. T T() ,,. <'l 1 ~r E' - 11 A ,..rr ; '-, Ce 0.,... • A to tl o al tr:P" -1-ri'l'l' a nd 1:1-len ,, d.ri . . . i , 0-f' " 0 II 0 -.,,. .... c nn.c1 ""o l" 7 a TT-• r) i (' t 1 ,.; t 'Y"r\. 1t G,. • r 0 nc b• lo~y nd 0 ite _..,.,u ...,::.c/ .,...7 ~ . . , , "'· 11 ;..,_ •• 11 o <..: -rolin"' (;,.,•,.,7• s 1-iis 1 A ,rrs ·f' )"' "C' t") ; ~ ..., ,., II C'lY) cl h1 ,')8 -fir, T * ,,.. • 7 i f'e .. II () II 0. ~r,letl in .,,.. .., ..., "' re 7 -1- p r., .: ~ 1~ II -r>ec It ; .., 7 .n .1- f' i 1n tl 4 c +i "I' Tr,..,, ~ r....,, n-P -1- ..., l..'), t":'\ "'0 r.t- -1-1- 0 ", e -r tb,..J 7 in ,,.,ao '1 1 ~ ()l .,,; Y1() n. '() J II i n.,,t...,,.,ce"' t.re ne-'· CY')<"' ' i ('T' "Ad -1-:· "Y' ' " V ; C, tn1tfi{\ · .<''(V'lj' 1.;n0, r, " n ,-.-'- 11,:,-jr,nn rr -1-'~e n ; tn r:,..,n-1-·i.,., jr-rr ' . n/:1 II !'.'l co r 1--'- on 1 �JO 1 AQ].. i"' t q'10 "body, oAt-r>"<T AVE''YJ. t 0 1 ,h i::: solely i.n ~ 1 • • bl Y one,..,"ces 1-nvpr~n rJ..7 t - 7· ')l" ! f Gh8 ppnc,0n °ddre"' ed hR."' 11 i::irid, 11 p J (? 7 ve 1 s. ti~c"l"l'l n 4;r 'Pho-nn" "'O"l. "T)"r"e, hie J.--,-i 1::i.n-e ".'o '"' .l:'ers1· _ n. . f'te....,t . < rords th;_~ovrh 8tic c0"'lr,etitdi.on; 1rJu,ncr>d nt,,-npd rn,..,r..,.e Le0.-irrd ni II c'1nplicntinn- 11 th"' riem15nn- of ..-rguPge '"ld flctinn of' 'Y"lel0d7,-r :;hr:it c Rll 0 f,-,Ae-v('rse ~ orne it w"s tl18 1 o·..,.,e, le:r .~ oct 1.·ho lived or.Jy J0 a.e re co rrni ti 01'1 b8fo re hi ~ QA"t'i' ),,') rever, for 11..: s ~~ e octy" 1·on f; rst pr; ze ir is oeY!ls " a ~A"red in ""'O r ti rnA, a trodi :;; on!CI 7 theme ~ ------ r · :be I.yr· c West. 'l 11 rn ; "' "'tq+-e - iri<1e uoetry n J-: ] ' t , lo j od rn A 10r:i.c" . ~ enu,, "-~n('l" Blq c 1{ s1lf"f8r nr n'ietry'p 8 . 0 0 r' 1 "' ::cj_i-w1('p) r t e c -r>0 10 ' s. ,-7 j onl-:,r remote 7 "<T ',i . . n.,,,iv tP "'l P,(i 11cn:;ion, 0 C ' ;Tl1ich "?f' 0uit.e eytPn"ive, F s +- c'l ~~~~~~~ , r"' 1 Pd ts..: tarPft~ j-n r,on - �] l • r in ent · es 'nd th.; r'-j "'S. ,...i......-.-~~ ·w's n1blirhed Y"lt"'i.c; ard nhi~_0ek . 11 e 11om...,-i5 10 ~ ~t:::::::;=;:;:::::=~'-" S0p - 1 b0dier 'nc Pnrl ·r.,...eaJ im"c-ec, "ncl C" ol'l"nn -- s l i'l"l- fi th PI'10 "".,,..ii,1-,e-t.... '!!I!_, £ ~ - of [" vi_r,rr lo"'t I ' Trr'")"'r ' s Prznrr Gnod AripoP-~iat,.ra 11 - - e ··1iu'"ical teT""l'l -- rl tovorinP- roe:rn f\ 11 of' 11 in Y1 : C, · sons bet·peerm ro· inds of ,; c fnllsE''~1:2_!1-P- 1•p Ji- i +:E>..,., . ..r,r'~ IJ.~ ,.__r 1 o·r . a C, ti natc v ·ercd- P~te-•• - tr .:nr1: • • • II or 9()TI8'.:;hinP' "''i"t'.1€'~Il0 ,, ..... ,,.,,~,.c'lf'"' .• 7 h ~- 'l"\f"Ptry . _q~rpc, I A 1" ck C"' nP r..,., •,y,t..:,.,1.f' A.fr:ic2 ,.,.,,.. ~-""P 7 0" / -- 1 rit-:,r lqY"IPYJ.t-"'a. bY ot1~.,.., rnnn;rsf!nce T)0ntr, 11 ·~e...-edi<'4:i5on e u 1 () ny, tr p not,-.,« -+;y,~d nr tl1.rt t0 tr0 ,,•-1; '"'lnPt 1 :- ft <ie" 11 1•icsf Rj,~ i cs ~ U8S f' T t. 11 • <t:..:i ot bear/t; 7 <1 "l"f'"'sed t-· " nn"'.,.,• i1 ,.,,,,,~Fr forI'" • tle Y')()(}~ ';ho c:npp 1•0r fw-1 c;_U-U . "lnrio i:iftnr \Jia •- 0,r0d wr1M.l i:;J nef.,,...._- . ,-70c- 1 If 8nd <;OllVf'.,._t..:,-,n,:il r.-ictq E'"'l ; ) ('. 0 0t-i onpJ P0~ J - h"'in ·, bPt i'or the t'"n"~•1t of 1 is ca 'E.'f'mience" r :t ~, 11 ''Poet 11 Rri<l 11 Pr,.,.sci0--ct'" 'l"'J. l e r' jpsl., s: e tnA 1· i te" 11. mot of'" f',.,p.e - vrr~e ,..,Af' 1 ~i,11~11: rr1Q 'cc ·":a;ts • l(Jott'tro:i -Tenr-cr::v:)n "'roo '{) p,-.i tes rJi th a:i le<""o.,,,i cpJ e l ert "'nee . us ,·ork is deenly ..,.,e 7 ip-ious; 1',,·-; j_t .;s rot """'-~r-1:>olJ.srn .-nd 4:;:-J es C11.r-i ti:_m ,..,,r C' jt i,D ,,.1,r Q Cfl'1.Ylf'd r,.... j lio-~ 0 snr-ss . for "She n 7 nc.1~ C 1ure . e ~ Til•e A.,_H cYr1y, T'P l ; ,... ' n" C di[' Jo c"o'lbt as to i t 0 ' n.:;P1t . I',,.0i .....'11+8i' uith l:>oth ho e 8nd r'h11bt, 1,-i·'.:;h "my enre l 11 1 11 le,.,.f1ir �from the s~ ouJ, ers of Blr c1~ A eri c"ns. But the an e1, 11 1 All ni h+;, j t s ".nabl e to 1 i ond "'5Dce ho str>1, rr led 1 T c"fer. • • • Careful y l'nd stnr~l:in,,.ly, '<-roolrs ves in th reJati~rely ne'\· BJ.ace toqords poetic t!'.le,.,,_e of inaif ere c (ana 'tiistrl'f't of) Christ:.i" i ty . 11 ln ck necAssi ty" j s 11r2t trie an ere interv nes on behalf of ; but r.d'ter the all ni ht C"true;,....le, he ne"rilv fl-lee off the nArr tor T hs leavin "th 0 S 2 · i' no et'l, one Fh i ch b "tP t other ~roo~s niec s . bi c tri etnr, "nd 1 sin,.,. fix-1 ·ned rt 0 "lzas , tetrnTieter "nd i 1 a:1 excitin ical tee roo·cs ent v 8Cl:d rith an 8 b c b rn.s born i 11 a b rhyme sel er:ie , "tAve n·d 7.e s 0 e was 1 1 uhen oney 0 •rent ~n T"'clm.on Jnl 7 e e for fo1 1 r on hs h"1.s ntio11.r1 11cnn hP- tny d in hir "'"' of' it nd '-.if' 0 +;y, is lni.ys ·rel - rnfted. c rr 0n "'t-,., to be.,. l • 7 eel in ct:i Oll • t ·· v tion of 0 i, an rf'n. e 'Bo cl. t "" 1-i_e J...'1"' i (if\"' P, f' 0 vl• r TIO d , r,,.,~1'··'1""l o ,_,,_er .p. al J t ·o ~Tn:r,en Y'( .,.I, p. "'T ""\A"' hereoe U"'t: e ir 7,...C,.. 0 -i-r:r • .I, f; 1 en 1t e 1 I' C' s nt , j f n �J co""lte nr)r' r-:,r noot, rd s eJer•:rr on Jc'b 11.d P"t~P,rso'lli:, prAsP.n-i:f( P ri'Y11i]R"" "'i-1- 1,-t-;-ion ;n 'l"yr aeqt· of'· r2. ~ <>rt·n Tuthet' 1 in,,. Sr. ( ~71 nhinr-s bid , 11 Se terrb8r, --Jess, c uci~ied? '-fricA.n · sl"ls and thP A-rreric:"n Chr" s ti anit , £"X">")ff"'"; S1{epti.ci2'Y"l "-rc'l c-rn·~ are rP .re r>f i1'1. -- 2c'I- ieves ti ninr: the S'1ldj ""r 1 "" d .,,., th to t'-.e C')f>'Y'O rR. 0 s- -:c-nti 011.ce of ,.. 7 very, r,~f,i/,...-.ii,••~i4-f•. fP.sus r "7 0 7 "1T Cl"ic.:.ficcl? ; n<:1 tj "" 0 mn Dorlsrm ' s 1 11 l'lrl.0Dt 11 --"nd re at inf p acP - Il"'l11P.S of · nort nce . 0 Te a:1!!!!!l"'!'t--- er;tab1 ·""-.es .,_ r·nd ni"'rt -r>"'7_;):/'na n0 t 11e "Gprden" bRttl rrou-11.d ,..,1...,. ertj 81'.lc --"l on of e ri.sinr,. 2et the stc cr0 -Por ,,.,,..tly +;re n"r,,a+-ion I f-,,ee-VAl"ne ~ i s ciet 0ff~t"l · cs -f'or t. ose "'ectione ~-;. occt1r in e thP t, , Hi:'.1. u'bich ~~nd. :=:.roo{s is C'"'.,,tf'inly 17ortl-i "'11-1c'I-\ 0rP st-;ud • J n ene T0hso'1 .J..., .L. (°'"'\ bP co :l:ecten. PO t. 0rr, Q-r in d "'°'7; 'r'or J-;on, "'1- nd i'l'l n'1P'Y>e r>, 'ho0 1 {~ fo rr'1 ·b (!Yid ~o~~~+___...._1...._~~......-oi.: "'be a+-tp,n(Pd locnl r- ·'hlic !!"!:±1 1 Bivir;on o~ C07u•b5.a Tn;vP.rrity "nd~ cl"\me nne of tl-i fir 1ref' of the l:'rJcr'l Ro 1 P5f'r"nco. ; ortant e 7 Pne .rohn son nort,11.t "your 0r 11 Ter noeT11S ·-J0...,e m l>Jif"l ed in terr"', e"nr-1.,.,,tic "nd dive.r"'e il'l f'or. .... , st-.:Tle And 7 "11.,.u1:1.,.,. • ~r0 i"' at rorie p; th'1Non.,,@t, free-~re. rs e, c ..nv"n t · on:=, J ,..,: "'T'1J.e ,..,i ec "'e, or 1ri. th TT, "t n.mf'l c:i • le 7 d'">n �14 roi--ns 0 n cf'l 7 s 11 cnl loo i.al styJ e--o st,r e ''hich r.u.,,.,b:er e'"'s noets this ne" a,·A[ 197~9;,9] have as~uJ11ed to be e::i...,~r. n ( he tril''inr, t ~ e t s of the current nn e:rn 11 ne": nC1'e 11 Tol-rnson sounds ::-s if (J nt;0-J97i.;. t}.) And ,Tohnson rri t ten i,... tho 1 h0 r:i nt ]110:i t +1- crow::' nmetir•1e!" neacocl ish) dre<'S ~ · 1 r1 i +-,,.. s " ro c ,....., r s , i ~ .,,o 1 i 1 o "r [> r:u, ,, " tenc1 in~ nf' l.tl(' "'l."11 ir, !i I rbi-1-;f> c0 77 "Y) d .; n''YJC)'J'."f' t0J d to I\ i,.. ' ::.:'' . carries H!"O Bi A l_e. I ') ("\ nn n1 r to t:he rirlcll +;n 11 d '1.ce ·' h" c011l A ·')f' c:'}"'1"-;'")(> ,l'J 7 nn, ... 0 n ne 1' -- s,'t0 ·1~ Te 'an+;ecl d no~ +;hrop off +;' P cJ oaR ni' \ A" t rn Prl"r." ~ i ,,u, aral11: ~,'1ey1e :ir 'Sonnr-t to A MJ@ l'-"1 :JrnC"J" 11 0 ('1'.,0 :i_r- "E-r10r1 11 ~ ~<1.0.ocns of T'l00I'1S i-r. T.ri O (8rr1 reca•l:in ,.,,.."-;c,r-ory), 0 h8 �nn-""o ,J dP-"'iiCt"' -\:;hP ~!!1!'11!!!1!'!"' ,_ o thP. · s no t e.,..,nj,...on:'P,,,t ; ..... b(dnr· l)fl"'ITCr olo; or ""he •rich PP ] T --nd rP ~[';i')1 1 s So'TT'e~1ou, -!-;he ~~ ~ ~lfJ . T <> TI'"'-r>t l<>c'r '"'nd inf exibJe t~ou ht . A, p [' C { • tr f") C, / i,,, '1 i s ~ t=i r b n ri " / e o1_ft--o>n y') , de..,'!")i efe; ;s o½..:..,::-1n:r sePrr"' to is the an"' f0r e,.._sy one ~. "P. <'1'"'i r i """' r; . . 'Y' ,-.._-r>o B:lti C - ''tfot - ed, • r tf~P. l"') nl • nd c"h y,i c .• ~1 ll er <lrpn Pd fit to f'V T r-1 C iJ1 11 .,.., nri ~rd n - . . rn] terp h"'d~ f-.1· n"',, . 'I t'ri "llr' tho/ li."T'"', e"tion ; T' ,r ,..,od ic, f'V~d nt al so 'hj S bC'cories ; rfJ_-- - c· [) >'l CJ.. er o ,:, 01- f\•::Nl r'"' r,r , rorrRr · 1 C0"1.CrAte I\. ad and n ther s . A "r0-·n rr con · c r t: o Pt;, 0 r 1 t P 7 ()')() t ,.. • "lento't"1 Q"Y> ~ 1-l,c, �brick. ti.rrss TI ,,,----...._ ..,..•o iiilt r-ind -· :i3lack lyini t hRt ;"'l ,.,..., C' cu 7 tv °1:l-i he~ 1-ig i f "nd"'rrri neo, ~lrn: ·e1 r.,ne ,Tohnron scer1s to m~'ke Road" 0 811 u'1P,..,e ...,..,. phe linlrs in rind Sinr 11 Sun, 1t -rndo er ·-,,..,; 11 L1rod1en beauty, n is P ti 7 J their fi -~t. C f'Ild ., 'Pntrm ,Tnhnson I II fl 11 ri E'. ' 1 Reri 4 ni scent C1'i -· JdrBn o+' +- P, sj~A cclvises lier ne0nle to Rise to ~w ~, OilP ')ri . in,.,. '"oloen, f'ni l J ·.nrr crv ! P,]1-ieoJ ' . to the noA b ry of n y,-i Il'l' -rn},Yl CU)"!') Is r 1 : i_ <::! -TO (\,11.e: t' - , r,({_!"J onr f' i i •i. th 1 8 r, ~-n 7 an l' p T ,, hes "''1(1 .C.c •p E''td +-J--. "-1"'1'3, u0rd $i l.vn... 0 l_ on, :'.). C. 1s1c 1 •11E=>re 0 Bonton Co~Pe -vnto,..,y of f' ~ ~,,sic rmo. in 'lol'i'J.e ~ T½P tFins h"d si"ili.J.2r ;.,,_+,er "'ts::Glll!!!!K J ,,... hAJ d Sec "'o :--- 11 o"'{C8~ t::i.onal urorniso . T"··c0lri ts ~ ( "ey, c.Cf~ .! ver"J f P,'"'"TI.S +-~ TTn~v-rf'·H:;-.•11 1--tes, farin0 1s beinr 1r, p:ns 11 uon en =" :Jame 9 Ueldon Jo1'n~on s+,"ted th t Onnortvnity vork re rtt ended 11 ~ ·:o, ever Curey nAve,.., bPcn-1T.e a prol.; fie ~ n0.ts .. ,.-'1.Ps, J'J~l ) .,nr' .,.inc ln -c-d~versi-1.;,r cH. rrJ ...,rl'CP, Jy, 4 r·,,..+;, 10,.,, ) . 'ur es C"l;ed ~"r.co n . 7, CC' of bec:q1ty 8l'in the to "l-ia re bPer cnr.,,.,ect. A..I,,,,..r:r -roA";j c idPnl (-4,.rr >-c p,re . ~ · · ·.~-t.; -r r-t,·rocl epl cnl_J e-o .pol. . ,.. TIOC't. II anc'l G-i 1f a1( ~ T.5.nc,,ln. Sco~;t- eron r re "s ,..,-r1J~r Pilt of �7 6TJJ a foll'sy note. 'l'1 1P,,,C is a.lso cynici'"'M ;,, F ~t0"l Jn·,.., ofte11 u 0 e8 and 0 Ic 8.Y, S'"\n 'r\l~in, .1-r"'P B ria ffi['>"P7,i:re 0 '1Tl.c' c-"A' civ.:: liz,.tior1. -ir. r,,..,() e~'"' 1 rd ove. -1-· ,.,::h '2 ·"" r0od to .,..., 0 J,,. clr 'Phni8' 1 orne. ,...--..,. ♦ C11ne"'r. ' r.: ,,,.,; s} nnPm (C,-,po): th9y rJl see 1;;: to be nies ru1d coricat1 res tl-ieir li 11 rn'"'ni ty. C1·ne:-_r.~-·1oman Has no r.:;1 a rk'\jor ve· ic1E'. hieo ., o Tn·p:H··os 11 --n'-,-':c ••(")'1'1 e noet:.c trel"'Je of :-~e ncnf'ieo~ance: ~•1,.t 'Plack - v:._ ty , 1~ " qrtho:J0 ;~" ')-" th.0 ti.PS. bP~uty Jen cli rr-ct follr "T)Gech "'S Ol r - 'IlQ c,, ~'•eptici 0 m of,__ "11d 0 t;hp TT,, mchle in/? "Orld th!"1t def'-: :gur 0I"\J. 1-iou be~ut·r ~ e is. - rt civ; 7 5zRt.::0n corrodes the idAn of trees Pnd natura]ness !IC "1c,• f'" ·1 X:J• nn , 'I 1 ~, .. funJ 0 nd, nd "D,,stx") �n,,"1.1,F-,, ~ "'rr! ~cl'."J.r:ii-ns"' c'10rnin""7t th "1'1.C ..:.,.,_ c1q,r l I'Y" 11 .1.'1 o D !"It'-. P€>df -rontr7r ]"cl 11 "n+-jl trjf VArJ l tJj. ~ ~-o;.,.-:nrs; T'l"n "'t=mcl"' '; tin f-'.,...o,.., his b,...d . '1'1' ' " prn:r:.r("' r,n"f' ~ ninnt h-i"' n; 1 1 • c0nt--:PUA ~r :tine,(fri a ""'00 !C!CC",-.S"' <:lP~V o r c , ~ f' tr . : nl , de 0 th 5s iriinE'nt , ,r,,nr'rps I OS t pl J thAy "fJV r hn d. A s;mil~ii" p rado;r ""ln jr0n~ ,.;- is contninAd in 11 -y Torc1, hat,, ",-..,.-,ninl"" 11 "'B lr-i ck 11 '1he..,,o t;",10 r.,.,ea 1·0.,.. is ncetr:itj_ c ~ Tohn"'on I s J f :rri e s. Adrd ttj 11"' ~ to the '' C1rie7,r [l_ Of T)nEPl --: :: f 0 ,-.a_ a thnt 11 Pj P-htinr, j s Fron,.,., 11 the S"'e '·er 0 -recall s John"'0-r 1 s fent iP lrod 1 f' r-iror,l'ones Prpy,e 'rod ir 1·1ron0d to "riamrriy . " flh8 defe"t of "'rhi tf' 11 Jiri :-"0TQQi'0 .. ] ,, t, 01::---Anoi-hf'r il"lro ~tc•1tRCr;r-VA'lJOl1G ,-,,, de un Ao fb linP'"' or 0n"' - t11.,,,oe f')""lf1C! ~ Y>OU'"'~ t}:,e 1J'Ce _,_, Qf' c,,n,,,..,rfc ir ~ 11 C11.8r 'cif"l iP ,.,.ivPn CY'edit ~o ,,, ,rj tA ~ •ro.,..,ls "ilc' ~ T'8~'1 .; " f'f' ,,,e- zin IT Y)'·10n" i c rende .; n s �19 ~ •1::-o Lwri.s A.7exe.ndPr "-h0hant""rnt 11 1.rhic1 P. "Y)" entJy~ wants ,,,--.._ to "S 0P1hodie", ,..,,.~in, tre 'lir+.en" +-l,r>"l"IP. of' cW)- m:• +-.o his he eYn~.; c nnd bPeutif11 r-" ri n,.,. "A f'rican Tn £-art II t o ,,,.atlic-ine 0".Y'cer ~s nJccP.d in reliP:' "C"'ajnf't "S 1--ie ",,.otf'3"'tque Pye:ria-f~ced onstn!' 11 who(seeninn; to ~ ep,..,oi:,en.t 1hit0 . . ) is dri en brcl,. il"lto h·is oV/rl f'e"r ard t1.e +,pe "ilderne::s" by ~ E' e 71 cac,t 011. r~rn by tl~e J""edicine nd fN t 1r-C> s rosolnti on orid t11.,,, b:lack bodv rtou d::mcPs ,.ri -sh"deJ j r,htn as celebr1ct~d D mb...,.,,. i n-r, "nd Ptt8nded .A E) d 7 Ji in+-e,,.A"'t::-¥ nflr" E'll\.tl'ose of Cu...11.e-;,r ci -i.dirin- t1-1 ~()P]'} xu f'YlA'1']_1''8 , nil c-xner~.,.,,,..nV:.il A 1 exr> Pd A-Y, ' s o,,rird ,,.vii ri: ..,l:'it,~... ,. fus Tl... ..., t tPC'1'1'l7 C'll11"::' .!.X'"t"") no~- . on Of ,_ of -r,1 P d Jef..,r(-1-.r rf'r>Pi ss 0 nce C""1 1),; frwnd in MAP.~!'P Bl .-c1- ~Y).[>to.,.,,.,r fn11nd in II l, 0 0'1 "r·, r cl CU 11d r D~rer 11 'Y'< fl'Y>() t.'be oriJler r-.re-lir'a yiverinr- or �'-; ni r.i J 1 en..., II •SC~ l "nd nve rl ay 1 f 0 1 .~ <)C"Ur ird2.r,,. . 1 •' . Y\0tA , " C 61"'1, C'. 11 "'r,l'"' bl ·m: •1--it,.,.,, . a l"" +;1-ie ; "tar'' b•t ti e n t· ..: s f'+ .,..,c· '"' .... +.., nnj ntf\rf' cal .+ J ; n .,_ ae DA "'i; ;tt d fr''"'>'Pl cont,_,..,,.,t cl-i.j a ro sc11Y>(), re "T'C coJd that : ' ,,.r ~ ,, . ('188 Vnri n 1 11 ~ T ; ch ,. h'"''"' b O l '1'10 n f t.,r 'r'""nfl fOl"''Y>'J." +;on . 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'7 r~ 7 !IJS ( 7 7 7 1 • • C, 7 --------- ' ' 7 7 of' h." + ---- ------ ., 1· A T r s: ·------ 0 sd)": 01 T • I n r T 7 ,, {r r ""~ 7 7 • , r • I . f"' . 7 7 I r> ... <" -~ Bro r""' ....) 1 I ' ·--------· .,, ' l-• p,. '"' . l . ' .. � 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_31 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter V. A Long Ways from Home Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter V. A Long Ways from Home with an overview and several inserts. Pages numbers begin to repeat after p. 74. 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/a87d67611dbb4a48dcf12179e95927ba.pdf 8f900f644c55edf8186640bf3d748e9d PDF Text Text CHAP.JEER IIJ:; AF/ijICAN I Voice IN ECLIPBE; I MITATION & ~GITATION , 1746-1~65 Sa aves, though we be en ro ll•d / tuk Minds are neverAsold -- from David Ruggles ' Appeal @, 35 ---· As we embark on a :m.D"l"BllmWIDW@immih -.... survey of the cha:m.onological development of Blac~ r y , it is important to remember that any study ot;:fiteraturef conc err);Jf. that which is "written" and "available . " ~~ made ~CXlllt:mmllt:m.x~ ; . r r ~m t:m:iiii'The fact tha-c~ writer hasAmore (1 _.,,. works accessible to the publi c than another writer does not mak e him/her »e g I IS 11 the a1 g r e atest' 1 or e ven 11 gre 2ter . 11 I n 8:luosts every '°jimnt:mwnam" era, quiet and important writers have been pa s sed over --.... !laft" in favor of literature that is more 11 timely, 11 "flamboyant II and "retJ.,,. velant 11 - - to use an overworked contemporary term. ·1iit: za21 ¼-t-e.n.t ~ d follo wing chapt e rs , represent a tions of the And while this book c ertainly I am including brief nanthology0 ven 9eo re'inforc e J. comments on styles , themes , subjects , language and other aspects of poems included, ~ the poetry. The fi £1<7JA it is hoped, will allow, student,lllld general r eader and tea che r :mwnmrrn;;;;;;&Dl:iczr:toa~ immedi ? te access to comparisons, contrasts and tent a tive analyses . There a lso is no over - riging effort to explain the works in a poem- by- poem breakdown. Howev e r , ~hapt er VII will offer an histo rical 11 running' an a lysis of several poems with t e !il~a..'"n.il1.e~t are emphasi s on how the poems can be read silently ~a~n~d~at1iio~u~d~.~ - ;j~;;.. o f the in themes somel\consistencies(and similarities)/that can be found in many of the poems . �UNir-, , L Blacks have been in the Western Hemisphere almost as long as whites. After 1501, most of the Spanish expeditions to the New World included Black explorers. By the time the 20 slaves-to-be were brought on a Dutch vessel to Jamestown in 1619, the presence of Blacks bad been felt for at least 100 years ,,. / Crucial to an understanding of early Black Poetry are the circumstances su~rounding slavery and. the political and bto. C0Lon1c«. L· ((J et vf, <~ ·y religious moods of~England and~America. British America did not follow the Greco-Roman tradition of the well slave. It was quite unlikely, then, that a 11 nfor,ned revolutionary 11 Black poet would emerge from a social and literary landscape so charged with self-riGhteousness and Neoclassicism (or from the Romanticism of the 1800's). Lucy Terry's "Bars Fight" (written in 1746 and published in 1393) could hardly be called 11 protest"; neither could the work of Phillis Wheatley, considered the finest Black talent of the colonial era, caught between contrivances of the Age of Enlightenment and the approaching 46 �on the class cs r.ti nat on" a v to Weldon · ers I y 1 I "' The ~o~~.a~~ical tradition that I reached its height in the poetry oF,nder Pope, had I already begun to die out with the death of Pope himself in I 1744. 1 All over Colonial America, however, white poets were I im tating the stiff-collared conventionality of that period. I I The moral issues considered by most of the poets (Black an white)--universal brotherhood of man, quest for reason and order, the Jeffersonian ideals of freedom, liberty and representative government--were removed from _t e everyday Some of the most liberal men of the . .M"."'8- ..... (Jefferson, Washington, Hume) implicitly justified slavery by suggesting that Blacks 1ere in some ways inferior. Despite Jefferson's pontifications on humanitarianism, he was unable to reconcile the disparity between bis puolic stands anq _qis_ f,e.ilure to maqµmit bi§...o;wn slaves,. ,..~ ;,;,t/,..Bwk. ~ rt ~ -Mll1l411•~, ~~ On the general American scene, the RevolUution J.~'Y I a national literature had begun to emerge. -,1 ehind, ~ J Fascinated with American employment of new technology (Franklin's lightning experiments, printing presses, etc.) and the prospects of unexplored regions of the New World, writers started recording travels and observing the mixture of races and religions. Although relig ous fervor was still high (Cab, inism, Weslyanism and deism had run their courses), pol tical problems dominated. 47 �Between 1790 and 1832 the new American government was being consolidated and the writings of men like William Bradford, John Winthrop, Cotton Mather, Thomas Shephard, Roger Williams, Edward Taylor and Jonathan Edwards were succeeded by the embryonic nationalistic works of Franklin, Jefferson, William Byrd, William Cullen Bryant, Charles Brockden Brown, Washington Irvine, WilliatA Gilmore Simms and James Fenimore Cooper. Irving, Cooper and Bryant were to become the early writers most taught to American school children. Often called the "New England Renaissance,n the early decades of the 19th Century saw increasing tension between New England puritanism ,_ and Southern aristocracy over the question of slavery. ,. .,.. Debates over s l a v e r y ~ continue:lup to the beginning of the Civil War. ~ The early part of the century also saw the birth of many of"'-America 's greatest writers along with/omanticism and rugged individualism. Mystified by the noble savage (Indians and sometimes Blacks) and challenged by the 11 new frontier," Americans began to romanticize their situation and especially ~hat of explorers who became the first original folk heroes. l\J :\.~ ,?riters who dominated the period from 1826-186Sincluded Edgar Allan Poe (poet and short story writer, credited with creating the first detective in American fiction), Nathaniel Hawthorne (considered the first great American novelist--The Scarlet Letter), John Greenleaf 'Whittier, Henry Wadsworth Longfellow, James Russel Lowell, Oliver Wendell Holmes, Harriet Beecher Stowe (one of the first white American novelists to :feature a Black protagonist in fiction--Uncle Tom's Cabin), Ralph Waldo Emerson, Henry David Thoreau, 48 �Herman Melville (considered to have written one of the handful of "great rr American novels--Mobv Dick), Walt Whitman (termed the ngreatest" American poet--Leaves of Grass). ~~ S.eme "Of b~•.>fleil'\ a.~e!: a:l"J . .~,,v~» . writers, primarily politic al a ti vis ts or abolitionists,~ .John G. Calhoun, . s} · i liii:ii-- William Dta ta!f Lloyd GarrisoP, Diiww~•~9Y~••••~and Abraham Lincoln. Usi ng their own and Black material, a number of white composers immortalized the era in songs--many of them nationalistic. It was during this period that Francis Scott Kev wr ote ~ y • ,e:, 11 Tbe w Star Spangled Banner. n Stephen Foster bas NJeen accused of merely putting to music t e songs that were sung by slaves. There was~tf~ncouragement, however, for Blacks to learn to read; ~~many slave owners indulged their chattel in writing exerciseias personal pasttimes and bobbies. So many of the early Black/oets, then, grew up in relative security. To be totally free, David Walker observed in bis Appeal (1829) was to be economically insecure, socially ostracized and psychologically oppressed. Consequently, those slaves priviledged to read and write invariably took European literary models. writing . Poets, of course, were not the only ones ~·A4t· P-mi this period ~P, =1, ZS ffflJi Black literary activity was highlighted by exciting slave narratives: accounts of escaped or freed slaves. these ' J, In addition to11.,essayists, like Walker and#\.Douglass, M.-..C:.1;11Pieoe, autobiographical The most pupular of an~fAe first recorded, was The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789). Arna Bontemps includes it in his Great 49 ~ ~~ �Chapt e r I TI ins e rt rr"l p6 ~ constructed ~assa, wh o also~penned some notable verses, a story p attern tha t was to become f ami liar to r e aders of early America: his or her that of t he escaped, freed or run a way slave who report e d~-- hardships Vassa rtumlxm.xm.:frn~.£l:6xm~ and struggles. describes his life in Afric4 u n unti l the time of his I ii I1 ki dnappling. m_r, !iMMie: is:6rirr2· l[fl)IJfmrltmnz:r. With vivid memory and detail, he -....!_lave come to ~ est ablishes t h e ~ bases for wna t wetcali t e "African C0 ntinuum in America.--. It is not~ust mere coincidence that this st a tement from 1$89 almost fits~~~ Ame ~ica of today;. We a re almost a nation of dancers, musicians, and poets. Thus ev e ry great event • • • is celebra ted in public dances which are accompanied with song s and music suited to the occasions. lit e rary Vassa 1 s ••gp.Ja!iag debut into this~g enre was fo l lowed by hundre ds of other narratives, ~ Writing:1760-1~3~, any of them fakes. Do r othy Poet e r, in ~arly Ne gro iscusseJ the problem of ••••tm-~ determining authenticity of the narratives. Mrs. Porter is librarian of t h e Moorland Fo~tion at Howard University--which hczs an oust anding collection !1111 on t he Bl a ck past . . . In her book •~ncluded: constitu t ions an d laws of beneficial societies; s p eeches before mutual aid and educ a t i onal societies; the peport of t h e earliest ro nual convention foe t h e i mprovement of free p eople of color; arguments for and against colonization; print ed lett e rs, se rmons, petitions, ora tions, l e ctures, es s ays, reli g ious and moral treatises, and such cre ative manifestat i ons as poems, prosef n a rra tives, and short essay s. Mrs. ,orter t ~ s sup the i ntellectual a nd lit e rary output of the early Africans. LAfrican, 11 ~,r;.,....-i!'8-~~8'4!1'4' ( wa s u s ed e;enere.us~J by most �(J} insert ffl(p 6 ) 2 spe A/'ft'VM,IVJ,;llil'"d ··,,r~ the era . vJhen "African" was not employed it of "voihoured," 11 Blac1>" ''an l!ithiop:ian C the someti~ (._and heretical ,J Placed againstt,r t f 11 • 3ophomor1c;\accua ations !il..l.~.wi~..;.i;;.""fllt--~,.lio,'-""';,;. Princess .,_" ~ some gf ;, - off,F ;_ ; 1$1 today's Black critics , these early disnlays of pride il8i mouth bqck to school! In addition to the plethora of pamphlets, broadsides, books and news organ that emerged from Black individuals and institutions during the period up to the end of the Civil War, lhhere was also In the early 1 much poli tica ial c · sness raising through oration'°t\,~U I ?• as · at rel chard Allen, Peter Williams , Absalom Ha · 1 Coker, ~;ijz::::;;,r;iij~ ,l~aii;-m;--,iiiir'"~'o:~~isoo"r""'immurfttutal aid II for Africans . onf set the ~ 22 Jfho . t t~ J missionary , atmi abolitionist and self- hel f programs 10:111 ,2 0 later by people like Jarena Lee , .l:!'rederi c k Douglass, R. Martin Delaney) Soj"a1,r,t1tkt""' and Alexander Crummell} :t.--- ~~ ,,_ 1'-,.,~•'J!IM.c-r·• The intellectual, religious and moral work of Blacks in the North wasp ralleled by the development of folk materials(the songs and stories) of Blacks on ;:jouthern plantations . In general few states , North or ~ outh, allowed educ atnonal or vocational opportunities for energies writers Blacks . T~~s the i..-k of early Blac and intellectuals , Mrs. W' ' ~• '\ • Porter~point , out, • setting up of various "African" slaves . Many ~ f @½Te • and the educated Blacks of the North also acted as conduits for the Underground Railroad,- .a 11mJ0i' mc,Hwa :for bhc litiu2tiisu2 • of s l a1re~.,. '-- popu] a:µ., The Rev . Allen,Areligious frusader and founder of the Bethel African (over) �9 3 insert ,fl ( p0) .... raarne C Methodist ~piscopal Church, seems to have been referring Black "sensibility" d es cribed by Vassa when he saids (in 1793) th a t he • a 11 was confident t hat there was no r el i gi ons sect or denominati on tha t wo u ld suit the capa city of t h e colored p eonle as well a s th e Ileth odi s t; ••• bure I am t hr- t r e ading sermons vi l l never prove so beneficial to t h e colored peop le as s p iritua l or extempore nre a ching •••• t,Xor 'mutual II concernsJ ~uch eviden ce exists, then, of Blacks banding toge therlfn e a r l y ~ days of + - ~ o ~ O i iliR :'ihi s tilGWibij I n ressure h orrors of sl a v e ry, t h e psych olo g ic a l .iiiii1•- the 'fhe of Northern "free~' 31S~erep risals in wak e of slave rovolte( such as those led byG~(?. Denmark Vese"W@ ) and Nat Turner~8 31), made for the a most unsettling ~ white Ameri ca' atmos pheDe ( see Walker's Anpeal). ' .rleporting on~ needn to vent ¥2 ·v fea r s 1 9 6tl) noted th a t son Black s, ~inthrop Jordan(White Over Black, ed three t h ing s: loss of identity, lack of self-control and sexual license. In an effort to esca pe t h e '' anmmal within himqelf the white man deba sed the l esro,surely, but at the same time he deba sed himseHt. 11 And a young Frenchman, Alexis de Tocqueville, visiting America in 1 8 31, said racial prejudice wa s "strong er in the states tha t h a ve aboli shed sR.ave ry than in those whe re it still e~s." Ne e dless to say , creative lit e r a ture of the "arty" sort(though much of it was being done at t h e time) wa s not the n umb e r one priority ~ f a cing hell from all sides. Neverth eless~~ literary tradition Ame rica. The example of the narrat ives Bnd p lay �also worked r891B!mimllimi1Di r-m.d other social re form ~ Bis Ant~i lavery narp(l84b ) contained songs and poems pr rams _. :.,..,- , ,~ 1 ~~4',,,. · intellectual or artisan CfY\ c.-aJV"l,'VK-.n the dual~olef crealf or and a c tivist/characterizes the history of ~ Blac "---itlii!/Jtnt me·"i c ~ • ~ ,-mm y critics , Black a nd white, unaware of the stresses and demands on Black artists do not apnroach their ~derstanding_., subjects with the~t ee ann sr~ggiBI~c · Press , ); Political journal1sm~, a1s6 , was a strong vein in the development of Black A~erican writing j.Beginning with John Russwunn( • the second edi to Black c olle ge g raduate and fottfl~CI o~ first Black newspape , Freedaro~s ,&_µrnal,192 ~- 29 ), and evolv ing through Ruggles ' 1.irirror for TJiberty (first Black magazine , 1838) , Douglass ' Monthly(l84J.t-) and North Star ( 13 4 7) , ~o llami 1 ton I s ~ Anglo - A~ercan the tradition of Black journalism and ~ Ma azine ( 1859} , - on the i frican ex- perience w2 s firmly established. much of the journalistic writing{J took pros or cons on the question of imi g ration , colonization or I ~ f f i : m zimn or t he e 1 ev a t 5 on of the Black man s p 1 i gh t in America . During the early and middle years of the 19th Century , white ,,.- ~ travelers t h rough the uouth,)rimrRJP ~®J QQl)Z¥~t3" collecte d and compiled sla ve s ongs --.:>ecul a :l:Js and Spirituals . These songs would later form the nucleus for mu ch of the Black an d white writin eve of the Civil Wa ~ the Dred Scott d e cision themes. Onl the (a blow to slaves and abolitionists) Jilllliilillll:li!llllll!III!• help step up the demPnd s for t h e abolishment of sla v Ary. ~ , Th~ Dattern of the Black 11 "7NJ ,u,,.//4 Brown ' s 'l'he Black Man (/9~>) �CHAPTF.!R III contd "mean mean mean to be free 11 --liobert Hayden foregoing Against the,Abac~ground , the poets of Colonial - Hevolutionary .'.::>lavery America OIL- curious, tearmul, exciting, paradoxi c a l1 ~t,,~, and puzzlingf,31:Z~iae Biblical ijery, c l assical allusions and themes , hatred of slavery al :n~ ui,;h-am'giguous praise for slave ·~~~~e~s· ~of Africa, appeals and condemnations , mas ters , 'PeD~~ all become enmeshed in the intricate linguistic and psychological webbing of this early poet r y . In 1770, the privileged ~ At 17 years of age , Dtii;;;;;•:::i::i;~-,& slave girl Phillis Jheatley became the first Black "exception t:o the rule" in I an~A1erican I noetry . And for decades students of Aflerican poetry --~"'"'-gone about their recitations and research as though nothing or no one of importance ~ hapnened between :Miss \J:h.eatley and Dunhar. It was not until 1893 that Luc'y ~iiai•'1' ~ ·r erry~ s . . __ a l 746~ ~~:::~~ "Bar ' s Fight 11 -- the account of}rii Indian massacre in Deerfield, M a s ~ e to publi ,, light. And :illlll readers had yet . .\q'1S another 27 years to wait before Oscar fogeli~iscovered Jupiter - Hammon • s lillNt "An l!.,vening Thought, Salvation by Christ, •ith Peni tenti al CriesiiiiJi f" ( 1761) ~n the New York Pis tori cal ';:!,ocietyJ Jti~~J.UliV14'N"''1f (5.A ~ ~ ~ pc") ~ . • ..... ~ · mentioned · · · ~1ia t many antholo gies 0.mi t , /1.JO ~/ "bar I s Fight." 'T'h}s is understandably since 1-Tiss .Le y:,\never works . :Jl,; wrote, or at least p,e:=..,n, an literary America 1 s "first Ne r- ro poet," then, is important primarily for being just thQt -- first. Like Hiss 1:J'.heatley, Vassa and other 1Tew J.!,ngland sa.aves, New ""'ngland(Hhode Island) . she was kidn~pned as a child and brought to stui ~dtnessed the Indian raid reported in her 28-line do ggerel flair for storytelling. Hence despite the nee 11 obviously weak literary merit, 11 this first Black writer performed s �0- on e of the earliest service s of the poet -- tha t ofKinger of history -in recordin r a c tual names and places i n her narrative . ~ince she wa s 16- years-o ld and a servant gi r l , writing was surely not her aChieves som~ a gainst the o ral tradition in poet r y-: i t ten my children and you shall hear Uf the mid night ride of Paul Hevere, or A• story Now, childr en, I ' m goi n g to te l l you about r aw- head and bloody8bone s! an There wa s an o l lived in a shoe Qhe had so many c hildren she didn ' t know wha t to do . Compare the f o regoing line s August 1 ~ to twas , the twenty- fifth , ~evente en hundred forty six , T.he Indians did in ambush lay , Some ve r y valient men t o slay , The names of whom I 1 11 not lea ve ouh: Samuel Allen li~e a hero fout , and ~ · ~,. , the c onne c tioru will readily be seen . this poem apparent intentions . both the effects and h iss ·.L erry ' s "Bar ' s .ti' i gh t " Mi s s fo r an .t!Jbenezer Wells of Deerfield, Massachusetts/ ye a r s later e31 m iB ii::lNn...:h:er f12e2d om if! : U/'{p;m Id she mar r ied a free Black man , Abijah Princ e , by whom she had six children . Prince l a ter became the o ,mer of conside ralble land and was one of the founders of .:>underland, Vermont \,Jilliam Robinson( b;alry ,I · Black American Poets )~ l is t s JJfiss 'l'erry wi. th the rtorator" poets and rightly so . Other detai!.s about Miss Terry and the Princes can be obtained from George Sheldon ' s A His t ory of Dee r field, l1assachusetts , 1895 . �~lave poet and intellectual, Jupiter rta mmon(l720?-180 0?), ~ capabilities, into the provides I,tet another look Colonial Ame ~ica. Hammon mind-sets and limitations of Africans in is generally not regarded as an '1 important" BJ ack wri ter --but is a ~- distinguished for being the first• African in America to publishlllJ his verses. This he dicLll:lt!l!ml!II!!• ~n J:!,vening Thoughj"ioiil>composed in December 17605 1778("An Address to Miss Whillis Wheatly")~ 1782( 11 Poem for Children"J and in the mid- 1780 1 s( 11 An ..c.vening 1 s Improvement"). written in 178 ¥1' .'.Iii In his "Address to the lie oe o t a te o ,. tradition with cM>a§ p amphleteers•- like l~~ Htiggles Walker, others of the period. - sought freedom for younoer Blacks I do not wish to be free . 11 11 .hddress 11 , claiming that "for my own part This statement • •• l,.-~M su rfa cJ ; to b e the ultimate in self-debasement and self- denial}f but ifYtf/4.v::tr~ o,, 1~ . _, / 6 I st at!e~ents · · 11e, ~- alker, and othe rs, alb wt,{A >C t ~ ~_...,.,- 0 That H ~ himself was deeply reli gious is reflected in his poetry-- as · · many Black poets , e.g . , rtayden today -- and he obviousl;7" labored under the in f luenc & of Meth odism and the We sleyan JlevA-val(see ~ a r l ~ ~ro ~riting). In the poem to :tJfiss .Heatl ey, J{R_ J.t: it was th r o u ~ miaiiji': nnoo-tt-ee~siX,- that od' s tender mercy" that she n as k idn appe d from Africa and brought to America as a slave. And Hammon seemed, gene rally, to r Pflect with pre vailing white attitude toward the 11 darkll continent : "'o ne and evfil • engulfed in ignorance , barbarism y;/ Qbvio us ly not as well re a d as His s 1 'heat 1 "8!f!lll!!l inte 7 was unable to t ake hi;.fhemes to universa born a sla ve ~. (..;.., and belonge d to t he influential f ".mily of Lloyd's Neck on Long Islan~~was encoura g ed by his masters to write 2nd publish poetry • .®.(ov e r) �There is not a great deal of information ~' l ~vailable on the life of tlammon; h it is difficult to understand Blac k why a n i ntelligent man , who l i ved su ch a long life, mirrored almost c omplete ignoranc e of the horrors of slave r y - -despite ~t - the almost daily newsp a per and v erb al a c counts and discussions o f the "pe culiar institution . " _,-,e,,,~ ,.,,_,,..,,d were primari l y the~ ant · - B - I Hammont s , ..J /tJt,d,/',/.)~ material of hymns o f the period~x'is religious ferver--a t the time o f ~ u in r .c.urope and Colo:fnial America--co upled wi th his t.lfi!J-~Cil borrowings from hymns c onstitute his maj o r p o eti c effort . whi ch Hrs. "An Hvening 'r ho ught J" Porter tells us wa s probably "chanted during the delivery of a serma n , 11 be g ins : Sal vation comes by Christ along The only 0on o f God; Redemption now toevery one , That love his only word . Vear Jesus we would fly to thee , And leave off eve ry Sin , Thy tender lle r c y well agree; Salv ation from our king ; Like Miss ·r erry, Ba:rnmon was not primarily a poet . And hence , unlike C' Phillis Wheatley , one should n o t ,r spend too much time or be too harsh in criti c izing(or compihaining a bout) him. Th e basic stucture of the · .t:Jnglish hymn--which merged with the Spiritual -- as gammon interpre ts it, is an alternat i on of i:ambi c tetrame ne with a rath e r clumsy a b ---- rhyme scheme . Cbmp s r ed to oth r hymns , 0 it is no worse a nd is better than many . •~PllrilDl Vespi te the times , e nd ~ r hpw~ver , one is hardpres sed t o ~ ,1ith HamrJ.on I s I • • over �In Christi§n faith thou hast a share , Worth all the gol dl of ~pain . be fo un Critically inrtobinson ~~~dait~u ;xiax anthologn:J Works of ; critical- biographi cal The i.egro Author{l9Jl)' l By far~ ~ the most gifted an d complex poet until Dunbar , Phillis Wheatley was also priviledged as a young child and allowed access to Bo~ the;\lfbrary of John vvheatley--tio whom she was sold after being brought from Senegal when she was six or seven years old--where she read vorac iously . By the time ftll!P.,;,:.i:c:::.l=l~her teens she had learned to speak and write ,~nglish, and acquired a Ne-w .l!ingland .l!,duc 8tion which put great• eemphasis on the Bible and the classics . Her poetry-,,, like Hamm.on ' s , reflects deep interest in and knowledge of r nligion; but it it al so steeped in classical allusions and conventions of the,) eoclassical writing school . Critical attention to Miss 'iheatli,,y(wh/ lived a short l i ~ i k e D=baj}) has been both r 8ving and unkind. oenjarmin Brawley{The ~e gro ~enius) repE_rts th~t Jeff erson viewed her as beneath the dignity of cri~icism. Yet , genere.usly nraised~ other g reat. Jllersonalities of the day :at!! .,"received her work, G- eorge ~1ashington, so moved by~~ ner1'-crioute21::lllf:il;U9il{ "To His ..t!.xcelJ ency u- eneral tmi~ vashington 11 ) , invited .ao:-~21. the young poet to visit him at his camp at Cambridge, 1,1assachusetts --an invit a tion which she later ~ccepted and was tr eated as royalty. :Miss Hheatley 1 s earliest verses we re penned during the years of her :K'.R e • .,0,~ , . _ 0n the lJeath of the Rev. George ~lhi tefiel dl~ 117()/) 11 reflects a-"illllllll!M"if'l$ie~occupies much of her poetryJ:prc.i:sc fer ,fa> dea.~ �~ (!_5) ther members~-=-_l,U-~~.,_.,..~..,.,..., London who wel'e cum-ernea r b ,u,t railness and poor health, Miss \ heatley was r e ceived -Ib~GJl:t!lilit~ t¥ like a visiting dignitary in London 1 s literary circles ll ' ~ o 1.) The next yearj)11!>)1 and hailed as the "Sable Muse." -..::all.\,Awhi~n London, -she became the first african, and the second woman from america, to publish a book I of poems~ Poems ~ egro ;:jervant to Mr ,J~ oston.,. The ~olume, the only one l.e.y success in both Eng land in and the history of ~n glish poetry in America. Upon her return to Ame vica, Miss Wheatley's misfortunes seemed to come in such li ghtning succession that one won d ers how s h e with stood adversity as long as she did. First, there was the death of Hrs. ••he a tley 'l nd th en, during t h e 1770' s, the deaths of the remaining \lhe a tleys. then ma rried a Joh Peters, wh o 11 proved to be both ambitious e nd irresponsi- ble," f or -rh om she bore t hree thildren--all of whom died in infancy. Addit i ona J ly, the Pet e rs family l i v e in squ al.or a nd o verty, li "ke so many n e w ~ng land Blacks. Co~m enting on the circ umst a nc e s su r r ounding her death, Bark s da le and .n.innamon( Blac k_ 3 ite r s of er ica) ~--~----- ~~ with~accurac observe t he t: Her e a rly de a th provides a comment a ry on t he des p era te ma r ginality of li f e among Po s ton I s free Bl a c k s at th a t time. To Phillis Wheatley, at one time a privileged serva nt who enjoyed an ex- tremely beni gn mast e r-servant relationship, freedom's uncertainwere ove rwhelming. ties end insecuriti e s a nd i nsecurities vroctld µ2 obobJ y iHHJi@& Certainly, had she been initially free in Boston, she would probably never have had the time, the o pportunity, or the peace <bib' mind to write p oetry. For the state of freedom for the Bl a ck man in the 1780's-- e:uen in godly, li b erty-loving_ Boston--was • • • -r •Afo de Ioc,ctr1"1",(,(I_,, indeed prec a rious. _ The preceding explanation, couple :,tlW1 th the obs e rvations of \J alk er, }J.iKrnon �and othe rs, make Hammon' s s t atement about preferring not "to be free." somewhat mo re tolerable /. '/ 'l c ondemned . Some cri ti cs denounce her for not being invmntiv e and origmlh.al enough, clamming that she simply followed the conventions and themes asso ci a ted with neoclassicism:~ Truth , ~alvation, her so-called "pious ercy and Goodness. Some ~~~~•'8!1,J;e resent sentimentality 11 and accuse... her of calling on Chris<t when she should calling for she abolishment of slavery. Still others, II during the c urrent period, have ac cusef her of not being "Black ~ Considered · on the landsc a pe of the times , however, Ivii Wheatl e y comes off as a ss ' ......m- with hardly an~ equal among Bla ck , during a compa rsion or whi ye c ontempora ries. James Weldon Johnson of l"D.Ss '\•Jh e atley 1 s "Imagina tion'' to Anne Bradstreet I s "Contempla tion, 11 said " V.Je do not t h ink tha black woman suffers by comp a rison with the ; whi t e • " (_11 ~ & fj,r,,P,i,!!,-. J.o£t,..d) rinfg her life time Miss Hheatlyy n ublished some 50 p oems , almost haitf 11 of t h em el egie s; five or six no 7 j ti c a l and p a triot n ieces ( General 'J a::,hing ton" and ''Liberty and Peace" ) , andtremain d er nff1~,.,..,..,, J ~tJ ~ r e l i gious and moral subjects --as she s t ~tes in h e r title . Though --... de a ls with the question of sl s very--and she tentative reference to her own -pred:i.cament --he:r· work ma kes only sustainl!l a high level of emotional,~ linguistic , religious a nd ..g,r_eat~force. ~inee herooodel-k cla ssi c al writ e rs, one ~i:a..il.liii,...~ii::::t:•,,J£ese sources JIB,~l'lC:M> poeti c the.0v-h to un cover ~ ~ keys to~techniques and allusions . But one only has to read(alo ud) the followin g pa ss a ge from II ev. li-eorge to feel impact: "Take him , ye wretched, for youronly good , 11 'l 'ak e him , ye starving sinners, for y our f o o d . " Ye thrifty, come to this life-giving s t ream, 1vhitefield 11 • �"Ye pr eachers , take him for your joyful theme ; "Take~ him, my dear Ameri c ans , he said, aBe your complaints on his kind bosom laid; "'£ ake him, ye Afri c ans, he longs for you, mpartiaJ 8 avi or is his title due; "Washed in the fountain of rlede eming b l oo d , "You sha ll be son s and kings , and , riests to Go d. " x Mo re will be said of this poem in 6hapter VI I ; but we shou ld s t a t e that some ~f the ~reviou}'/}oiti c ism o f Miss Wheatley has been Llnc reasin~ temp er ed in light o f#eminis ~;i!t!lftCWJ;~:Wmutml!IWl a n d, espe c ially , effo rts by Black women writ e rs , llOlUi s ch olars and intellectuals to reevalua te her . Much o f her work i done in the hero i c couplet which dominated t he perio d of p o etry,..wr i t i n g . Thes e pent ame1fl e r coupl e t s (i;.Ihi ch would be popula rized in the 20th 1., entury as by hobe r t Prost) c a ll 1 unrhymed iampi c pent amet e r" for end- line rhymes to ap ear in two s , with 1 6 syllab les per line . Ro ger \II/hi tlow (Bla ck Ame r i c an Lit eratu re ) c ompl ains that Fiss Wheatley "falls short in 1,1hat Pope called the 1 correctneas 1 of diction and meter, that 'tle a r - perf e ct choice of word and me as urement and ,,reii;giini; of syitl able . 11 One cou ld ap;ree , i f Fiss 1/heatley ' s sole aim were sin ply to i --ni tate • But t he re is t hat she -- like Black poets always se em to be doing--wa s trying to achie ve a readable poem without losing the essenc e of the couplet . Afte r all , a s ~tephen Hende rson( Un d se r stanji ng the New Black Poetry,:4:) has su c;geste d/ many Bla ck Poets have thnir ear s x and thoug..~t r hythms attuned t h the spitirtual~,:man~s of the .written__. audien c e that l oves "extempore" deli v ery, even when the7l!ines a r e st r ict and tight . ,, Also , in p l acing "Their dolo112r is a diaboli c. dye II in Jlf:::;j:jiilt-~-e-e~~ ( "vn °eing Brought f r om Afri c a to Ameri c a") , de em her c olor ne gati v e bn t that she may not . despi t e he r c l o sin g coupl et : ov e r /tue:p:estl{, that others a possibility �Rememb e r, Christians, Ne groes, bl a ck as Cain, Hay be refined, and join the angelic train . that there is Wheatley was not insensitive, at Iii least to her on pre dice ment as a slave ~tlthout a fundamental and geneoihogi cal identify . In ''To fhe Hight t-i onourable Dartmouth, 11 she .,t;arl of· Should you, my lor ~ i llaim, says , while you peruse my song, Wonder from whenc e my love of Freedom sprung , Whence flow t h e s e wish es for the common good, By feeling he a rts alone best understood, I, young in life, by s eeming cruel fate Has sna tchi!d from ,1.fric I s f ancy' d XHXX li apDy se a t: What pangs excruciating must molest, What sorrows labou in my parentf~s breast? Steel 1 d w2s th a t soul and by no misery mov 1 d 1 Tha t fro m a f a ther seiz ' d his babe belov d: ~uch, such my case. And &an I t hen but p r ay Oth er s may never feel tyrann ic sway? Th:e canital "F 11 in "Freedom," t h e phra se "cruel fate," the sorrow felt for her pe rents an d the reinfo~cement of the agony via repetition ("such, such "t; see r1ar aret ·J alk er(s lines ''rlow Long ! 11 ) , place her <. J::H a c ~ 8 longs ide other'\voic e s t h.s t "'ea rch ed for answe rs to t h e f-M, of i n s anity t h" t enwe bbed them. Slilil::Gill~ pall Hiss ••healtley a lso expe riment s '1i t h ~estated el" rli er t ha t T~ is s imeatle v ' s;p-ma ge h a s sriift e d Perhaps t he c a pstone of thi s shift wa s the Jack son °t a te volle ge roetry 1 .i:' e s tival, held in lTovemb e r of 1973 to commemorate the 200th ~ni v er·sar y of the pub] ica ti on of Miss \IJhea tley I s (_t.1o.Mr) ... t.J) Poems. ~bony maga zi n~ di' a five-pa ge picture es s ay on the festival, -sp.mmnannmiix organized and hosted by Ha r r aret wal k er uoet - novelist (over) �(ff an d aire c tor of Ja cks on i:>tate ' s Institut , Life and Culture of Bl a ck Peopl e. Ac cording to/ ~bony ''eighteen Bla ck women noets converged 11 on the Black coJlege c am.pus to salute Hiss Wheatley , read their own poems and discuss poetry and life . Writer Luc i Ho ~ton noted that recently there has beeh more respect for the "slave girl who , under unspeakable circumstances , was able to write poetry or any literature at all . " c::.. list of,J In addition to Dr . Alexander, the 1poets included iaomi f Long hadgett , Mare;aret c• .ourrou~s , Narion Alexander , J\i:argaret Lsse DPnner , Linda Brown Bragg, Hari .C.:vans , Carole Gregory Clemmons , Lucille Clifton, i:>arah ·webster 1''abzbo, Ni l k"i Giova.nni , Audre Lorde, June Jordan, ·Tloria C . Oden , Sonia Sanchez , Alive alker, Ia Halaika Ayo Wanizara~ oyce vJhi tsi tt Lawrence) and Carolyn I • .ttodgers . Gwendolroc &rooks ' absence was conspicuous . The festival was also the ~ U b j e Ct Of 1 • ( Or-v. J'" n>- ~ 2 ~ JP Si]O ® ill t:®Gi , r itilfi a six- pa r e nicture ~ i t B_:ack 1vorld(1''ebruary , 1974 _ ). ~ Ghile of . comments wa s made by Paule Giddings , a young editor at Boward 'University firess : There is sometligg nrong with a criticql tradition tha t makes • - .-x::Phillis 1:Jheatley an historical footnote •••• Phillis '\rlheatley was b lack and this is the di ffernnce (between her r-md oth0r noets of her day) o.nd also the contradiction : ~he contradi t tion between her blackness which she recognized and never was free to forret by a thousand humili"'tions and 'White mercantile .l:!.ngland , a world th-_ t ,,m s never to be hers , wt 'Whose values she seemed to ., ccept . She was in a sla ve world, but not truly of it •••• It does no good to reproach a child for yielding to attrcctive influences when within herself there is no strong residue of any other infiuence or tradition . ±t i s easy to say she had no racial consciousness • .Lt would be fair to look at the chofu.ces she had and ascertain whether or not she was capable of enduring even more intense isolation . �Ms. Gidding,s has asserted what i:wpe a rs to to be a balanced answertt to the protest a tions of Redding , Brown, Brawley('no r a cial v a lue 11 J and oth e rs . It remains to be seen as to whe the r m:mxrflmlzm:mnn current and futu r e generations of Black and white mm.:triumJ stud ents will kepp I'iss 1,f ue a tley a 11 st a tute in t h e park" or bring her to the table of this first Black woman of letters 11 a nd 11 examine her blood and heart . Crtica treatment~already has been ex tensive ; Julian Mason ' s The Poems of Ph i llis W.h eatley(l9 66)~ critical introducti on! Robert Barksdale'> and Kinnamon I s C. Kuncio ' s 11 Some Unpublislj.ed Poems of Phillis \vheatley 11 (New n England ~uart rly, XJlll5IX XLIII, June , 1970t, 287 - 297)~ ~amr Loga i~s ' 0 IS Th e Ne gro Author(l 931 )~ BrawleyA,.The Ne p:ro · U' rte dding ' s To hake A .Poet Black , Shirley U-raham 1 s mhe ~tory o f Phillis Wheatley(l949) •end ilillllli.i-lU Jerry Ward ' s 0nd Charles rtowell ' s article in t h e Summor , 19 74, issue of .B'reedomwaps. �( 1 1+5-lROl) of the most in- W~ have already mentioned Gust a vus teresting of the e ri.rly writ ers, in Il!lltB!JblU1 another context. Porn the seventh and youngest son of a chieftan(in ~ssaka, not was tern Vassa(African name: Olaudah ~quiano) was fir t plantatio 1 i ~e r 1a), sold to a Virginia ---- His journeys.~ ater took him on s e v er al Atlantic voyR g es War. Vassa held technical jobs on ships as a result of his adeptness at the ~nglish language and his x He became a t ireless worker for the ab o lition of qlavery matics. and worked, briefly, n·1111•11al:mJ1Jftm•~ in behalf of efforts to colonize poor bl~cks of ~ngland in Sierre Leoni. Vassa is chiefly known for his Nar~ative(l789) which was a best - seller among abolitionists in ~gland and Am:erica. Slave narratives, we have observed, we re a part of a branch of Black writin~ which gave rise to auto the more sophisticate iographies(that stretch from Douglass throu~ Cleaver) which in turn laid some of the foundattion Baldwin and wq s not the first writer of a slBve Briton narrative, as is popularly thought~. ~ - - ~ Hannnon(no in LondK_Q relation to Jupiter) publim~A ~ar ative of the Uncommon ~ufferin s for American fiction. Vassa and ~ eliverance Qf r·t John Marrant published(also in London) Wonderful Dealings with J. J.'!arrant, A e Black.Q1~). Vassa, who we turn to briefly ior his efforts in poetry, included "Miscel~eous Verses" in his Narrative. His verse is interesting be c a use it helps to e s tablish the portra i t of a comple and many - sided ill provides man} it also · · further insight into the workings of the African mind making cont a ct wi t h RlllllillilUJ. white culture and especially Christiani ty-J/. 1ihile in his prose and speech - m8king Vassa was firm in his attacks on slavery, he proves in the end to be a believer in some ultima te for~~of "d e liverance . " - In the last line of the last stanza of his "Jerses" he reminds us that T P Y' �'Salvation is by Christ alone!" which is , of cou"Y'se,reminiscent of irammon 1 s onening line : Salvation comes by Christ alone Hever theless Vassa I s language is less saturated in Biblical terms than ~--rammon ' s . And the former , as verse writer, has a better control on the language . fn the ·'Verses" he i mnl>ic testrameter meter with an n annlies a driving a ab b rhyme s cheme ~ Those who beheld my downcas b mien Could not gues s at my wo es unseen : They by apnearance could not know The troubles I have waded through . Lust , anger , blasphemy , and pride , \Ji th legions of such ills beside , Troubled my thoughts 1.vhile doubts and fears C~ouded and darken 1 d most my yea~s. In the first stan z a quoted Vassa presages t duality and mental years to come• pressures that mo re sk illed writers would describe in ..i·,._c::1111aaui~n:aa Imp l ying hat t of the OPpres~ed Bla c k i s to keep his ~&•• Vassa says e v en those mo see him in his sorrie s t state c annot envision the suj!~erings he has endured. Dunbar thing in a different way in ear the Has k " more II e years later . And Countee Cullen would state it more than aJO years later in yet a diffe r.ant way . This '-a,...gpnarffilt f'8.bility o f Blacks to "keep c oo l" and adapt (see Johns on ' s The Auto biogr aphy of An ~x - Coilioured Man) under the most tryin~ circumstances has been promoted, nurtured and prBised by leaders of the r~ce . Vassa , then, is important as an early writer , not only bec~use of his skill , but for the insight and understanding he bring~ to the social 8nd r eligious pressures , demands and choi s es around him . There is a releasing therany in Vassa 1 s work ~=•~---a c ts as only one of numerou~A c ondui t s for Blac k an guish and outrage when the onti ons were slaver or d ea;uL.. �~~assa • s Narrative is most a cc essible in Bontemps I Great Slave 1'ifarrative s ( 1969 ). In 19f.. 7 Paul J..l dwards publi shed an edition of the Narrative including a c omprehensive introduc tion . ~ war ds also did a t wo -vo l ume Afri ca fa c simile Wnma~ reprint of the first edition ( l969) . Se e a lsoo~~• • ~ tiemembered : Narratives by \.uest h.fr.i cans. ;Crom the Bra of the S1°:ve Trad , edited by Phillip D. Curtin{ 1967 ). Loggins assesses the Na :l:7:uati ve ~ e z and Robinson provide s a h .m dy bi g rauhic a l-cri ti c a l i ntroduction . '1 rion L . ::it r ey t s Hore on Vassa can be found inK9triving to Hake I t My Home : Ame r i can from AfricaJ1964 )x and in Whitlow ' s Black American Li te rature . In the duc te d a gr a duate and po s t - gr aduate seminar on Slave 1~arr a tives at Iowa ~t ate University wh ere h e dire cts the Cent e r for Afro - Ame r i can Cu1 +-uv e . �The early and middle years of the 19th c entur y witnessed the matur a t ion of Black autobiography, politicBl activities . George - oses µortQ_i/)e.s 34 years old when ~JilJaim LJ_oyd G-ar,,,ison fovnded •~e Liberato 1'1, t he rriost influential..ailllll!!IBl and by we re mo re t h an famous of the abolitionist newspaners . And · 830 there" MaitltllliiK At11eri c a . Blacks in the Uni t ed utates had been stirred by bo t h here and in nlaces like Haiti , the Carribean Trinidad,,a!nl_.... l@ .Dspecia1ly inspiring during thiP ueriod waci the evo l t s chooner of slaves aboard the Spani-s~h---JJJ--li!li 1 Amistad. Led by Joseph Cinnue , a Nendi - speaking prince , the fif t y slaves , killed the c aptain, set the the ship t o Afri c a . An rehended, the Africans were escorted :iltI by t o ~ew Haven where the the would1!.x-f>resi dent John uincy Adams defended the Afri cans ' right to return to their homeland and in ~~ .~ eithe r the international sailed to Sierre Leone . A]M;S;;,.1;..;i.....~"""'•'!e"-r!!!'t,~l'ft'!!l!+--ifiiiiMiilile'lf::;:,, the connection between Liberation Front , apparently headquarte r ed in northern lia.lifornia during 1973 - 71-1-, and the Cinque of In light o the growing c0nsciousness among Bla c ks , fut was to be expected that A George Hoses Tiorton(l797 - lb83) would apneor to inveigh against tyranny and slavery . B ~ a slave near Chapel Hill to employ protest themes 1 0 arolina , Horton is considered to be the fir sq Black ~ , North volume of verse, ranged over the whole area of general and personal was first ovmed by a planter named L1 0rton who later rented him in the service of a janitor to the University of North G8 rolina . r .ry- c ve.nsat · s �m::iahla:mxim:rl!Em:km Horton exploited the academic environment by re a ding the .l:!:nglish c alled classics and composing poems . I Often the first professional Black wri t er, Horton hired his poetic s k ill out to students who paid him rath e r handsomely for composing II persona 1 ,t poems . fT.1 r · George IA . Horton , in 1845. 1-l s secon d b oo k o f poems , - Poe t i. c a l ~ k ors the Col~red Bard of North v arolina , was ...n~8@!8'8.Qao orton I s hopes tha t he would gain enough money from the sale of his books to se c ure his fre e dom were n ev er re a lized; and he was not freed until Union soldiers arrived in 1865 when his l a st volume , Na k ed Geniu s, was publ i_ shed . PhiJlis \~heatl that l:J) P orton I s themes are not d evoted , T.:r amvri.on and V,, ssa, for writing such line s a s those pe !Cl r in " On nearing of the int e ntion of a Gentleman to 11 'reedom" Purchase trhe .1:'oet I s : 1hen on life ' s o c ean first I spr e ad my sail , I t hen i~plor e d a mild auspicious gale; And f rom the slip ~ery strand I t o o k my fli p)lt, And sought the ne a ceful he a v n of deli ght . . . . . . . . . . . . . .. . F ard wc s t h e r a c e to r e ach the distant goal , The needle oft was shaken from the nole; In such di s tress 1-ino c ould forbear to weep? Toss 1 d by t h e h eadlong billows o f the deen! i:.rorton goes on toe say tha t n.c.ternal Pro v idence '' sa• ed him when he was on the "dus k y v e rge of deep de s pair" a nd when '1 the last beam o f hope • P S almos t g one . " Yet orton writes bitterly of slavery as well as lightly of love a nd h umon ously of life J:. in general . Influenc es on his poetry are B'ff r on, Weslyyan Hymnal stanzas , .a and othe _v sour s es I from boo ks tha t he ~ e ad . In the poem from wh·, ch the stanzas above were tak en he pursues a rather monotonou s 1am · b"ic t e t ramet e r meter . But o er �in a poem like the way that Philli s Wheatley do es in her h ymn - inspired works . '.l'he effe c t is almo st Ballad- like : Hb.en first my bosom glowed with hope , I gazed as from a mountain top ~ s ome delightful plain; But oh! how transien t was the s c ene -- ltx fled as though it had no t been And all my hopes were v ain • • fit. .... . . . . . .. . . . . . Is it because my skin is bla c k , Tb.au thou shou l d 1 st b e s o du l l a n d s l a c k , And s c orn to set me f re e? Then let me hasten to the grav e , The only refuge for the slav e , Who mourns,i f or libert y . Al s o effectiv e and sustaininr in powerf i B " The S1ave· s ' ' eve when features t hre e - line stanzas with a fina l word refrain : " Fo r ever~" which is followed c olon or exc lamation mark . of his love poems and in ~ .' 11 · ' ""'""""LI',. , one mork , .tiorton I' 11:he Lover ' s 11 'arewell" is able ~ that INilM!l!m!!!m~broad !nderstanding of what i t means to say ~oodbye : I leave my parents here beh:i.nd, And alJ my friends --to lo v e resigned-' Tis grief to go , but death t o stay : Farewell - -I 1 m gone with love arway I In this and other pieve s Horton makes good use of dashes --whi ch allow him to develop suspense :and render his st2tements more dramati c. Because of its various uses , the dash has arri v ed as an important ingredient of modern and c one tmporary .01ack poetry . Contrary to many o f his learned contemporaries and predecessors , rlorton app¥ntly cons ciously thought o f, and worked toward , his freedom . rhis fa ct is re ~lected �-both in his life's work and his }iroetry{ .t<'or a purais a ls and sel n ctions of Horton's work s see Robinson's an t h olo gy, Collie ~ ,,,,,,.;J 1 0Cobb's Man of Letters--Ll- eorg e Hos e s i-f orton( 1886), r-!3ark sdale~nd An American 1..mnnamo~, Whitlo1.•r's study, Brawley's Ne g ro Genius, Lo ggins' wo r k, -:Redding 's study,:a:rul Richard \1als e r 1 s The Black Poet(l9 67).,.-B. Brown's ass es sment and Jean Wa gn er I s Black Poets of the u- i ted (1973-. own position, coupled with his sanguine delibery of fochk and emphasis, can be seen in 11 the followin g s tanza from 'r he Slave": Be s.ause the brood-sow' s left side pi g s Here blac k , Wh0 ° eable tincture was b y n a ture struck , Were you by justice bound to pullil them back And le ~ve the sandy-colored pigs to suck? t a tes �28 ~orton , of course , trails and pre c edes a long line o f orators and poets , many of -whom ke know very little about today . In fact , c ompa rati v ely speak ing , t here is a wide disnarity between the readily a v ailable insigni fi c ant I of vital data on Black s . wve do know th 0 t / the e a rly dec n des of the 19th century witnessed a developing con s ciousness 8.Y"'Onf Christian and political )1orthern inteful ectuals ~ t319.cl.rn and that mostl'flack wri t e r3;fnd edu c a tors turne d the ir att ention to the educ a ti onal , physical needs of 0 nd e duc a ti onal free and ensl8 ved Blac ks . O~ these and oth0 r matt e rs , Mr s . Port er provides ample proof and di s cussion in l!.iairl Ne i:r ro Writin . Occasional v erse was also some ihat of a tra dition among many le a rned Blacks BEU~ a s JD111ts:m was the pra c ti c e of writing hymns , an oth" r spiritual song s . On e s uch recorded by tlev . Hichard AJlen, deliv ery o f a sermo similar sounds ~ -;;1i;_~is 11 p s a lms Bpiritual ~fong 11 p r obably "hhanted or sun g durin g the . " Hev . Allen emplWYs internal rhyme by r e peating the middle antnd of line s. Varying his meter a n us i ng an irregular end- line r hyme s cheme , -••am he expresse s the religi o u s fervor the consumed many Bla c ks of the ~eriod : Our time is a - flying , our moments a - dyin p; , ~~e a re led to improve them and quickly a ppear , r 'o r the bles s ' d h o u r when J e sus in p ower , In g l o ry shall c ome is now dre wing near , 11 • e t hinks the r e wi 11 be shouting , and I 1 m not doubting , But c rying a nd screaming fo r mercy in vain : 'r here f <li're my dear Broth e r , le t I s n ow pray to g ethe r , That your pre c i ous soul may be fill 1 d with flame . Ano ther such examp l e is a "New Year ' s Anthem" wri ttien by r-i chae l Fortune and " sung in t he Afri c an .l:!;piscopal Church of St . Thoma s" on Janu a r y 1 , 1 8 0 8 . si �~rtune • s anthem is t raditional in its mmn:klgD ~ use of materials from liethodist hymns . B:e ;al tells the congregation to "Lift up your souls to God on high 11 "llho , with a tender father I s eye , Looked down on Afri c 1 s helpless race! two Robert Y. Sidney anthems "For the National Jubilee of the Abolition of the /::>lnve i Trade, Jamll.ary 1st , 1809 . 11 "Anthem I 11 begins : 1 DRY your tears , ~re sons of Afri c, God has sho,,m his gracious power; He has stopt the horri d traffic, That your country's bosom tore . 0 ee throush clouds he smiles beni~nant, See your net~o 1 s ~lory rise; Though your foes may from indignant, All their wrath you may despi s e . This stan,.fa is followed by a ''6horus , 11 In i;Jim 11 11 Anthem II 11 sh abbreviate form is Solo " d 11 ":==ae~Aand R ci ta ti ve . 0 11 drops the sole and recitative --keeping only the chorus : Chorus . Rej oice th nt you ·Here b 011m to see, rhis glorious day, your jubilee . 1 Sidney also wrote a h ~ M r s . by r eligious .., leai:l,ers Peter Williams Jr ., and Williams .Hamilton . Both men , c elebrate freedom, call for mutual aid among Blacks and preach the virtues of the Chris t ian God . Williams prai ses the 'eloquenc e /6 f Wilberforce II after whom 1 m: a predominantly Black university was named in Ohio . For detailed information on sources Mrs . <r1rter I s for these and Jru"1!11J! similar writings see .c.arly 1: e3ro Writing: 1760- 1873 . 11 0n The colle c tion includes~ very touching e xamples of ritings ~;i;1;;JYil ar;io., np~ ~fG.f~om" by 12- yeor - old boys from the Ne -r York African Free �30 (18 11 - 1 @9 3) is In readin g into the life and works of Danmel Blacks . i ~m ediately struck by his dedication to Educ atfor, univ ersity pre s ide nt, mis s ionary and poet, Pa yne was born in Charleston, S 0 uth Carolina of free p ~rents p He was orphaned and then t at 10 - ye a rs -oaa, ap n renticed to a c a ppenter an trained in cl a ssica l e ducati on at the local Minor ' s Moralist Society ' s school, he t a u ack students for fee a nd slaves free of charg e s t ni ght. Payne ' s travels took him to v a rious~.........-ct~ pla ces ~ t · s (.1.~e w Urleans , Baltimore , Cana da a nd twice to where he he l p ed exp and the pro g rams of the African En g l a nd ~ eth odist Ch urch. in ~ne"'exmina ry f or se v e r a l ye a rs, in in 1839,,Cll~a:ibml'!l~llU~ • op in 1 8.5 2 . m thel'lll•ilH n olitical a nd e duc r t i0nal urge Lincoihn(on Ap ril 14 , 1 86 2) to s i ~ t he bill to ema nci pa te s l a ves i n the District of C0 lumbia, and spearh e 8 de d the purc h ase of Wilbe rforce Un iversity --JNmil!-wi s e rvin .Cl'. as its 16 y ea rs. Payne ~evoted most of his life to t he c auses of f ree an d ensla v e d Bl a cks and to writin g poetry and r eli gious history . His Pleasures and Other Jv1 iscellaneous Poems was published in Baltimore in 1 8_50. t-Ie also wr ote boo k s on t h e hi s tory a nd mission of t h e A . H. E . Church • .1.Js p ecially value for its so c ial a nd intellectual insight into 19th eentury Bl a ck,s is Payne I s Recollec t ions of ~eventy Years Nashville in 1 888 . As a p oet Payne is erudite and imit a tive. Robinson correctly observes that a m~jor problem with the poetry is 11 the repetition of end stopped lines, and his dict i on, a hybrid of classical and Biblic a l voc a bul 9ries, can prove d i s tracting to many 1 r 0 adPrs.' I· uch of this we can for g ive, however, when He understand �Penry Dmnas 1 remar k that 11 a Black poet is a preacher . 11 Certainly a of and need preacher -- in f~ct or as poet -- knows very well the of for repitition . Yet Payne never fails to convince us his SPriousness • So hurt was law that , ef~e c ti ve in 1835 , wake of the 1834 South Carolina Black literacy(y illegal, Payne • 11 We find his wrote "The Mournful Lut e of the ..t' receptor 1 s l<'areweJ. enbossed concern for students in these lines : Ye lads , whom I hove taught with sacred zeal , For your hard fate I pangs of sorrow feel ; Oh, who shall no 1,r your rising talent s guide , Where v irtues reign and sacred truths preside ? - Payne is a handler of the lancuage , observing that 11 t WCl> r e volving moons shall light the shores 11 after the drea cl. law 11 shut the doors" ~ on educption for South Carolina Blacks . , gulfed in the religious and moral fervor of many nlack ministers of the period, the poet and orator reflects age-old concerns about de c eit and mistrust in such pieces as "'l'he Pleasures . 11 rte complains that Men talk of Love I But few do ever feel The speechless rcptures which its joys reveal:J,. l"len 11 mi stake love , 11 Payne notes , For grovelling lust , that vile , that filthy dame , whose bosom ne 1 er ever fe l t the sacred flame For insight into Payne ' s life and works one e ould go to any one of his nc onsiaerable number" of writings . Among others , they include The Semi the hetros ection o M tho dist ~ iscopal Church (Baltimore , 1866) and The Tiistory of • • Church(NashviJle , 186S) . exande r See also J o sephus R. Coam ' s 193~(Philidelphia) biography : Daniel, Payne) . ~ s t i a n ~duce t,;;;r")@I /i&,:,_,.,,,,,.,; ~ . , ; t , J ~ �32 Unfouuuna t ely too littl e is kn omi f of ~omantic poet John gifts and t a Jents. Boyd, especially since his work£~!~~ J · ma g e s are brilli ant, searin g and g enerally a ccurate even if they are not always connect e d in a way that mak es them re a dily ~cejsible. The only record of Boyd· is made available Esq., Deputy ~ecretary and Registrar of the by C.R. TTesbitt, Ne sbitt must have reco gniz e d the Government of t h e Bahamas. talent and the promise a nd he aided Royd•s noetry through publi c a tion in London i n 183\ . Boyd, it seems, was self-t a ught on New Providence Fis noemx Islan~ where he• remained all his life. 11 Va nity of Life:J. 11 was published in the February 16, 1833, issue o"sofl ,\:::t sc>(! Li bera tor. µ is 1834 volume is of,Jt;k; entitled rnhe Vision/ and other/ Poemsj / in Blank Verse/ by ~ob.n Boyd/ a Practic a lly ' unedited, the manuscript sc r amble," of the p oets of t he period• Boyd ts work owes debts to Milton, t he Bible and classical influ enc e s. Vision/ a Poem in Blank Verse" is i mmedi a t e l y r emini s cent Lost. Boyd skirts a r h yme scheme bu t emn loys a f a irly ~ ePular iambic pvt;;,/ pentameter met e r. All t h ing s consi de red, h is work~c an els tha the criti cism by St e rling Bro,,m th a t Bl a ck poe t s their styl istic awa r e ness. ,,,,Me thou ght the T• 11 la g in Vision 11 op e ns bril l iantly with: oon, pale re g ent of the s1ry, Crest e d, and f i lled with lucid radiance, F1un g h er hri ~ t g le ams a cro s s my lowly couch; And all of he a ven•s f a ir a:b.arry firmament Delightful s h one i ~ hues of g littering li ~ht, ~eflecting , li k e t o fleecy gold, the dewy air. In his "vision" Boyd encounters cha:nac t ers of both the he a vens and the hells. �33 \-l:hen the narrator , "dreamer 11 jo; ined the train 1''ervent hosannas struck the stonishll-d ear, As when in the midhour of c al:nrast night , StilJness pervadeth the awakened wave , Roused by the secret power tha t moves the deep , It heaves its loud surge on the sounding shore ; The"vision 11 is also peopled by 11 grim death end ghastly Sin" who "lay coiled, like snakes in one huge scaly fold, " and consider their 11 inexpiable doomr -; •" Boyd ' s tones re sacred and surreal and he assemles harmlessly complex subord inate clauses that h elp bufu l d 11 an exciting linguistic cre c endo as in 9c ean 11 : When the fiat of the most High , Thy fountains burst , alKl2t copiously Thy secret snrings, with amp~le store , r our{ d forb.h their ·waves from shore to shore Wide as the taters roll , oh, wav e . Boyd ' s work has yet to be appraised in terms c ommisserate with its importance . Robinson makes brief but · significant comments on his poetry . Ann Plato , another romanti c poet , is also one for whom there exists little of the important fa c tual data . This second Black merican female to publish a book almost skirts the racial theme completely . Her Lsse.x and .__..=.........,,-....,.~ tlartford in 7 PL~J. ;L Includin°/ Prose Bio ra hies w s published in tt--v'-- VJt'}.at little is lrnown of her comes by way of,__..~iiiifi:1148~- introduction to her bo,k w1J.ich ,,,as written by .ttev . J . 1·J. C. Pennington, pastor of the vo lo red Congrega tion2l Church in Hartford , of whi ch she was a member • .l.!Jxcept for her "'110 the .t<'irst of August , '' wr itten in celebration of the 1833 abolition of sl very in the British\ est Indi , �34 there are only al l usions to slav ery . · essays on reli ion , modera tion, condu c t and other conventional themes . These same themes are p r etty ~u ch par8ale l ed by the Of which deal f with home life , deaths of a c q iqntances end "rteflections , \-Jri tten on Visiting the Grav e of moral issues . a Venerated friend" begins : Deep in this grave her bones remain , ~he 5 sleeping on , bereft of pain; mhe langua e a nd t h e subje c t matter are sto c k but "Fo re;et Me No t" , each et>anza of which ends with the title , is well handled ~.nd has flashes of the p r ea chment on se l f-control that Vassa alluded to in his verses : ('"', ~~hen bird does wait th y absenc e long, Hor tend unto its morning song ; \JhiJe thou art searching stoi c page , Ur listening to an anc ient sage , \ h ose sniri t c urbs 1 af mourn fu l rage , Forget He Not . anparent in 11 hP .r~a ti ve s of America II where she asks : ".1.'ell me a story , f o ther , ple . . se , 11 And then I say u pon his knees . Again , as in aa!lll!i!I~ her c onte~poraries , we find the influences of 1mglish wri ters of a preceding e;Anerat:iion o r s o, the debt to Bi blical learning and . i<Q!l~N-. in rte chester , of ocrers 1 1 i mitation • • orator- p o et ~lymas Payson after t 0aching public sch ools ew York, took up pRstoring in 1 ewar k , 1 ~ew Jersey . One as a te e.hher was Jerimiah H. Loguen who become an iMportsnt social - reliaious le 8 Her "nd a Bishop of th e A•• u ° Churc h • ,:::, .&.1•.lll• �35 F gitiv P slav P o guen 1 s bio P'ranhy(s e e Nep-ro Ca r a van) a -oe,, red in 1859 , i n ~yrc cuse , un de r the title , "rn01.m, ri ' u.en., s we re man·? of' the orator - p oets , for a ve and a s a ~reem@ . his n oems ora lly, Ro ~0rs ' t h emes are unashamedly abolition no l i tic ql h~rnocris • \J erk ing poli t i cally on b ehal f of Blac k s , Ro ge r s a nnarently de s i gned ( e and Re eal of r iss .rark , 1855 ) Newa r k , 185 6 ) tot e ad aloud fro m n l a tform. Li ke , J a me s :W . ~1hi tfi eld, wh o c ame l a t e r , Rogers gave up h op e n Ameri c a ' s ever gi vi n g Blac k s a fair deal an d s aile d for Africa whe r e lie died after contacting a fever a f ew day s afte .,,, h e a r r ived t he re . ~..r is incisive n o-hole s - b a r ea.d a nn ro a ch to t h e polit i c a l c1ims.te a n d condit i ons of t h e t ime is seen in * 110 n the Fugitive ~lave Wt Law" : Law! 1 /hat is Law? The wi s e an d s a ge , vf t , Of e v ery c lime ,,,_nd eve r y a ge , In this most cordially unite , That 1 tis a rule for doing ri ght . An <:' the r inging c r y of t h e ,elo cutionist c an be heard later in the p oem when , in discus sing t h e fu giti v e bill , he as lcs 'Uld answe rs : Tha t Bi11 a l 11w? t h e South says so , But !-Torth Er n fr eeman answe r, No! Anti ci patin ~ the fiery a nd ~oJh i tfield( and 20th c entury "angry voi ce s 11 ) Ro gers continue s : ~Q8 t bill is l a w, gough f a c e s say ; But bl2. ck men e v "' ry ,rh e re cry "Na y : We I J. l n ev e r yi e l d to its control Jh i l e life shal l animate one soul At times biting and o ver - be arf inglyg h a rsh as a p oet , Ro ~ers resounds in 11 ·rh e t{epea l of the r-1iss ouri Compromise Gonside red 11 with these words : �36 "I want the land," wa s Freedom'l•s cry; And ::;l a v ery answered, 11 So Do I! By all tha t's sacred, I declare I ' l l h a ve my ju s t ~nd l a wful share . The Northern che e k s h ould glow with shame To think t o rob me iJi th built - in drama e na of my c lain . uts, Ro g ers a sses s ed t he s tate of t h e n a tion "Lawti• durin g h is ti me . In a line l i ~ t h e que stion i n order to beg 11 What is Law?" he i purno sely ~ring the emotional and rbetoric8l u ower from the words a nd to evo ke resnonses f rom ,.- s udience s . nefe ren c es to ttO~ers c:an be found in Hobi nson t s Math emf' tician, noP t, edu c " t a rl e s L. p are n t s . 11 e a r7' orf a nd ni ty work er , s on( 1818 - J 69c ) wa s born i n New Yo rk City of Tiai tian -r e qfl6ened t he Ne Y --.-.- as a 1nembe r of t h e a l l - Black ~hool where he late r retutmea S e e k ing t h e ministry , Heason was) attendance at the for ~ a cial r e asons, Theolo g ic a l Semina ry of th e Prot es t a nt ~pisconal Church • .r:..ventually, h owev e r , h o b ecame eli g ible for a p rofessor s hi p i n Math ematics and Bell~" Lett res I.""'( 1849) at the 11Tew Yo r ~ Central Co ] Je g e i n i ,c Grawville, INJ.u;.: G' A~ a..Jl- b8'Wi,. C~ , v ~ !vW r'l ~ , ( ~1'. • Courtl a ndt County. ~ -..:r ~ held v a rious e duc e tiona~ jobs including a principal s hip of the I ri sti tute for C.:olore d You th in Philidlelphia and g r ame1ar sch ool No. 80 in New York City mile H. Cordelia a y was a t e ache r t h ere. Reason was an intellectual end a sch ol a r but Has vocational c a reers~ h ere i n America . Again, not nrimarily a poet, Reason is competent as a n oet in 11 The Spirit Voicett wli ich opens with: Come! rouse ye brohltlers, rouse! a peal now bre a k s From lowe <' t islPnd to our gf' llant ·lakes: �37 ' Tis summoning you, who im bonds have lain, To st~nd up manful on the battle plain, and urges Blacks"'-i.l.lougl.l: J.i:\s fl'.'J rnlme) to fiP)lt for fr eedom and ounortunity. The poem(who(cornplete title is "The Spirit Voice or , Liberty c~.11 to the Disfranch ised 11 ) is indebted to the rh yrr.q n /couplet so famous during the era and whi ch had been used ri th great t skill by Phillis v-Jheatley It aupears in William ::ii"TlITlons 1 that of Me __ n_o_f_M_a_r_k_( 6leveland, 1887). ~ onier m.xrb.:kmxm orator - poets , Reason ' s ,.rork is designed to be read aloud in order to stir and move peoPle to a c tion . Therefore he exhort~, reinforces, demands , warns , admonishes and issues veiled thre 2 ts . ui s "s pirit voi ce 11 ( see the,/-ifrican Spirit Force) longs for the time when fr eedom ' s mellow li,,.ht Shall break, anJ usher in the endless day, That from Orleans to Pass 1 ma qu oddy Ray , Desnots no more may e a rthly ho:rrwr,e claim, lJo sl ves exist,to soiJ 6 o1umbja_1 s n ame • '-._!)~tic ~ The noem was written in 1841 and sh ows Beason ' s1ao1 itte~e~ched out an g~vc this fami1iar cry: 0 .t<'reedom l .,.."reed.om I Oh, ho v oft 'rhy lo v inr- children C"ll on '::'hee I In wailing s loud 0nd breathing: s shaft, Fow b e s e ech:ii-1g God , 'Chey f a ce to s ee . f "not unlike" the Spirituals this burst is! Certainly the student of thies p e riod of Bl 8. ck noetry will want to keep his rhyt hmic lyres attnued to the B1blical and innovati v e codences of those "BJack and unkno-im bards ." a s essments of d e ason see Robinson erlin. ~~~~~.....;;_:_.,;...;_~~-------~~Ul.l!6 /) a ~ �Anticipating ~he Afll10-American poie;nanc y and humor in tbi sK line by Langston Hughes American never Fas Ame ric James •· • to me ( 1hi tfield {l823 - 187t3) voiced mlllilial!l!llllll some of the most ~ otest pm.rnrful and angry yet heard in Black American poetry 1 ·,f ,. when he ~ published America and Uther Poems in Buffalo in 18.:,3 . Barber, worker for Black colonization, poet and pioneer journalist , ·lb.i t f ield had earlier authored various types of writing- s : Poems 1 1846 ; 11 -i:.row Long? 11 (published in Julia Griffith ' s Aut ograph ~ for in RochPster , 1853 )~ Fourth of July 11 11 Self- He] ir1.nce , Delusive t..ope , and Ode for the (in 'fh_e Liberator , November 18 , 1853) ; "Lines -- ~ As.dressed to ar . and Ilfrs . J . T . r1olly , on the Death of Their Two Infant Daughters 11 ( in Frederick Dou lass ' Pa er , February 29 , 1856 )•) and Emancipation Oration(San Francis co , 1867) . \/hi tfield is known chiefly for America:, whic was received so favorably that he ros able to leave his barber shou Pnd ~ote full time to making speeches for the abolitio~ c.?use, nor>lrin.- for colonization nroc·rams and generel black development . ~ ne had personal contact with both Douglass and novelist T·.artin Delaney who called the 1854 National .Dmigration Convention of Colored Men 1-!b.ich \ihi tfield attended . Douglass apuarently 3?esuected and admired Whit!B'ield . But the two men differed on the question of colonfuzatio n and par ticipated in a li v ely debate . Pursuing hisAposition with vigor , 'Whitfield established ·the Afri c an - American Hespository) in 1858 , as a pro - colonization T . t.. • - propaganda or~an . .-..... B:8.:(llpshire1 Whitfield spent «;imnm:m most of his life barbered @as.in Buffalo where~conductPd most of his colonization efforts . T!e xetPr , 1~ew appar ently died on his waw to look into the possibilities of colonizing Blac k Americans in Central Ainerica . Delaney had changed his mind ~nd the emigration scheme 1as never realized. �39 l l Li k e mo st of . b,ear he orato r- poets , \lhi tfield is writing to be _.,,.,."-"-_ · tened to and read aloud. Consequently much of ~~ ~4~~) orces his ideology a · ew.J o f Ameri c a . Swee t lan d of liberty r, • be comes for \fh.itfield/ ~ • Thou boasted land of liberty ,-and To thee I sing becomes It is to thee I raise my song, Thou l"nd of blood, .<end c rime , and vr ong. Like .Ko g;e rs, 1.lhi t f i e l dl did not beli eve Avneri c a was c apable of redemption; a n ~i s pre dec essor, he died on a jour ney to ' find something better . The idea o f "gi b ing " up on Ameri c a would anne" ~ themati c 'llly in t he poetry of lat Pr writers like Fenton Johnson , Lee , · Bar' ka and some of the 1.Fus lim noet s . It would also be i'11pli c i t in the expatriation of writers and artist s such as Paul Robeson, · 1 ~ri ht , 3ald-tln, Criester Eirnes and 1Ca therine Dunham. In a dri vinp; iambic pen tameter meter ( ~· vhich bas a ll the openin~s for snontaneous interjections and ex"rm0r:ic1:)' the 'nitAd .::it,,tes nletives , l/hi~-~d cCC ..t:.:i aazi&n of killing the Blaclr f'ons 1;ho fought for her 2nd of p-eneral hypocrisy . ~:rere one c rn see .1hi tfield antici na tin~ them, of in 11 1ords in the ;;;; c rrent slog;an , Fhich Fayden makes use T ourning illing p0onle to Time 11 : save;.,z;;~;:ei;,, ? • , ~ --- bon 11. more gen°ral, " i tfield c ontinues a similBr in -&- --=== re•rerent 11 1he rviisanthro p i s t ft but tones down to a / s2lute ~ "To Cinque 11 : All hai l! tho ugh truly nob l e chief , 'oWhofiroo iin e d to live a c oi-rn r ino; slave ; I �~hy name shall st8nd on history 1 e le~f, Amid the mio-hty and the brave: 1Jhi tfield praises the revolutionary Cinque 'Who I in freedom I s might 11 Shall beard the robber in his den; and ••• fire anew each freeman 1 s hecrt . Since i·Jhi tfieldl I s primary his uoetry, • •• • nolitical to get a/ 11me s sage 11 ovPr, ••lll.1. goal is as art, leaves som r" · Robinson uoints out that Whitfield 11 .., things to be W,lJ;:Jt:..f':!:""f/J-;""') is genuinely angry"~ and th~ the bitterness and force in his work in not to be mistaken for -Q'Ll_inruistic ~(lections of roilra.nticJvosmetic ./Hhi tfield.1 s poetry can be ~ Nerrro Caravan(l@41 discusses antholo~ e ana j 1'1hitfield 1 s uoetry "nd impact as does Loggins , Bro1.m /Ji. The most popular Black 19th century poet before Dunb"'r was .t<'rances E. W. Harper(lc:32.5 - 1911), ae!EL the first .Black ATTJ.erican to fee in Baltimore a publish a short story ( 11 The Two Offers , " 18.59) . Born \Jatkins , she was educated in Pennsylvania and Ohio , and spent most of her adul t life in the c a use of anti slavery and other types of social re form . She 1-1orked in turn for the abolition T'lovem0nt , the . ti Dndergttound railroad, the :• . M. '"" • Cburch and the ~Jomon I s lemperance league . According to Dunn(The Black Press) she contributed in 1860. by her narrioee to ~enton fter h. But is early death in 186L! she resumed her --- in Cincinnati , J ecturing in a lJ but twojSouthcrn /tf'tes 2.nd proTTJ.oting lEiiit Black self- he~p nrograms . Her fame rested primarily on her Poems on 1~iscellaneous :::lubjects published in 18.54 in Phi lideluhia . Iii& /le- very nopular volume~;;iiijiii,,;:, it went through ti enty editions by le74( ~illiam ~tiJ 1 1 s Underground Raiihroad, 1872). �~ p . tfo Lastly, we must note th 0 t o ppr-= ~ .J • on; -·-..!!!!!!! , -i , . 1'hi tficld ...._._._:,_ tc ~ mchL'.!: ~, » ~ n 'YO&q~-: . 0rv~ , r-e o erne9, ,-,i,,;. J ch1--o.nicler of world t r ulenc direct and~·er.iphntic ~~ poets he_pp non tyr -:- assaults that ny the "IIow Loni;:? 11 : I see -i-:r,e • ftug~ed Russian Be r" Upon the right of every State Its own affairs to regulate; To help each despot bmhind the chain Upon the people ' s rights again, And crush beneath his ponderous paw All cons ti t1. tions rights f:' nd law. :1.0 (£... sn /\ rbin t\'...,., [,l bal less, of t e �'. \ 41 U ~ Her literary 2ctivity · was stepped u .., ·Mo ses A Stor and inc l u ded -:! after the Civill~.raajr~iiilm:1~ of the Nile 18m1 1a11■•••••• ich vent through three editions by 1870} a volume entitled Poems c ame out by a seco ?'2 o_ fJIAJ~ /g9'.,hJil ffin · ~Aove l ) Iola LeR 'l.gree that 'rs • .Harpe r' s poetry is comes through iiir- with uo -rerful flam e s of ima ery and statement. 0 her models are 1 rs. rlemm s , 'whittier ence from the balled. 1m reading her noetry in public, -rhat I Johnso n ij;;,;;;;;.;;;~~ S"'nse of soundn for '1rs . narper was able to apneal to ( God ' s 'Tlrombones) C'llled a "highly developed fdQ.9,~ , ~~~.i3/11J, ~V644t>-) in f-ro - Kobinson tells us erican~ Sf.te aonarently lmew her limitations , that her nopularity ••• was not due to the conventional notion of poetic excellenc e , I rs . H2 rDer 1vas fully a mre of her limi t £> tions in that kind of poetry , it was due more to the sentimental , emotion- freighted ponularity what she had given the lines with her disarmingly dramat:i.c voice Pnd gestures nd sirr,hs and tears . Up tmtil the Civil \far , Mrs . h~rshness, 1arneri~ fovorite themes were slarery, its . 7 ...A.t, . ace nd the hyuocris~es of Americ'l. . She 1 :e c~retul to r:;atAt ranhj c c:et2ils-c·~,....._.,. 1-rhe re they wi J et the greatest resu t/ especially 0 rhen the noems are r ad aloud • .An examnle of th:i. s is fovnd in '1'l'he SlovEl !'Jother" : Be is not h0r·s, for cruel hands ~ay rudely tear an~bt The only urea of household love h~t binds her breaking heArt. A siT"Jilar play on · he e,.,,_otions is seen in noems li k e "Sonv.s for the Peonle, 11 "Double "~u ry Me in a Free Land, te.ndard"(with its sti r rings of feminism) and 11 �Ari ll•l'he 01ave liuction• " woman is not sol~ly responsible for her "fall,' 1 she su rreE'ts in "A Double Standardll edding that Anc1 wha t i B wrong in a woman ' s life In man ' s cannot be rivit . Bighly readable and less academic in her use of poetic techniques and vocabulr->ries , Mrs . H9rper is neverthele8S qui, te indebted to the is Bible for much of h~magery and Il;Or~ nB ssae;e. And she mIDBmsooil~ J? m 2zw.,rr a i a b le to b . ~d r lig:i ous forms in a noem I~ like ''Truth'' .Jhere she opens Hi th a debt to the Sniri tuals : A rock, for ages, stern and hfue;h, Stood frovming 1 gainst the earth and sky, And never bowed his haughty crest hen angry storms around him prest . 1,10rn, springing from the arms of night, tlad often b 0 thed his brow with light, Anc ~i ssed the shado 1s from hfus face With te11.der love nnd i:i;entle grace . ~ e i veral religious sono;s~crr·ested here; but she also loves t;:feturn to the themeJk <;;,rn as she does in "A Double Standard" 11 l1he ~lave l o~her . 11 In...-,:'v ashti II she tells of the heroine 1rm.o dared to disobey her dictator- husband . S<l!!l~!!lilll~-4The of wol"lanhood is expressed in the lP~tanzas : She heard again the 11..ing I s corJI11and, nd left her high estate; :::itrons in her e"'rnest womanhood, She calmly met her fate, And left the palace of the ~ ing ~roud of her snotless name -(9v e r) strength and determination �A woman who coul d ben d to g rief But would not bow to shame . Ce r tainly a compreh en s ive b -ig r a nh ic a l - critic a l study o f :Mrs . rtarp 0 r fl"'the Bark s da l e an d 1 innan on anthology 0 , r e c ent n~nume r·o us o t h r / anth olo r-ies . r-,..,. r rs . Aiar er I s vork s ar E' cri tic D}lY e xamined aP by Lo ggins, \ a gne r , vJhi tlow , Braw1ey ,<;' .oroi:.,m~ 1· of t h e 1 9 th_ ~ entury- 1974 ) ~ -. t ::Sherman:1111)( Jnv1. b le Po e ts : Bl a ck Ame ricans ,-t) f;p Li k e other writers , educat:kors Bnd activists of his day , Georg e B . Vashon lid22 - 18 78 ) cont ributed to the influential Anglo - African :Ma gazine ·which was published int e rmittently betwe n 1 85 9 until the end of t h e Civil \~ ar . Vashon h a d a good so lid education-- in classi c s and h ~ story-- a f Ob e rlin Colle g e wh ere h e · r e ceived his A. B. in 18¼ , 11 a nd M. A. in 1849 . Vash on, known chiefly for his Vincent Oglil which , _ __ rown tells us , "is t h e first n a r r Btive poem o f any length by a Ne i;r:: poet , " lilll!fil!Bii:J:illi••••~lllfJl!l1~mrl'-l::rmm ~istinguished h imself a s a teacher , la1 -ryer , lecturer and writer . He nra cticed law in Syra cuse, t aught school in Pittsbur g];i. , served on t h e fac u lties of Coll e ge Faustin in For- au- Princ e, P aiti, l~ ew York Central 0 oll e g e ( where he was a co l league of Reason and Allen) an d i:roward Unive -r si t y in D . -::: . wh e re he was a law professo r. l uch of Vashon 1 s poetry reflects debts to his~education and t h e influenc e of Scott and Byron . All a re seen in "Vincent Oge , " inspired by the coura g eous (but foolish) &][ CW efforts of Vincent Or e, a µ atian mul a tto who was "entrusted with the messag e of enfran chisement to the people of mixed blood on t he isl 0nd . " The zi!lliGt:. order h a d come down from the C0nvention in France , of which Haiti w1:1 s a colony . Int e rnf al disruption in ~rance(due to t he rl vo l uti on , 178 9 0 1799 ) had ech oed to its coloni e s in the Garrbb ean wh ere Og e led a �a short-lived armed uprisin~ that cost him his life when he ,,ras refused asylum in Spanish Santo D0 mine;o and remanded to the .J:trench authorities in Haiti . As :81~~iii,1P11;,• • ·?~'!'l punimIYJent and a warning to others, liiD: thP. 1i'~ench had Or:e tortured on the wheel 8Ild sevPred his body into four p2rts PP Ch of •rhi ch r· s hung up in the fo r leading cities of the ialand . Oge 1 s followers were either put to deathJ or imprisoned and thPir properties confic,ca.ted. Vashon ras as moved by Og:e l s example as was 1 fuitfield In the lengthy poem, "Vincent Ocr. ~, " Vashon i by Cinaue ' • o tralizes Oge in ~admixtu re of classi c al and Bib1ical language, using a pleasant iambi c tetrameter meter and an over dose of dissonance in his ab ab/ a a bb . The rhyme scheme which features an alternating style is somewhat remins c ent of vJhi tfield who breaks his rhyme nine scheme(see "Arn.erica 11 ) a f ter each group of ei r ht or/ :k& lines . "Vincent Ogi" and "A Life - Day" were both printed in 1tutographs for .t<'reedom :to r 1853 . For Vashon, the strup-~le is very much a liire , And Oge stands mid this array Of matchless beouty , but his brow Is brightened not by plea.iruret• s play; He stands unmoved--nay , saddened not , As doth the .10,.171 ....'.:.1ld mateless bird lll! i r Og~ , '!Rl " .. ~ ~ a 1rste:i~st11ru~e 1 presses on . __,,,.f ·' Vashon c arefully weaves the graphi c ~ det ~ils of ~ his protagonist ' s execution into the narra ive and) NC-h- t'tieM-1 anti c ipates the more iH3rJinpsdA such as Hohns o n , l c~ay, r..:rughes, Bro,-m and Dodsen : Fro1,ming they stand , and in their cold, St•lent solemnity , lhnfold The strong one ' s triurnuh o ' e r the weak -- �.' The awful gro an -- the anguished shriek -The un c ons c ious mutterings of despAi r-The strained eyeball ' s idiot star e -lhe hopeless c lench -- the quivrringx frame -'rhe martyr ' s death -- the despot ' s fh.ame . The rack -- the tyrant - -vi ctim, -aall Are gathe r ed in that Judgma nt Hall . Draw we a v eil , for it I tis a sight But fiends can gaze on with delight . F'1rnighted with emotmon and terro r like much of the ii He, Dod s on's 11 11 :f. McKay ' s n.che Lynching, , ament ' 11 V rk of l"rs . 11 arper, etueen tho · orld and setting the star·e for and © 11 "Dunbar ' s 11 'l'he "f-!aunted Oak" and ~ relentless narr ative • . 1s ashon 1 s ~ signa ~ "~ ~_,,. /I a ,,,,__.,~ sustaining power in the work of Black poets . Compare , for example , tb,e , his sonne t _, last&'two lines of the stanza above to r.,,-cKay 1 s c ouplet inA"'1 he Lynching ":, And little lads , lynchers that were to be , Danced round the dreadful thing in fiendish glee . ~ Unlike I~c hay , howevPr ., Vashon J:i•h ~N_:1P at the end : Thy comin[ fame , Oge ! is sure; Thy name with th ,. , t of L 1e verture, And all the noble souls that stood With both of y ou , in times of blood , \Ji 11 live to be the tyrant I s fear -- founded on a f a ctual event : the love - affair md eventual marriage b f a young white man and a light - s k inned Black . For selections of Vash on • S works see Autographs for .l.:''reedom anlfi Robinson ' s antholog"V . For criti c al di s c ,13 sion s see the works of Brown and B:rewley . �. • '6 U a As we prepare to move to the next phase I ,_1 in the develo t i s important that we tarry long enp:ugh to pay b rief attention ·w ' • J ' t > ~J'J ~;;l-l'blo?) ,., (JtSJ --Ji'/. to,.Sjg?n½ ft ho Creole p oet s t rmand tanuss , Vic tor Se j our. Jj,frr4LJJ"/.. - 11 Nelson Debros e es and Ni col Riquet . Somewhat of an anomaly in Afro-American literature and poetry , the ._ 6reole poets y are• nB vertheless imnortant if the mmnNmt:m. complete port 2ait of this many- sided 8nd complex tradition is to be understood . There is nothing typically A~eri can in thet poetry--not even in terms of American imitqtors of ~nglish forrns --and they rarely disnlay m.ny r"'cial consciousness or concern for slavery and general injustice . ' ! ~ J ,~,:: 0 - s, 8!½ 1 fluent in • speaking and writing French a-id from that influenc e their work derives a spicy melody and an ,-.., unhibi ted treatmr:mt of romantic love rmd revelry . Much .llll of the work is also intimate !'.Ind sonhisticated in its use of conventions and ma teria1 s ,,--.... ~ gained from l''rench ed 1c tions . ...,;sp neqred as ,; poets • -m,rk""'s ~, ·ep fjpet u71110ksd jr 11 the first D The Creole bl_ih ed anthology in a volume 7 adoition to l' rench , the Creole Doets also -Trote in Sp~nish , Latin and S:reek and 1- rere i:seneraJ ly from~we~lthy ~ land- owner class J. · ew Orleans C-reole newsnapers, r, 1union C0 nfederqte Bnd La 'rri bune, re:vved as a conscriDtea/soldi er in the Civil \ ar, spent some time es nrincipal of She Catholic School for Indigent Ornhans of Color • .ue also encourged literary and othe r artistic exnre.ps · on4 811ong fellow artists and solicited rk for Les Genalles . euf l d> gized his brother,Numa, in the poem ''Un 1''re r e/Au •rombeau de Son l''rere, i,e caJ linr.; that ''unfeeling death has cut you domi. 11 .l:!.,lsewhere Lanusse refers to depth ns "some other hand shutting vour eyelids . "~L Sfjour 1ived most of his life in France and only rPturned to New Orleans for brief visits to his mother . Son of a wealthy family, 7f~y �.insert ' '/fj p . 46 P 7 !114' About D2lcour little is kno1,m except th'1t he was born of e0lth;r parents who sent him to France in the e?rly 1200 1 ::: tJ, re- ceive a n-ood education . Returning to New Orleans ~ afte~hooling, he was unable to c ccept the racial tern.per Dndc..t~1iM .~lii1.Mc.J(.. ~ idency in 1''rance . 1 bile in New Orle ns , J:.owov r, he wrote a numbrr of oems, one of which was "Ver~e '.. ri tten in the L\.lbum of T'adanoiselle . " The poerrJ; 111k touching Jy relives the "ganlted skies" ...,nd r""~i' "gentle flaslj.es 11 which, to the poet , 0 re 11 less lovely" when seen an-ainst the lady ' s eyes Beneath tJ:.eir brown lashes . ~* tf r,lf6 Somewhat nau Lanusse gives the ~ccotmt of a "woman of evil" uho T-mnts to "ren,unce thA devil" but ,JaE asl{es : Before pure irace takes me in hrnd, Shouldn ' t I sho·-r my daughter how to get a man? 11 �r 97 ~ IM 21 of whi ch were st sged fun Franc e and three abilities"' s praised by 1rapoleon III in "New th ma jo r F r ench literary personalities of hi s and he day . mi s scope is wide r than some of the other Cre ole poets . F i s JI' "ta Retour de' Napol l o n 11 ( 11 rhe Heturn of Napoleon") ,,... i a7 is a and a c eleb r a tion all in one . \~hile euchogizing F apol , bejour praises both his and F ran c e ' s t r iumph s and glories . It i s a poem of flowin g , g raphi c exaltation . Opening • I Jz92£111 on the scene of a "sea II th a t "groans unde r the burning sun, 11 /!:.r r ates nd collapse o 0..-0 the g rowth ranee w,..,_a world power; And on and on she swep t , an unl e ashed t emp est gild·; and Fran c e moved on ahead . No more • .All is over . ••• Yet , hai l , O, c a pt ~in! Hail my consul of proud bearing . t l-ta t "death h a s lightning struck the people 1 s i:riant . Little is ~mown a bout the personal life of Debro s se ~ 11 sf wh ich , ac c ording to Robinson , "seems in keeping with his :-rai tian g a ined exp erience , in Voodoo, aspects of which he pra ctised in Hew Urleans . 11 In 1Jebrosses 111 Le Hetour au Village aux re r les 11 ( 11 Heturn to the Village of r e a rls 11 ) , he seems to ant i c ipate what \laring Cuney through the "dishwater" in his T)oem "Images . 11 The C ti see s Creole poet returns to the v~ll age t o find ~ Her spirit dances here and there in these enchanting places ::elf ■i g 1 and to locate -- that flowe r- bosomed g rove a gain, the witness of our secret pas s ion , and too , the cherished brook to which my sou1 4 would on this day c onfide its hau py memory . �tJJ1 • A 6iga.r-maker by trade , Riquet lived~ ' in New Orleans where he nursued 11 wri tj ng light v erses . Hi s f his life a vigrous avocation of Rondeau Redouble ~tl'lla1Ca z / Aux Drane \\ Amis"(,_pouble Rondeau/ Toliandid Friends") leaves no doubt that at serious in his avocation . Riquet smm A rondeau is a trench - originated l y rical noem of 13, or sometimes, 10 lines . Thero are two rhymes t h roughout the poem and the opening phrase is repeated twice as a refrain. The remotely reminiscent of the blues and Spiritual forms of Afro-American poetry. Riquet says that since his "candid friends are c aJ ling for a rondeau! J " he and his "Muse • . • must work a wonder. 11 The duty of the poet is he will "earn the name of poetaster -- from our c8ndid friends . " The Creole Poets are examined and represented by selections in , gton , D. C. , 194-~Robinson ' s antholor-y. See a~d Louisimna (li9vier Uni v e,,..si ty ~~ ~ ~,J,1,,Jj; United States nonulqtion internal soci~l in - ~Jl . protectin~ the soon-to - be-released slaves, the need to _deve loP and stn f ~ ~ educ "tional f8ciJ i ties for Blacks , aJ l d un bha J.o:i?~~J thouv.,h ~':!M~~MJ~~ fi it is cle q_ r that the works of many uoets leap the abbi t.,,,arily - i 'nPosed chinolo gical~ 't5o ilries, t:fie temperments , themes, diotj_o nal nreferences ~:ind limitations discussed o· enerally hold for mo!"t of the poetry of the period. ~ , /;)esni t the surprising successesJ nd~ a shes o :f bri lli anCil>;it intertwined with 0 mediocrity end comedy, the Bl8 c 1{ noet would la bot- long to remove _ image of a face" trrnt, in the words of Corr&thers, on the wild sweet flowers . " 11 Liet~ , like "the �~ ,& / - YX • {/f .2 _ /<{(c ) ) {Nt - 1 1 ~ ~ ~o ~/1, T ')) . 11,,n, -,j/ ~~ /, l ~~~~~~T~ To 0 La;- )\ /)l,1d")(,, ~ - ~, ~r V ; ) ,.,,a;t t () 1u �T I • 49 l.:;.B, eiJ::i <e • ha alt!! u:enre en; 4 here were oth r poets wri tin,.. and Ji== pubJ ishinr durin~ this sa rie 1© riod . ,. any of them nubl i shed their rkP in sing] e editions, ~ o'lies of A . _~re no anger extanfi. "Rr8Wle~, whose knotm rs 11 Ca esat> " who allegedly wrote but f.9r refPrf1 to a n0et 7 poetry is not PVailable . Ot1 er poems rnd th jr coJlect·ons are: 1 Haria .... nd rlarriet ' al½onar, Po~mE._~n Slavery (TI,ondo n, 17t,8 ); James T ontgomery , James U-raham, ~ . Benger , Poem~on the ~litjon of the Sl a v e_E_r.;_d~ ( London , 18oq) ; he •~est ID di a s and Other Poems n wnymous , (1811); John Bull , 'rh~av e and Other Poems(London , 1 824); Hev . Noah c. Cannon, flhe Ro ck of wJisdom ••• rro InteE_estip.-=g:.__:;:H-....L-_ s ( ew Vorir ,? 183 3); · ch Are Ad ed 0 everal nonY111ous , "'rhe Conll"1emorati ve Wreath : In Celebration of the .c..xtinc tion of !Terra .::i lavery in the british Dominions " (London, 1835); Anonymous , SlavAry in the British LJominions ( London , 1835); Anonymous, Ant i - .:>lri v e ry ___ 1elodie s (Hingham , 1'iasf1 a- chusetts , l @Jl, ); li0or@'.e ivhi tfield Clark , compiler, '11 he Liberty I i n strel ( ew VorJr , 18~11); illiamx Wells Brmm , Anti -::S li:ivpry H'1 r p{ 3oston, 1849 ); "A \ est Indian, " Chq_rleston , South 0 :=irolina : .a gati ri c ;poem sbm·□ JJ..i: , of being the seat of libert Br ought to J j gb t (Derry , ( London , 1851) ; Sam- - -- --- - - -- - - ---Darkne s s. Tew Hampshire , ? 18 55) ; George 1!. Clark , The Harp CF Freedom( 1 ew York, 1856) ; and Abel Charles (Neu York , lcr-1!_) . "' oma s , ~h0rosnel of S}qb ery � 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_28 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter III. African Voice in Ellipse, p. 1-49 Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter III. African Voice in Ellipse, p. 1-49 with an insert for p. 38, an insert for p. 46, and an unnumbered page 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/e4eec4d0d314b40e9a48aeb44c15344b.pdf a0fbf1b49d8bb1faca52f47fd90374b3 PDF Text Text s & The Black arts Movement One ajor difference between the cu ltural/ polit c Fl '-' ~==-•, of the twenties and the sixties/seventies was location: the Renaissance I· rips literarily, if not always geo~ &r ~~i;f can graphically, in Harlem; but ••m111•-•••..,.mf\.successor~ North__, be found in ~ve~merican communlty with a substantial .._' • ~ r (.),Jt>.. l \ a.A,t;. ~ A,t Ld,~ If • B1ack , _ ' population.~To be sure, the cll'lture arrl political arms weddings interlocked. But suchA_ifl@e~,a~ieR of t h e Renaissance were, on 71 ha tJ6li.~ntered =~•-~ 1 . never r ... ~J'e) Black Poetry; but often "stars" of the New -1;~;;:::·it',;,... the J ilil!!III poets "outside II fl# their poetry. itllliillli"a?S.•-Iiiiimlr 0r, of "continpi ty,." "wholenes§" and ..-e,i' :Iii& 'iO' > ~t """',,,n.l:J'l,',,.H1c.c; the sta~"outside" topical and emotional stimuli "inside" what was indefensible as "poetry. 11 , 1, This AsnuJ meant t ~ t s had no connection whatever with a~literary &,~folk poetic tradition~ such. Instead f'theirs t' 0 •' JJ . Ju~~ /,.,t,. ~ was a tradition of immediacy, political urgency,,-rewspaper~i--ea±i~y, combined with high-shcool type punch-lining. 11 ~ This is not \is) not being written 4lllllil poetry"(of whatev er definition) was or that charlatans wer 0 always on the "take." There is much evidence to support the beli~f that dozens of these soothsayers were sinc e re and honest--~had 11 i1 y chosen what appeared to b e ~ " simp1;.sJ 11 and fastest II vehicle for expressing thoughts about " Revolution, 11 ,\ 11 Black llejti ve Go7sciousness" of their 1ilili~iji.'1~~",t';,. A\tiate.ls:am.,..~:s;~~:i:b~~oets-activists J:M,f.J µJ ~ ..!.. - -.. oj !,v,.C.~.tl giv )J. :'fiip.]l["ed two things: sometimes 1§~ r 1 ck vj,riters to~1 " /.,,.,,,., r,1,,,~,,. langtuage. · ·~ ~,.._liil-,i.;1;&..-@fll~t-i!"I~ ...,;,,, language was easier to ma ster \tniiti!!!ih that sincere expression, no; matter h ow poorly arranged, carry the d a ~ o e t r y . - c o uld / �insert pg 1 No , nothing remains the same . And my spirit~ reaches out to you my love without apologies without embarra s sment with only the thought that this is right for us that moving towards you is like touching leaves in autumn •••• .............. our minds and spirits interlocked like death . �2 the insi.. ncere versi ~iers more often than paving the way~not fell by the wayside in a short time, · rj~ke the Phoen:lx bir . mounters • more soa .r.-.awtl...iillil1191!1!111111!'!!!!~, a number the early phase-- ~~d. woodshe4,~~ became much better handler~ of 1the 'OAN,1 1UJIL~ t./J-44', (a._ f I late{/sixties Blzk lomrnunities all over America • 11 had bem abll Jhi,g turned up side down by police and I.Ws,~okesmet(~7Z.., of the Black nevolution . ,.j RM Young shock troopers like Carmichael, Brown, Charles ~oen, Ron Karenga, Huey Newton and ~ldridge Cleaver 1 II had al ready forced the "old time Black leadership to take a seat. Now, with father having destroyed son(Williams, Baldwin), the poets were free to declaim, proclaim and exhort . This trend alone was aqa1R0~ a shock to th~dition 2 t ·.,,--since it created a f~ood of polemicists and pamphlateers who ia JMnr;r ina+.ta£1sss would not discuss poetry in historical contexts. It ~ (J,{f(,fl-lfAJ,'t w ~ - by labeling i tsel~ .~'Bla~~_.:_./HiJ".,._,. L -d..l~ . ~d)/l,Udl.P5 '7U-' ~~o.~:~·,o·~ .J.,_ and renegoti1tin~ i s own 11 roots. "i;-n ~aaat sent~c."ft of the • • • f ~ J~ ~ ~ l ! \ ~ j.u~ , u ~I ~~ ; ~ew Black Poetry I\ 7a .___non-poetry or anti-poetry( in a ,J.i tera;1y c»":'TM~ ~ ~ conte.llrt) because)~ t tli d primarily on subtlety and k Ji I 8 ''c401 ii): references. Yet it remains to be seen what impact this stance in Ela.ck poetry 'Wi. 11 have on t/iiiiii' the literacy trends in Afro-Americ8'-• fBlyden Jackson ( Black Poetry in Americru,:, for example, beginA hms own discussion of the New Black Poetry by ;::{'analogy between the ~ buildinga+RPJ?;J~i:Siifi C:sii -~t-- ;;t. rise in ~ 1 eracy and the popularity of ag poetry. Stephen Henderson (Understanding the New Black Poetry) assures his readers that Black readers or listeners clearly 11 understand'P what their poets are saying as judges of Black aevthetical and are participating more and mora4"l?wi,bil. t Jg·r41 sf t J • qualities in the poetry and the poets• d e l i v e r i e s . - - - - - - - - - - - - - . J . �3 ~ i l e this cha pter will conclude with a few broad critical •• s observations, the,........, immediate aim is to continue the II t!),{:3 po~try • s developmen'l ~~/M "~~~ • oach• e r e are dozens o ~~ l.x/l~},114,1,(.JC.,J ffi .._ ~--lllilll•~~examine • • _._...,,,..,.,.'" ' ,/4 1~ .// to the New Black Poetry. One theme, structure and saturat j on(Henderson)' ,-.... or its several typestGarolyn .Hodgers, eee bibliography). a 0 tarting \Gayle, Fuller with important names is another way; the Black Aes e 1 preach al e AA tLi,,./~ ~ :tie mine.. 'l'hen there is the magic of Black poetry(Baraka, 'f oure, ~~ Neaf/:)~ The music is also a favorite p:a.th\Stanley Crouch, Mi chael ~~ l,n"r' HerpeJN. One could go on and o~: but the poetry has been written and r one place to start is with ~ asts Jeno bieta11:gr M ~~ role in the new;;:;,;: · 2 31 ergence ,o, Qo..,;,"'"~"'lf•/New York.,.'11/1:#~ k,!;; : to 1 iOiitl"!tf'§iJJil bt 11 1 ua l y; but it did not, m @xv J:J... ?:i. iib played a key .. ~ as said e a rlier, play the key or only role.---CSI:eaiP.Ll:' 06h01 A,reas of the E a st(Phil a delphia, ~or~ b.... l.w..,r1 { Boston,~hing ton, D.c.) ~~ in the boon • .__ _ _ I Bl Midwest cent e rs were Cleveland, Chicago, lJetroit, l:!. a st and ~t. Louis, Kansas City, to name some. in the S o u t ~ ~ was :c·r.Mllllllllt ~ a 0 t. Louis- rtelated events also took place another "rising" in Atlanta, Nashville, Jackson, Baton Rouge, •r uskegee, Houston, and Toogaloo. The West added richly from Los Angeles, ~an Francisco i ay a r ea, 0acramento, and Seattle. Interweaving developmentsj!I/;{~ poetry were numerous Black Arts activities C:.-:~onnected to cultural or nationalist programs)looated a~settlement houses, community centers, •=-••y11 t.MA.AU,,, ~serr...l-nation of ideologies, centers for the~ · , ; IE Of anti-pc,verty projects~ and educatmonal institutions. The high knthusiasm and vogo~!f~ ~ ~--0""' ~ Black-orient~ evident in the plethora of tabloidl' jo po~ers, ¥] S31awulooks ,~ pample-ys., and recor t-1..~ ... ~~~¥-1;.e-...i.Ql..e were the MIik new Black bo o kstores, African curio shops, walls of respect" (Cleveland, Akron, Chicago, St. Louis, New York, Bewark , etc), W weekly festivals and jubilees, writers• conferences, writing work- 4 1 �4 shops, the fiood of liberation flags(Black-green-red), a. ~Black-oriente?tal~~ and other physical{power signs and handshakes) or culturaJ&lit ~frican clothe~, hairdos and jewelry). New Y~~k wasf\..9m&;g"0Pe of the aeet important show-paacel for the ..post~ \..Y_ears / new consciousness. It h a d the residue of the e n a i s ~ t h e ~h omburg ·n Harl,aa~ibrary and Micheaux 1 s Bookstor swell as ~urrounding communities which p lugg ed into its sockets. New orgF~~tions such as thei;;;;;R Barbara Cultural Council - Ann Teer 1 s Nati acii: Theate~d the Harlem flowered in the amazed light of olfer instituttions Jl-t like Freedomways 1Lnrtft {?1arke and .i....arnest Kaiser) ••._ xffi new poets: Tour~~~1Lee), Hande rson, published many of the - Clarence Head, Welton ~mith, Lloyd T, Delaney, W.D. Wright, Joanne Gonzales, Mari ,t;vans and others. l''reedomways also offers lively ..an..Q. commentarj es .on.reviews ,iii#poetry, lit erature and the Black Arts scene. From the variegated atmosphere of New York gushed forth a tide of Black poets#, some had~ w C)\made t h e i r - . mark earlier: Henderson, Larry Nea1(1937- need( Ii1Qffl8.8l ctnd 8!&fl8iiee), Patterson, ;:;un-Ra, Dumas, June Jordan ( 1936- Ji 1 Sonia ;:;anch ez{l935), S.E. Anderson(1943Len ), Victor Hernandez Cruz{l949Chanaler(1935- Hernton, Quintin Hill{l950- Jones, 1946- J, Q. R. Handt ~ rtay J ohnson( Barbara ~irnmons( J, Lefty ~ims{ J, ) , Lennox ), Jay Wright(l9 35- Lloyd Addisonitl931- ), I , Arlington Jones(l936- ), Lethonia ), Yusef Iman ), Odaro(Barbara tt~tone, \~ elton Smith(l940- Spellman, . l : ! . d w a r d ~ e n c e 1•1ajor(1936JRichard Thomas(l939- ) ), Lorenzo Thomas(1944- Kattie M. Cumbo ( ), ) , James ), Jayne Cortez(,r$.,.~Jatts, 1938- , ), ), Ted Wilson( . ), ) , Barak a, ,-.. J, Yusef Rahman{ Ronald ), Clarence heed{ , '1. J, John A. Williams, Lebert Bethune(l q37- ,, Kirk Hs71(19• ), ), Albert Haynes(~6- ), N.H. Pritchard(l939- ), Bobb Hamilton( ) ~d Bullins(l935- ), i~ oward Jones(l 941- Audre Lorde, John Major{l948Raphael(l940 - -'Si,.;,,=-1!:!:i~~~ ),.:.; ), ), �5 ' ,, 'I ) , .Nikki liiovanni (via ll'isk, 1943- hmanuel, C"'lvin Forbes( Tom Weatherly(l942M. Corbin, 1949- ), Ron Welburn(l944), Mae Jackson(l946- Julius Lester(l939(1947- ), Djangatolum(Llwyd ), ), Joe Johnson(l940- ), ~louise Lofton(l950- ), / Felipe Luciano ), L.V. Mack(l947- ), Charles Lynch(l943- )' ), Quandra Prettyman( ), Larry Thompson(l950), and K.W. Prestwidge. ~ew yqrJc Theplack Arts scene,. cm i I l c of ~etry specifically) was all-a-whir with the:. •:,a excitement of publishing and reading poetry aloud w-.JJ.id 3( were at the infinite number of gatherings. Joining these youngerf• d-'J•l older, often revived ones. Hughes :?'f-e"Sffl~t! of the proceeding• until the amc of •his deathA1967J. And there were old, as well as new, outletx for the poetry4 which was being read at the Apollo, Carnegi~_Hall, New ....._~),,,,,._ ~ Lafayette Theater, ~lugs ~ast, Mount Maris Park,~ountless com1m unity centers and churches. ~ " s t of these poets were not n a tive New Yorkers; i-+,=111:l!lat be ackna] @4i,i'd tbilo~a rreat number o&Ct:m were not er etuall ~ N-uring the height of the .black Arts Movement--but often in Youth Brid~e) , outlying areas like Bridgepo t, rt"e, f'redenonia, Brockport, Rutgers, Brooklyn, Boston(~lma Lewis's Genter for Afro-American Culture), and Bedfor~ ~tuyvesant. But, while they h a d separ~t.e Black Arts programs, " ms,ve~ in,... c:::J,.,..., a ., most loo ed to ew York•-••• .le Acrro wan ti an a elptthe Umbra Workshop 48ilii=~~... but there were •-=~: Harlem Writers Guild Clar ""' fouglass ~II-•e~•APoetry Workshop.,'\ :t., Killens), ~" 1 " the Columbia Writing pr:~am( Killens), 1 Black Arts rtepe~tory an (- chool Baraka, ~nellings), ~d tJ I \PEP> n ~ 3rJJt k l PM MM e,iri9f§iitg vp av• n~ N:38 aiJEtsice mui ae. 011il!lias Umbra(l963) /1tf{.vAmong the i1l1Jtee:s:iik-t1',journals were,.Soulbook(l9 64 ), Black Dialogue(l965), ~ Journal of Black Poetry(l9661), Pri'de, __ . -·····"··- .. ...... .... ~, . ...... .., Black TheatreJii (1969), Cricket(l969), Black Creation(l969), AfroAmerican:A Third Wor~d �b L@terary Journa1(1973, ~yracuse), BOP\ Bl a cks on Paper,, Brown UniversityJ, 1964), C0 ntinuitiest Words from the Cormnunities of Pan-Afric~City College 1~ew ~ York~1 19'(4),JObsidiar tB ~ ~ - - - -- J , 197.5). During a speech at Howard University's First Nat j onal Conference of Afro-American Writers ( .1.~ovember, 1974 ), TourJ, recounting the tumultuous years and develop- saia.r.t' ments, those responsible' for the '' Black artts and aesthety movement" were "activists as well as artists. ~ """,_._~was . _ most ~ e-i,;1:: 11 a _ -- ilKL t as Ba raka returned to .~ J this panticular f\ -. Newark ( relllaming it 11 New Ark") and chang~ his name~ {!;mamu Amiri Bar~ka), reflecting Tl ~ ;,:fl r~ti~· Av\.~ . the . . gre~J. influence of ~Isla.mt:,m • his new,-. 'Bid£ Wi cg Having a, . 4,c:; ,~tJ;Rff¥u~i!Wtrvojee-t "to re-educate the nearly half a million Ha rlem Negroes to find a new pride in the co l or," he movedtoes abl. h r--: - ·.-f t' '-5~ ~ L f: ~ r" _r- . ,j) J ~ewarlyjSpirit Haus-;;, and, ::=;uch spin-outs ail }fieAfrican I1ree Sc.nool(with .(J I (. ~ , /~ its Kawaida doctrine), ~ommittee for a Uni~ied Newark, and ~helpii launch several n ational Black ~olitical ~entions. 470} VJ..A. ... 74 He was""'-aa-s....~a;e.founder of the 19WN! rife-ridden Con gress of African f>eoples ' During truf~fots(insurrectionaQ(in Newar:atk, Baraka was arrested with several companions and charged with po s session of two handguns . and ~ ammunition. Between his arrest and the trial " Black People!J" was published in ~vergreen heview •• The poem openly encouraged looting, theft, murder of whites, and general insurrection: "What about ,____ that bad short you saw last Qeek 11 ; "You know how to get it, you can get it, no money down, no money never"; "/ne I owes you anything you want, even his life"; "Up against the wall motherfucker this is a ,,,--.. stick up!"; "Smash the window at ni-A,fght"; "Let's get to gether and kill him my man•": ••• let I s get together the fruit .s4ib Mau ... of the sun, let is mak e a world we want black chil dren to grow and learn in �do not let your children when they grow look in your face and curse you by Baraka returned to Newark and organized the Black Community LJevelopment and ~efense a'organization(BCD). ~ ~;:a:-;e,;;tia:A~!'Mtft!:!m::IC8l~•~•·.a.lloy.€efforts in t h e e 1 e ct ion of ~..,...!!!!!II&_ enne th Ui b s oI_;J.9'9'@8-tllllt ...~11"'m!P'jlP'lO!'Jlll£i-oo~i..,,lijJll~cr,iwn!&Pl!!~1PP:;~,l?J.::.:DiiP ~~P-~~!Ml~---~~..,.-•~J:aa"""'~~~~.,t;:i~ -a.t C having impact ,... , . 4' Dlkf:~pegional and national Black political/poetry see~ Baraka's pictures wLth bandages from the 1967 scuffl~ with Newark police) began appearing on walls of cultural centers, dormito llt and homes. O j. At, /; ,_?bservers, however, were somewhat wary of Baraka, having seen him go through the "changes 11 from Beat poet with a white wife, to Harlem and Black Arts, into Newark and political work(for great insight into all t h i s , . e Th~dore Hudson's # From LeRoi Jones to Amiri Baraka, l-973). · ~ ,J.r"., ( ;,cb~/S/J! d(. ~ L~ ~araka 1 s influencesMfS••l!!!!!!!!!!JI- in most centers of.,..ruetry---~places 1 ✓---" ~ where his poetry had not actually been read; or, if read, not fully understood and digested. It was not unusual to hear a Black youth quote a few lines from a poster-poem o~ from a live readi~~¢1Jlld,S. but who, when questioned about ~· ~ w rks, ~ di<) no. t kn<?1:i )the name of a sin~ one. Dead Lecturer#, I (_~ ~ , 'W .I ~~bsll!-fubii~he'd Black Magfec: Poetry 1961-1967(1968), In Our Terl,>A l'j ribleness(1970), ~pirit, 1ieachtl972), as well as numerous essays, stories. With ~ Neal he co-edited Black .l'iretl968) which, along with Ma.jor•s The ~ew Black Poetrytl9 69, snow-cased the new poetry. �8 ~ n the Forward to Black .!:''ire, Bar aka c a lled 1:1~Jr. •~ "the f<lrnnding Fathe rs and Mothers, of our n a t i on. We rise, a s we rand rise(agin). By the rower of our beliefs, by th 11 p ur,ity strength Using j,((J v-{J~ of our actions. 11 • t--a st a ccato grammar, .M"'1lil!l!l!ll""''N!~!lll!'I-.~ the poets and writers as: The bia ck man. ~he black artist. The black man. The h oly man. The man you seek. The climber the striver. The mak er of p e a ce. The lov e r. The warrior. We a re -chey wh om y ou seek. Look in. Find yr s elf. Find the b eing, the speake r. The voice, the back dVst hover in your soft eyeclosings. Is you. Is t h e creator. Is nothing. Plus or mimus, y ou vehicle1 We a re p resenting , Yourvarious selves. ~Je a re presenting, from God, a tone, your own. Go• on. Now. He thus sets t h e "tone 11 poets/philosophers, r much of what had al, a perceptive critic and b a lanced t h eoretician, h a s p ubli shed two v o lumes1: Black Boogaloo: Notes on Bl a c k Libera tion{l969, Jourhal of Black Poetry Press, l:''orward by Jones) and Ho odoo Hollerin' BeBop Ghosts(l975). His Afterword to Black Fire is tantamount to Hu gh es' resenting 11 artistic a nd political work" th a t mu s t be " called a r a dical p e rs p ective II Black Fire should be read 11 a s if political, social and of Western exhor ting oth e~ writ e rs, Neal continue: Wlt have been, for the most p a rt, tal k ing about co n temporary realities. "e have not been t a l k ing about a return to some g lorious African p a st • .but we r ecognize the p ast--the total pa s t. Many of us refuse to accep t a truncated ~e g ro history �9 which cuts us off completely from our dfrican ancestory. ro do / so is to a~ept the very racist assumptions which we abhor. Rather, we want to comprehend history totally, and unde rstand the manifold ways in which contemporary problems are affected by it . ~ C ,J.f) Speaking fmint;t;:1:r!~hindsight o Neal add: There is a tension within Black America . And it has its roots in the general history of race. The manner in which this we seewistory determines how we act. How should we see this history? What should we feel about it? This is important to know, because the sense of how that history should be felt unites or separates us. he sums of what can credo or modus operandi of the Bew Black Poetry and the Black Arts Movement: The artist and the political activist are one. They are both shapers of the future reality . Both understand and manipulate the colledtive myths of the race. Both are warriors, priests, lovers and destroyers . For the first violence will be int ernal- the destruction of a weak spritual self for a more perfect self. But it will be a necessary violence . +tit the only thing that will destroy the double-consciousness--t~e tension that is in the souls of Hlack folk . It was the kind of challange that sent many the long night of the soul to purge himself his enemies o f ~ people . ~ i c a l l y speaking, a~S.~~t;;;;' poetfinto r e al or imagined ~.-n.!lr, it was Baraka 1 s "Black Art 11 that set much of th: pace/rd'fll form :f: 'n the r ew Black Poetryt Poems are bullshit unless they are tee1ilh or trees or lemons piled on a step. Or black ladies dying of men leaving nickel hearts ~ �10 beating them down . Fuck poems and they are useful , wd they shoot come at you, love what you are, bre athe like wrestlers , or shudder 1 strangely after pissing. e want live words of the hip worl d live ~ flesh & coursing bloo d . Hearts Brains ~ouls splintering fire . We want p ~ems like fists be a ting niggers out of i oc ks or dagger poems in the slimy bell i es of owner-jews . Black poems to smear on girdlemamma mulatto bitches whose brains are red jelly stuc k be tween 1 li zabeth taylor 1 s toes . Stinking Whore ~! We want "poems that kill . " Assassin po ems , Poems t hat shoot guns . Poems that wrestle---t cops into alleys and take their weapons leaving them dead with tonges pulled out and sent to ~reland . Knockoff poems for dope selling wops or slick halfwhite politicians Airplane poems rrrrrrrrrrrrrrrr rrrrrrrrrrrrrrr ••• tuhtuhtuhtuhtuhtuhtuhtuhtuh ••• rrrrrrrrrrrrrr r ••• Setting fires and death to whities ass . ••• •• •••• ••• • •• • • ••• ••• •• We want a black poem. And A :Bla ck World . Ji:et the world be a Black Poem And let Al l Black People Silently or LOUD 0 peak This Poem �.f• 11 ..._ sangtj.ine _ ~lrwi:!~1$JJ!MIBl&Glii~often sited as the_itembodiment of the Black Aesthetic and a rejection of white culture and life style. Poems, Baraka states, must not only have guts and earthiness(like Black5) but they must also be weapons and shields against racismt, f police, mer t hustlers , crooked politicians and status-climbing Above all exalte Blackness ( "sons " "lovers 11 "wa rriors 11 "poets 11 0,.if~tk P~Bla ck bour~eos1.e.1'These then are the dominant themes JHt-mu?~ of ~- ' ~ ~ " ) the New Poetry and the philosophies stated~ith radical ~v. from coast to coast. Baraka•s purge s ) xt-end~ through poems like " Poem for HalfWhi te College ::;tu dents," "The .hacist," "Little Brown Ju~ 11 ( 11 WE ARE GODS), "W.W. 11 \attack on wig-wearing women), "OIVIL RIGHTS ----POEM11( 11ROywilkins is an eternal faggot"), "Ka 1Ba, 11 and fi/nally, \.../ in 11 leroy 11 ') ~~~oa.li..-.P8'1~~ his l a st will and testament: vfu.en I die, the consmiousness I carry I will to black people. May they pick me apart and take the parts, the sweet meat of my feelings. And leave usellrul a th e,ii;(_ter bullshit rotten white parts ~ • I alone. j)} f .rA '(' - But there are also/\l9ve poem~ ip the later period, caught up in A e, 1~ the stressed life of irlackness: "the beautiful black man, and you, gtrl, child nightlove, ••• : We are strange in a way because we know w:ho we are. Black beings passing through a tortured passage of flesh. (rn"his ~1 l''orward to"1c. Black Boogaloo , Baraka says of the world: "the soldier poets will change it. 11 What Neal's volume chan ge d has not yet been ascertained but it certainly contains ambitious apq sµccessful ,, ~ (),JJ/-J;t-1r; ) oetry. His debt to,fhe older generation of poet~~an be veen in poems vJ-9 -.) 1 },,:-r' I • , / 11 11.kef\"The Middle Pa~sgge and After, "Love bong in the Middle Passage, '' "Garvey's Ghost , 11 "Lady Day," "Harlem Gallery: l''rom the Inside, 11 11 MaJ:. ,,-n· • ik.; ',,vw~J,./JU\.I,(.,('."(' ~ co lm X--An Auto biography'!) 11 Making use of mysticism, chant an · / �rr Olorwn ~ Olorwn • • • see~ ;rhe Ji iil',i,. Middle Pas sage II +-I. ~. pillaged• "A.Aa-.a "Love ~ong in ~I "cthe horror of "The Middle Passag€ After.,_ " 11 .uecked, stf!cked, ~ fl!:w ad Jlw the n. ~' M&;±@wof sea- death mornings . i ".t\.unt ti ~ _.,\poems ]9e~'Song, ~ "Jihad, 11 9 rishas 11) ~ reveal · "-..in-cerests a /l'l}A., in sypernaturali sm, f\rrican philosophy and~lusive,;mystic a l powers i n ~ ~ ~eticPll:JiF11 the "word.1• He 9Tf lilJ 5, seel?sff!o implement the ideas he stated in alll. ~ e c i a l Black issue of..-, Black Fir~ an~TDR( The Drama Review) Bll:ld!llll'~in . _ summer of 196e . The issue , edited by TDR s contributing edito b . . .Bullins , compiled ideas and plays rooted ~ ~eatured work by x 'irie special issue projected many of the concerns oft he New Black Poetry. Ne a l ' s "The Black arts Movement" was a blue-print for Blac~ts and political chang e . ~choing · ; i:ra. Black <1 lai l fl. r e ~4'1Ulb!ll8Rt · ,.,, alienates him from his comrnuni ty ) 11 ffl. "e:-rw ~~a# · concept of the artist that • Black Art is the aesthetic and spiritual sister of the Black Power concept . As such , it envisions an art that speaks directly to the needs and aspirat i ons of Black America . In order·· to perform this task , the Black Arts Movement proposes a radical reording o!k.he western cultural �13 ,_ aesthetic. It proposes a separate symbolism, mythology, critique, and iconology. The Black Arts r ---.. and &:'..!!!-ii!• Black Power concept both relate broadly to the ~fro-American 1 s desire for self-determination and nationhooa. Both concepts are nationalistic. One is concerned with the relation betx:,; art and politics; the other with the art of politics. ~-n~1J-£f"u:lln~tol,11 f-; · r was not wi ■ 11 ~aaparj/-te" aesthetic 1 g ~ a - 4J.' 33:g sac Ji&dJ.,..by all Black poets, artists,, rll a Vii or intellectuals. Neither was there a complete lMir.,&iiiii.•f(or under- standing) elllll;a..._among~~ponents.1iiiiW11111ic==t:::a:::ca••~-. .- -.• For a boycott of Major·s The New ·••.-ed being ..RP'. rou · was a whi tef ~~~'-'-•~~e'!'!~ffl"'1!P!llt,f!flel!l~ffl~!-,.•priggsfhad not objected eaJer to use of his work in Black !''ire, also published by ~ou 1121 s sea a fa! >p 1 ! ggs *°si tion statemen~: wJM~~ •t b 1'"'1dl'.0 tt' * ls fie h lMOIVl ,~~liahsd a ftob&~lo 'f ile Journal of black Poetry(fall, 1968)~ how in the hell are the black publishers ev er going to get off into it if not by the assistance of the writers. how ~ are distrub~qorships everi going to mature witn~publishers if the highly marketable works of wm keL ly, wms, 1 neal, ef bullins, j. killens, ja leroi j, or the like never comes their way? does the concept of black power and black arts extend that far? i say yea, i ~pri:ggs joined say yea, yea. a.,, large number of critics and practijoners ~ of the Black Arts--Toure, :eal, Crouch, Bul~ns, Goncalves-in the controversy over ~ri ter$ 1 • .,a 1 1 1 £~ m5£ ties ta 1!1m av.... Despite the controversy, howev e r, rn] J · ' apueared as,:_ kaleidoscopic offering~ the tf,w B l a c k ~ • �lij. Major included a perceptive and .fl. tting Introduction: • of black reality is often studded in these poems THE INN ER crisfs by the swift, vividly crucial facts of social reality; which fconsists in part, anyway, of all the implications and forces of mass me dia, the social patt e rns, the bureacratic and mechanfucal ~ nmdiums of human perceptions, even :iarof the quickly evolving nature of the human psyche in this highly homo genized cultur·e, in all of its electricl processes and specialist fragmentation. Black reality, in other words, is like any other reality profoundly effected by technology. Th e crisis and dr ama of the late 1960s overwhelms and thre a tens every c r evice of h uman life on earth. These poems are born out of this tension. ~ In his own po etry, Major ~ l D o a t Vietnam, a lienation, impending world destruction, B1ack history, music, mytholo gy, and personal excurs i ons into Urn ::s221!i. C. dreams. He published The Dictionary of Afro-American Slang(l970), Swallow the Lake(l970), ~yrnptons and Madness (1971), Private Line(l971), The Cotton Club.(1972) and The ~yncopa ted Cakewalk{l9741/ as well as novels and essays. He has also di fe ~te~he Harlem Writers Workshop. In the a c l m o w ~ a j o r ~ ow~ JLr' lrlAJ() . mfny ;J • Lowenfels, Ishmael heed, ttaphael, Art Berger, velton Smit Hoyt l<'u er, Nat .tien- toff, Dudley Randall, Russell Atkins, Bremen, Al Young,~avid rtenderson. of his style: spacings shapp punctuation, tidbits of world the racial s tatement f!,atire or exhortat i on), and exp erirental tUPograp:\?;y. rtecalling l}is 11 passage 11 he sees "Tonto Sambo Willie 11 --noting that even Mexico-"an assk issing nation"--now has £he 11 sup e r-biionde 11 on its 11 billboards. 11 �In the midst of .,r-- ~vigorous 1 y promvt1,K ~ bpriggs f\.. Ahmed~ editors of N ournal; Baraka, Major, Nazzam Al tributing editors. Editor-at-large Bullins was later joined by TourJ. In the seventies brnie Mkalimoto was added as a contributing editor with Major's name disappearing. Major, Handall, Neal, Spriggs, Bullins , Baraka, and A l h ~ l l served as gues~ors • ianusic An im o • ant c(and outlet influenc'e'"i onr"5e new • • ~ poetry, the Journal was "in many ways born of Soulbook and n The Dialogue"(Goncalves, now D~ane,~editor). s~ the newest poetry, zeroing magazine continues to in ~ o n other areas like the West Indies(~ummer:n_zf73), printing lively news and announcements, as well as reviews~ticism. Its spring, l9 68 , issue, for examp le, was dedicated to Joseph T. Johnson, who had recentl7 been killed • . , - Abdul Karim Toure, edited Black Dialogue with Sprig~and Gonvalves serving as associate editors. rtelocating in New York in the late sixties, Dialogue 's new editorial board was represented by ~priggs, Nikki uiovanni, Jaci ~arly, Elaine Jones, S. E . Anderson and James Hinton c:Q · 1 A1hamisi and Garolyn Rodgers became Midwest '3~itors; Spellman, Julia Fields an d Akinshiju became editors for the South;~ /'iiiiiia' Joans and Kgosi t~le took over::t-,. Africa and a t - l a r ~ o o k I s ~ow incl editoriai board =-rls24mtn1 Hamilton, Alhamisi , Garol Homes , ude~::: Baba Lamumba, Zolili, Ngqondi Masimini and Shango Umoja . mong the . administrative staff is Donald Stone(Rahrnan ) whose work appearls#t. Spriggs, Tou:rJ , and Black Hi_y Larry Mille~(Katibu) , Blues , 11 at Spirit H o ~ 11 Transcendal full of chanyaat:J. song and l_in,:;,Xperimentation, fuses the world of Black music(and mucisians) ~ t h e "strife riddled concrete �16 bottoms of skyscraper se a s." Rahman•s influences, obvious in his ~ a re name, se en in his statement that a "riff 11 so hilgh and grand "Could be Al lah. 11 Fina].17- winding the poems into a tribute to the Black womanl "Bitter bit her bitterness hummingn J, he ~ rejects Christians a nd whit e s a nd warns that ~ s pea rs shal l rain •••• 'r he ~ i n f l u e n e is also seen in other po e ts oftre period: Spriggs, Toure, Baraka, Iman, Neal, Alhamisi, Dumas, flJllll mo along with poeta of the era . Ni k ki Giovanni Tre s e J •s women Lorde, June Alexis was by way of Tennessee and Fisk Universitl wh ere she wa s a of Killens' Writers Workshop. C <$A a series of volatile prose-like statements which were startling: J.M7..,..,,t ~coming from a woman. lack Feeling, Black Talk, Black Judg ement ( 191,0~ Re-Creation appe a r e d ~ 1 9 70) ~972 and •••lihl.a book Black Song(l971}. Comes 0 1 ~ My House of poems for children, Spin a uoft Her antholo gy of B~ack a women po e ts, Night oftly, was published in i970 and she has recorded albums/ �17 written an autobiography/nd series of "conve:_:;~tio~' ~;(/,/) 'N-e-01,1~ with Margaret controversial -iifil~~new poet ~, acoo.la,.d ~ l e of the Yea :a, :b~e :ein'l!e BR8 uo s _ ~ i n magazines like l:!:bony, 1 and Essence; app e a r ~ on the Johnnny Carson Show; tt.-4..0., sou ght-after~peaker on the college circuitj (j ' and labeled . i lberfo rce; the "Princess of Black Poetry" by the Ida Lewis, Encore editor. Denounced as an "individualist" by Madhubuti (Lee) and praised by Margaret Walker and Addison Gayle, Nikki Uiovanni denied Show,hosteO by Flip Wilson) ~ a "nevolutionary.' singing of "God Bless America II on nat i onal television, a~ter receiving the 11 Woman of the Year :W.ward, 11 prompted letters ,t o Black publica tions "Uf Liberation": Dykes of the world are united 1''ag gots got their thing to ge ther (~veryone is organi~ed) Black people these are illr facts Whe refa.1111 y our power •••• Honkies rule the world •••• The most vital commodity in America Is Black people Ask any circumeized hankie •••• ~ ~ j t i e fil::_al stanza of this p oem~ wa rns: / Our c h oice now is war or death Our option is s..... rvi val Listen to your own Black hearts 11 C0 nceming one nesponsible Negro 'With too much Power" echoes other themes in the l~ew Dlack Poetry . ·l'he "responsible ne g ros II are �18 "scared' and on the run. fsabM· tells he~ your tongue must be remoi.e d sinre you have no brain to keep it in check \~.h'.e flections on April ~' 1~68, 11 ~ a n act of war. 11 she Dr . King~ ~~~ In "fhe Great Pax \Vhi te II she paraphrases the a section from Genesis in the ~ible,cml!i noting thatt the word was '';D;3t9.}°; "S@iH½ ~g_ all nigg ers." Occasi~naJ} , A jutted throuep. thp otherwise polemical Jrlr~lli,,o!'I~. "Beautiful "hug what i like to hug ." There /(,,,()' emotion-freighted language as in "The True Import of the Present Dialogue, Black ve Negro 11 : Nigger 6an you kill Can you kill Can a nigger kill Can a nigger kill a hankie Can a nigger kill the Man ••• Can you stab-a-jew ••• .--::---,,... Can you run •Bllit. a protestant down with your 1 68 ..l!.,ldo rado ••• Can you piss on a blond head.... ~r~{Ji~ The poem continues) reciting names of the "enemy" a n ~vs a nd wrong-doings visited on Blacks, finally asking~ffiM~~ Learn to kill niggers Learn to be Black men Much of what Nikki Giovanni was saying in the sixties moved~ Blac k youth--it was not always safe or chic to disa gree even if you wanted to-and some of it was admirable. But these things do not make her work dedtensi ble as poetry. 11 My Poem" and II Poem for Aretha II are certainly worth~ �19 subjects but they fall leisurely down the page , angling here f?nd, ~ ) there but revealing nothing of the insight into human beinrs--~t one ~inds in - ru4 ~oem by Helene Johnson , Margaret ~alk er, Gwendolyn Brooks , or Jaynfe Cortes. V from the early pe riod, is a believable flow ~ i n the conversation-like language istic of €haracter- her poetry) and the details pull on the inner reaches o f ~ the collective Bla ck experience as she unfolds the storf of family fun and misfortune: your biographers never understand G . your fatherf's pain as he seils his stock "-- and another dream goes And though you're poor it isn't poverty that conc erns you •••• My a newer Nikki Giovanni. House The venom has lessened, though some of the rampage is evident in a poem like "on Seeing Black Journal and V~at ching Nine Negro Leaders IGi ve Aid and Comfort to i ,, the ~nemy~ to Quote Richard Nixon . Again therec4j~~Re~ 11!1!:lil'i~~~vi gorous interest in a stylisticf or linguistic d ·th • The poems~lid!amiM!il!BB love, the city, childhood ~ ites of woman-passage), Afri ca and Afro-ltrnerican culture. ~er promise and potential c an be glimpsed in 11 .n.frica I": on the bite of a kola nut i was so high the clouds blanketing africa in the mid morning flight were pum ed away in an angry flicker n of the sun's ton ue.... ~ ' {J;ri ~ infl~c 't<-~-- about themselves arrl their world . �20 like Mae Jackson who won Black World 1 s C0 nrad hent 1t3howf Rivers ~ward, have the "stuff ii of poetry in their writings. Can I ~oet with You was published,.. in 1969 by Black Dialogue Publishers. Nikkm Giovanni a II □- wrote t h e turn, dedicated the book to her. Nae Jackson, in is full of the "complaints" that quickly became monotonous in the poetry of the sixties. In themes and usages, the poems resemble Nikki U-iovanni s work. "To a rieactionary, ntellectua~Note from a E'ield Ni gger, 11 ~ are familair of the new poetry. S0 nia Sanchez, closely identified with the alternate terse, explicit vers 7 and between the sprawling, prosaic meanderinglthat serv~the auditory demands of the new a diences. Formerly Crried •1 to the poet ~theridge hnight, sh~A~~L2aj,e~8"d activ e ly as a omecomin playwright, poet and teacher. Her books are ea Baddddd People(l970), ~ 7 1 ), It 1 s a New Day:.Poems for Young Brothas a nd Sistu~,f..iii,i,ove Poems (1973) and an anthology from her yo~g Writers Worksh op at the Countee Cullen Library in New York, Three Hundred and Sixty Degrees of Blackness Coming at You(l972). 9"Malcolm" is ~ament and a night-fmlled memory for her: Yet this man this dreamer, thick-lipped with words ----- will never speakW again and in each winter when the cold air cracks with frost, I 1 11 breathe his breath and mourn my gun-filled nights. 11 ;:t;; �21 Her II for unborn malcoihms 11 , however is another approach. O:onstricting attempting to words, structure, and achieve a Black s'breet speech, she teihls Blacks to "git the word out, 11 to the "man/boy" who is taking a :ihd>liday. murderer 11 shit 11 11 " will die t o. An experimental· 11 Blacks are blk/princes 11 dief wbo80 OJ<pet ~onia Sanchez 1;$'11mi.•ni-. erisive la imeli~s e flood of t 'hip to his hite "faggots" "° n o ~1 4 ange!fJ~-~-..~·( 11 deni ti on for bl~/children"): a policeman is a pig and shd be in a zoo with ill the other piggy and animals. until he stops killing blk/people cracking open their heads remember. the policeman is a pig. (oink/ · oink.) -- joined the poetry of Black love and man~woman unity, seeking particular style and voice to heal wounds of doubt,.ai mistrust and loneliness.In "to al ~ s;.ste11'.'s 11 she sa'js "hµrt 11 is not the /' ' "shd be in. #. -;(}ht' Black m."'anAmg es them "turn in/side out." /~ journey ha ' c~ar~i~d her from the fire o~~the ,--Ill/' blatant revolutionary to the qui e't~ I /> -t::re:tt:, of Love Poems- -beln~ ) ong the first of the new poets to fullfill Handallls prediction th a t Blakk �22 poetry would 11 move from tr~larnatory to the subjective mode. 11 s r1.t~1Ji:~a j. publi:h edf( Who --~- June Jordan Look at Me ( 1969), ~---.;...__-::::_::--" ~"".--7"f<.•"'"7~•-.. Some Changes ( 1971), an anthology Soul~crip,.t(l970), and a volume of poetry ~y students in CJ'W'lt-f~·~ J' workshop i,p BraeJril!,n, The Voices o f the <h ildreb(l970). ast HerSJ••k volume of poetry his is a New Day(1974). Concise, analytical, her and book-folk based, her poetry is also a free verse style characteristic of practically all the r ecent Black poetry . "uncle Bull-1Joy 11 relates the death :tll~t,&&1tli!li!llil!t1N1111111tdbl!l!ilei'!ll!l-ll!l::i:t!iMtil......... lillii:ll~ of a man whose eyes "were pink with alcohol ." The manner of Black men, expensive shoes, and alcolhol. ~d fin al ly: His brother dead from drinking Bullboy drank to clear his thinking saw the roach insi d e the riddle. Soon the bubbles from his glass were the only bits of ch a rm which overcame his folded arms. Audre Lorde 1 s 11 Rites of Passage 11 (for MLK Jr) Now rock and remembers Quick children k iss us we are growing through dream. Much of Addre 1 s Lorde 1 s recent work r' a concerns young people; even the the title of her la,!t,book/;Erom a Lad Wh e re other People rnllLive(:}.973), carries the awe and dream of the child 1 s world. She writes now about �23 teachers, men-women relations, seasons, dreams, "As I Grow up Again, 11 - and "Bla ck Mothe r Woman" 'Who thinks of her own mother's strength when "strangers come to compliment" her: I learned from you to deny myself through your d enials. Alexis Deveaux Among the younger New York women poets , Judy Si and ~louis Loftin sing out. ¾Judith's Blues(~ published ·n 19(3 ;,fz ~l.iilil(llfjileMreteiiiLi!~~!fblr.-,. A/,/1 by Broadside Press. fill: E'.iii h.?JiHM 111Li1 Cult ' 11 ' ~'Schizophrenia"), "Women ' ,n ,.and~ 11 l the " Youth . JJaffodils"- -although the titles do not reveal I -1 - () tMflecting Judy ~immons• sustained study of psychology , poetry yields its mean~g as the multiple layers and ingigh.ts are In i;.,,- ~ »4Nl!I~""° • UI the "animal squats" next to the "piano" and a mouth that stretches from 11 forehead to abdomen 11 • But the poet assures herself that if she does not lose control ) it won't come back inside of me4 J C~ 1\ I l:l Elouise Loftin 's poetry indicative perhaps. of A'. hful, zesty imagery, ,-new technicians' ease. "ttain ::Spread" informs that L~t night threw her legs open to me •••• I She has the new woman ftl{nowledge of social I ., \I(J"W often found among tl\e r;fGl:mt!§ l?il.l:'1 bm gh),. I and the caught 11 if they ca tch you with your pants down and wit: "get t in /h t~k. �offing your guard or peeing for free if they catch you doing something crazy with quates around it and try to make ~ou feel like you been catched you must be doing 0 ~I ( ~.) Spirits in t h e Streets(l973) is Alexis DeveaUlt's strang e but fascinating -~-e,.~ VCCOunt of L,J growing up ili/J,w" I HR in lj rlem. A • est Indian mother/ dis- pairs over a husbandis~e ating him~-~..,.,,,A.:.Al't"o\...t','V~~ ~ lord why he be a t that woman so? an them children god only know' what's gonna haJpen to them. eatin poison. has lye. eat you up inside jesus have mercy. you aan 1 t be t~o careful with children. you got to watch them every second. The world is so evil honey you know what i mean? merciful jesus shame them with word. re present only a fraction younger(and older) New York area poets. S 0 me others are Eath erine ~olomon, Gayle Jones, Stephen Kwartler, Vanes~a to name just a handful. Poets who got their star puplished new . items. ( I> J_. intro ducedV y Jones. in the the e a rlier period also s Felix of the Silent Forestll967) was J. published De Mayor of Harlem in 1970, the same year he re-looated to Berkeley. ~ssentially a Harlem poet, �25 Henderron Surveys everything from the "Harlem rt.ebellion, Summer 1964" to "Harlem Anth r op ology. 11 The transitions and outreachings of these ~,. f 1 1 ; in l q {-,8 poets are also evident inwu ,QP8Ml of Toure who s.;puRt a ~erie& e.£.. WE!nt . . to teach B+ayk 0 udies at ~an l<'rancisco ut a t~ fl~ Vi f d!.)llh1 College . His works are Juju(l970~ and Son~ail(l972),t,Published by Songhai Press and introduced by Kil lens. Toure 1 s "Soul-gifts II are arnp1yJ,jiSMj1, with philosophy , Black history, Black music, Ismamic influences, ,;VJ §.nd " Juju" which w.:i'8Jerl!J,ei'B Coltrane I s hornA ncascading fountains of blood and bones." Songhai ranges from'~Nilillfii•-- of Diana Ross and magical power s · ncere acti vistsjillr thPll:ila@,eze:f ideal Black society. Tourt~liiiiiM~~ _,,_.,,,,,... /I d -iihe ~ ;;,,, I uences ~e../ Blackfoetry emanating frorl!)\flew York area: Neal , Dumas, Baraka , Goncalves , Coltrane, Pharoah ~anders, Cecil McBee --all • J called "Poets of a Nation-in-Formation. 6:ai';-~ .;$'\Y8~f~ll!,/1.\,N~ - such proje~Wakra, a ne Boston-base 11 mo;:m~ t 1oua:.i can be seen in . ,,,..,..~..·j dev!foted to the examinatiQn a(# "of events, the arts, ideas"; _B_e_t_c_h_A_i_n_1 t_(l 974), Celes Tisdale's anthology(Broadside) of "Poems from AJica 11 ; a new anthology of young poets, We Be Poetin 1 ll974), Tisdale~riters Workshop Anthplogy, No unifying thread runs through the work of New York area poets, except that of a relentless acceptance and pursuit of therr /71Al·-i., __ exarrrl,,natjon.Blackness. One 1'298 ob n Q:'e,however, th a t -;g~••IIIQit." mystici ,)tthe occult, cosmic-musical forms and-- • and the infl unee of Islam are more eviden~ in the poetry of other regions. But these are, of course, generalities which await more hindsight and research before they can be finalized �26 di'· life blood while it repaid other eal, for example, w..all is a Philadelphian ed up.,.lllllll&iiii•lialllllliiliili~~ in Harlem, who attended Lincoln, b with occasiona+ short stays at Yale, Howard, ~outhern University, and Kent State University. . .• ~~. &a ~ pattern\ ~ ..,~~~==~::mam.'!a.-•-,.i~..fimilar .c:111-lllliiiiilll• ~ dozens of other poets who criss-cross " ~ ylvania,:tll!!lft University--lllh-ich produced Tolson, diverse_,. othb-JVt'roup of· Hughes, et --- l\ ~ • ~verett Hoagland, . Converging at points like the by Neal, I ller, tlh.eoretician Jirym ~tvwart, and Ma rybelle various JW""'W of assi s tan c e. Philadelphia poets found 1(1'3 adj p~ and ;pJJbl j shii.iAg gntlit:i I Ah• .rb:.i ~ Other Phil a delphia poets · 1 / from the older school, F. J. t:>~ L~...\aet~2: ) ~ ~ .q,.,.., a. Gre j n ev..P-- ~umith Clarence Ma)oney, Pat Janet M. Bro~ks, Garo:a. J en~fer, Don Mizzell• youthful po ets i;;;;;aa 45 /f!l4;..i-..1111111.-ial!t 8ft& ll½Sl±J liIOIG\ \1/orks by in Black Poets ~rite On: An Anthology of Bl a ck Philade l phia Poets(l97O) publi shed by the lee&l B1ack History Museum Committee. • • • Harold Franklin:'....,1itFi:l;ee Introduction :i... ,rhicl:i lffl s t a tes: 11 ilR A BLA CK PO~T IS A KIND OF WARR IOR"-- �27 Philad!.bphia sentiments to those in New York and Bos thus linking i~ tJ',4.1 Bla ck Butterfly, Inc., was ~c various cultural/political a ctivities in Philadelphia . n. ~ ss-roads for ~A:.4"'JJ'V"lil<~v~ ••blii@.-id•·•••••~o~2~211111!10~£ Maloney(now .Chaka Ta~~- Dimensions of Morning 11 was published in 1964» in Paplona, ~pain• Friday: 2 A.M. 11 Good celebrates a "sultry brown girl" who ·'seems a superior a. C". 11: .-;_._. > ~ rhyme rhytbrn~nd ma,a them hard-loving hard-talking hard-loving cfol black dudes Ana:t them fine-looking fine-tr~lking fine-talking fine-loving them fine soulf sisters •••• x ~ "llbl V "\;t_he short-] j ved oaJ '('iiM:G&~ -e!1e ttills e J!! .Pitt sburg'ril\was. born ~mack Lines: A Journal of Black ~ ,Studies ( 1970,. 7P +a· a e J area ~ p ublished Pi t t s b u ~ e t s like .llid Robefl!on , - August ~vilson, Joanne Braxton , as well as po e ts from the Midwest like Al G~over Armst~g an d Redmond. The university of Pittsburgh Pref.ss opened up to Black poets tha t same yearf, publishing 1'1ichael Harper(Dear John, Dear Coltrane,1970; Song: ~anl I ~et a Witnes ~ 1973), R0 berson(When Thy King is a Boy, 1970), and Gerald B~rrax(~other king of rlainf., 1970) • .ti.oberson•s poetry runs the gamu~ of themes and styles-- �28 ~ -·-~ from neat Jal• ~ is t fl to slanted spacf ings and slashes . In "mayday" there u.,, ~ "underside of heaven" and the warning from one ., .!1! 141& --. ,f misunderstood that he is "armed" to fight the final kindling of your dreaming . 11 0thellol Jones Dresses for Dinne r " is a satirical look at the "Guess Wrio•s coming to Dinner" theme . After dating t~, ~ ae,f;;'* Cc white woman , the n a rrator "w~ 11~ rw-nnered . ~ 11 l<AA D. C. where • • • - - _ .~ Brown the late six ies . Howard, by now' i continued to teach&i to I 1 e le adini-:ilack ,. in the new • a d 9o;npla -d :ane poetic h istory hile Howard I s the early days of ~terling Brownland into the Howard Poets) , the school has- number of younger writers rt° iddings . atmosphe re was of the @@l■ lil•u-MP-t Guianese p oet d eepened and broadened by t,b;e a ppointment~ T~Gi~ sand Stephen Hend:e:e,eon~who heads• LJ the Institute for the Arts and Humanitiefu~~ward u.A\.4 ~ . . .\ ~ 1ttt·1V,,,-a~ ,t.,L played out against a series of developments in the surrounding �29 lthe Institute In addition 'to-15"amas and ttenderso~ .ilRMos A h as be en ~ It lilt! 9!1111 Madhublll.ti(tee), Killens invaluable. so f a r , ~ r a ka, Gwendolyn Brooks, in the First Annual Symposium ~ .uoans~dson_\Jfitcr:f!:;fa ctiis.{~ Lucile (.;lifton, Goss, cott-he ron, Adesanya Alakoye, Miller, and Hari .c.vans. Tour:, Johnston and Kgositsile were guests for :BIik a pro g ram exam~ th e African 6ultu r al Pres ence in the Ame r icas. ei::c•~ets h ave r eco ~~ ~ been invited to re a d and bE... ~A"ene.d r or,A p e rmanent audio/video library: Jayne Corte z, (.;rouch, Davis, ~lllllit Sarah Webst e r .tt'ablbo, , Har p er, J e f fe rs, J o ans, .Redmond, Sonia Sanchez, Scot x - Heron, Brucs ~t. J ohn, Marga ret Walk er, a nd Jay i·; ri ght. ,.-- 1 - (1- • -~~n 1968~ eal said his ,......M "' "plh.ilosophy" was "to purge myself of the whiteness within me and link completely with my Bla ck brothers in the stru ggle to de stroy the enemy and rebuild a Bl a ck Nation. 11 He ap p e a r ed to be working a t tha t t a sk for a while before the Afro-beric an school clo se d. In "Today " he said t h e tone of his life r esembled a " growled minglegjt" the groan of the past •.• x and he lamented the jungles wh ich had been deflowered by nap a lm •••• ~arl Carter, another D. c. po e t, .8r;pears in Under s tanding t h e ~ew Black Poetri. He evokes the s pirits ol-::__~heroes 11 ~of Memphis, New York, and l~a shville, 1 Or 8 n geburg, Jac k son, recalling tha t during a riot in Nashville he was Hiding somewh e re i n my mind with Eldridge Cl eav e r •••• "Roots" is an unsuccessful attempt to fuse the drama. of colchloquial Black langua ge with a f ormal ~ glish na rrative about his gr andmoth e r. �30 Other poets living or publishing in the the sixties and seventies 1-' were D.c. area during Bernadette G-olden(l9~-9- Henlen Quigless(l945over the years con ributed · to the g rowth of Black poetry. She edited three important anthologies: Negro V6ices(l938), ~bony ..kb.ythm(l947) and Today 1 s Negro Voices(l970). Her own volumes of poetry are Love is a Terrible Thing(l945) and, with Nancy Arnez, iae nocks Cry out(l969, Broadside). He r ~ poetry has moved from a traditional meter to a tra ditional free verse dealing, in the new pha se, with tensions 01.r¼- caus e d by u i3 9 white" and 9 11 Blacko/,) and war. She is currently di rector of t he Ne e- ro Bibliographic and nesearch Center and s e rve s as managing editor of its ,C,. Clifton(l936Sa.m:x Cornish a nd Yvette Johnson(l943- )iJ, ) h a ve produced poetry tha t holds them in good st e ad. Good Tfmes(l969), Good News About the ~arth(l97a) and An OrdinaI'J' lvo ~volillJles produced by Lucille C1ifton who also writes many children's booki. She currently t e aches at Coppin °tate Coll~~e ip Baltimore wh e re she lives with ~NA ~ her husband and six children.~itles ~·•IIJ!!l~iiiii.i~llllii-M,a-lilliilli~.-"""-i!!i"llfi,,_--........_ ~ about her s p iri,,.t a n d ~ temperament. ~ • • • • • of d pre ssion and bleakness, it ~~ndeed warming to see someone proclaim Good ,............._ News! 11 .l:!.ldridge" is comp a red to a meat "cleaver" which wi ll not "rust or break. 11 And th e re is humor, irony and truth in " Lateley 11 : where the "always drunk" d e live ry man says: 111m 25 years old and all the white boys my age are younger than me.I i- �31 But while a 1s 0 ~ .1::9:?;;;f Ckn O ',r ledg sing ~ ·. t ~il ,,_, ~ ilill i go od times in the kitchen , ~eille '-11 !ton •rh •t M __ v "hal colm," nb.ldri· dge , n "Bobby Seale , " and the studeent-participants a t Jackson and h.ent states . gives a Black •11111!1.b• or contemporary~ a l'Aaozen~ Good News Abo-wt the Eavth, r'.biblical stories . Host are unique , like " /tt this kiss soft as cotton over my bre asts all shiny bright something is in this night oh Lord have mercy on me i feel a @:arden in my mouth between my legs i see a tree G An Ordinat-iry Woman is oo nsciously woman and the poems , like those in other volumes , deal with e v ryday thing s- - "ordinary '' things . become ~ "H owe'ver, she has,._,a.~~a::~:=• more"mystic. , N rre;}J and allusoryt4 7 as in "Kali", "The Coming of Kali, • Mood. n AA ! 11 He is tireyd of bone , it breaks. He is ti red of eve I s fancy and Adarn 1 s whining ways . ".tier Love Poem, "l{"i::>alt." "God's �32 Corfnish is a poet, teacher and editor. His books include Angles(l967), Winters(l968) , Your Hand in Mind(l97O), Generations (1971~), and People Beneath the Window(n .d.). ~~ith w. Lucian , ::.&., edited Chicory: Young Voices from the Black Hhetto(l969) which developed into a series still being p~blished by the bnoch Pratt Feee Library j n cavjunctj on uiie:l;;ft 1'fte~ommuni ty Action Program Current editor of Chicory is Melvin l.!,dward Brown . Cornish • P'ei•-•iw;i-b~ stylistic language. ~ @!O~dr ammunition a n d ~ r e t c i s ~ ~ s l of he tells "MIDDLE CLASS GIRLS WITH CRIPPLED FINGERS WAITI NG FOR ME TO iIGHT THERR CIGARETTS": your fingers 4 2 l hsi&&EJHiftlJtW f folded in your lap control the serpent in your eyes your face never staring with a smile in your ruffled color your eyes pmpulate the brick with restless stares. r.-These Baltimore poets, and others,. continue the vast line of poetry output ths t embraces the ~outh •ra=-,."'" many �33 \1944I • ~ (New Orleans) Margaret Walker, Alice Wai'lt~fl,t±Iilit'1e Lane, iii BLK.8.R1·SOUTH . poet , ~ (I < , tJ, 71.(~ fl l,.~t ~ p the Ix-umbra poets( North Carolina ventral University),~ etty Gates{Miles ,, J C I • 1 Col1 ege, Alabama), Gerald 1JJ+~~J~LaAe le X(Leslie Powe ll), Leo Ja. Mason ~tlantaJ, Lorenzo Thom he iliil: :_~~':t!!i. ; g<1 o•• The pe s bi J s rf? 111 ~x~h;~~ pro grams which, since ~outh h a s ~ rec ei the late fifties, have flow of = poets and teach ers older ef paibi&aj to and from the ;::,outh. Some wel,l lmownjn~es -•a• Tolson , Jef f ers Johnson(Hames), Braithwaite, Hayden,r_nd ••P.i:D•Vesey. poets iP?l de ivv0' ounger South are ~udre Lorde(Toogaloo), Redmond( Southern), Wright (T oogaloo i=md Talladega), Spellman (: Io rehouse), and ~ ~sile(North Garoli~a A?:T ). The ;::,outh, too, has exp e rienced ••tllllllll!lili• 7 iK dramatic changes as a result of the he Free South(ffi ~ _j ymbols are everyw"here: e Dashikm Jheater~n tremendou,_..,~4kg (_; ,..,_ ~ , Black N ~~ovement. - · New Urleans,.SUDAN South/West poetry-musica.theatbr group in Houston, the Theater of Afro-Arts in Miami, a nd Atlanta's Black Image. In Atlanta, ~pellman organized the Genter for Black Art which publishes Rhythm(l970). Stone became editor, ~bon(~igemonde Kharlos Wimb erli) poetry editor and 8pellman editor of essays and features. The summer issue of Rhythm was 197. also a memorial to Donald# L. Graham (1944-1971), poet-theoretician who succeeded KilHms as di rector of the Writers Workshop at .B'isk. ~raham,~rr:snsmiwisama xaax M.. who was also a musician, h a d publis~ed three books: Black ~ong , 8oul Motion, and ~oul Mot on I I . hhythm said he "was running one of the baddest worksho n s in the Soutb.J" People's co ·1 le ge in Nashville Margar e t Walker in Mississipi/ a1as1 j.,w s and "teaching at the hevolutionary 11 . at Jackson °t a te Colle ge !l:973- hoste4.~~7f bi-centennial celebr • tion of the publication of Phyllis \fueatley • s Poems. XXXJlft ilhc celetn abion somewhat from the stance -- �she took in For My People. Yet Prophets for a New Day(l970) and Octob e r ,_1--,_,., ·u ..L<., ~ ~ ,u.u_:1.,..~i~ , a11d,,,. (,'p,:ti,. Ri ghts Movement A_~ its She writes about 11 Birmingham," "Street Demonstrat i on," "Jack son, Mississippi, 11 'fihe March on Wa ~ g ton, and the new pro ~ 11 "Jeremiah, 11 a Legend" she says "Isaiah, "Amos," 11 .joel~' a.Rei erl;:k@P9, In 11 ts: 0 ford is Andy Goodman, -~~ Michael Schwerner, and James Chane y , who 8!11~ "opp r e ssion" in Louisiana, M~ssissippi andbeorg ia. October~I fl b® a quieter riety of••~verse iorms incl~ding the ball a d .ner own unique in "tlarriet Tubman.'' .:::>1,,e sti 11 ;r,?Jre112 a drlu . sonnet t in "For Mary McLeod Bethune 11 a nd ~ earlier 11 1''or Paul Lawrence Dunbar." poet is suggested in with the p oets telling us f 11 .1 want to Write " ,--..., • I want to w rite son.jg s of my people. '-""' 01ice Wal k er, novelist a nd poet, sha res the st a te of Missi sippi~ ~ 19 68µ Petunias with Ma rgaret Wal k er. Her volumes of p oetry are Once~ana. RevolutionarYA the title of , is probably ~,.....,.1,4(,~ (1973)f,.which, judging from othe r st at ements she has made, mi~t be o • ' • Her p oems some s a t ir e. A poem in Once r e lates t h e story of the y oung Black man who wanted to inte grate a wh ite be a ch s in Alabama--in the "nude. n She k t lieorge · Ahistory an~ folk-strength �35 is made of : ~"romance" that 11 blossomed 11 and t he in ~ pews at funerals; women with fists that • • • "battered II doors; ~ "Sunday ~chool , 0 irca 1950"; a "backwoods woman" wh ~ killef to water the petunias/JI ind of " Hage 11 : also writes The silence between your words rl:¥lls into me like a sword. Yet an~ther Mississipian and poet is Julius Bric Thompson , a history Hopes tied up in Promises was pµblished in teacher at Toogaloo . ~970 and aims at li ing the new consciousness above mere "hopes . Thompson writes about being a Black man in Mississi p pi , Martin ~uther King, and "Black ~over..11 I series~ poems "Delta Children , " 1 o~~ In Louisiana much new poetry has been arriving from the pens of young and, old poets alike . ~u-Bolton, now in D. C. , edits -.....:---- Hoodoo I through bngrgy Blacksouth Fr ~ss ) in DeRidder . co-edited The Last Cookie.lJ based in DeRidder, .:1an Francisco , a nd Geneva , New York . Hoodoo I, dedicated to two Bla ck students killed by policemen on the campus .....-, of ::;outhern University in Nov 8mb er of 19 ·121 contained work by Lorenzo Thomas, May Miller, Pinkie Lane Kalamu Ya ::Salaam, Jerry War d , and other southern- based poets . Hfodoo 2. & issuel published in l975 , contains work of< • ii 11 3 , a double more southern poets: �36 ""'-~~:..w;~~~~~a~n~ :\ .<"\ Arthenia Bates Millica Uharles Rowell,as well as selection• from t~nJ the braader ~ an:e world of Black writing. Press will also publis ~ volume of poems. t'diiWii iiiiiiiiiPIIIK bnegery Black~outh A Nig, erer Ament, Zu-Bolton 1 s first ►~ \!ider the g ud~ ·ce of the late English $. ~ short-live I/ ■ C I /'nairrnan, Melvin A. Butler , ~s ablished t e ac .1!.xperience) C several £Oems by Alvin Apbert , the first issue of' which contairie<l]lpbems, a 'Southern alumnus who now rL resides in New Yo rk and edits Obsidian: Black Literature in rteview. Aubert s Against the Bluestl971) . I ; surveys blues, love and his Louisiana heritage. Pink@. Lane , n~w ~nglish Department .;;:'-head at uouthern, published Wind Thoughts(l972) as well as sev eral Broad- sides: Two Poems(l972 ), Poem~ather(l9I2), and Songs to the Dialysis Ma chine(l972), all ~ f s : & - - ' - > o u t h and est, Inc., of Arkansas. ~outh& and West is also the publisher of the annual ( 19~9, 1971, 1972-l} rwhich Poems by Bla ck Pinkie Lan C ~ / ermanent editor. inaugura ted the annual Black Poetry Festival In the program of the first festival, l,Dx he stateciJ: in The Bla ck Poetry Festival provides a rare opportunity to bring together profeS"S"ional a nd apprentice poets in an effort to define a nd legitimize all forms of Black poetic talent as a prelude and postlude to defining-and legitimizing the reality of Black people . Hopefully, t he results of our efforts will be a bett er understanding and a grea ter apurecia tion of the lives, aspirations and achievements of Black peop~e . TI I j.l"°frre •-• festivals, "- ( c~ ..,.;..~ Southern has attractive a number of poets; 1 ~lq 7t-1l) _, Madhubiti , Sonia Sanchez,~ Randall ,'rre'a:mori~ Bolton , Fnigfit , ~alamu S a l a ~ ~ Aubert, Luc~ ""ITlifton,v eal, ,'\.udre Lorde }I .Lrma JJTcLaurin. The festivals, which included student poets and mus ici ans , have inspired a Poetry Workshop under the supervision of Howell , an ~nglish instructor. The first two volumes of Poems by Blacks contain a rich lode of oouthern riting �37 poets : Leon~ . Wiles( Philander .::>mith College), blijah Sabb(Little Rock) , Booker T . Jackson( Little Rock), Eddie Scott(l"1emphis) , Otis Woodard Tuske gee Institute (MeJD,phis) , Arthlil.r Pfister (Mbllfhi,,, Beer Cans Bullets .;.,-Things & Pieces , 1972) , Upton Pearson(Jac k son , Mississippi) , Jacquelyn Bryant( h eridian) ., Lois Miller (Baton Houge) , Barbara J-ean hnight (iviemphis) and h.atheleen rteed (Shreveport) . Although Pinkie Lane Lane did not edit the first two ~ issues of Poems , she acted as aavisor ana~ was subst antially r epre s ented . :::;he is a gifted, ,,: skill and 7 3 gr.di I 7 7 ·:uzb. word-manipul a tor with consummate passion .~:ll■b~i--~l•~k North of Baton Rouge in .New Orleans, the .t< 'ree .::>out h e rn Th eater haA burned out by the late sixties , but~5'€ttt1;iw9~0aff?E1lfl!I~ ~ Nkombo which 4lllll the work of BLKARTSOUTH writ e rs . Tom Vent , one of the founders of FST, and ~alamu now jointly edit the publica t i on . Some BLKA RTSO UTH poets are Isaac Black, Dent, r.iiiii_- 0alaam, ~ lienaldo .B'ernande z, Na y o (Barbara Malcolm,, Raymond Washingto4, and J ohn O .r eal . Again, no single thread ties these poets together- - except the o r "movement'' in the outh • ~ h e ir con- cerns for the movement are o f ten expressed bett er outside of the poe try than in . I n 19 69 BLKARTSOUTH published i n dividual volumes of poems by Salaam( The Blues h er ch ant) , Fernandez (The I mpati ent hebel), Nayo (I Want Me a Home ) , and Washington(Visions From the Ghetto) . " Racist ~ Psychotherapy" is Black 1 s blue - print for i l A Afro-American salvation . He advises Blac k s to spend less time r a pping and drinking and more time w o ~ ha rles at Mississipp i State" Dent says I h ear p eople wa iting for the riot to be gin in t heir hearts • ••• Of ..-..."The ~ Blues , 11 Salaam says: it is not sumbission •• • • of his work is speechy . Salaam has al so published Hofu Ni h.wenu: My Fear Is l<'or You:t( 1973) which received a mixed review from Rowell in the 0 ep tember , 1974, issue of Black World . Salaam i s ~ editor �38 of the New Orleans-based Blac k - - -----,=--- Na yo writes a 11 -~ dtime "h question , ' when we gonna h a ve the revoluti o~ "cW the moth e r I! . castigate whitey and prais e Blacks . But , Jdlh I •ot"'"'F Y}1,-m4:l!~!b ~ · - . · ~f!"""K'• they wrgbout south e rn life , le d Congo Writing 'or~op . There are also writing workshops 0 quare Dillard and Xav i e r Univ ersities ~ A Julia• Fields, still living in ~o rth Garolina , c111• •-- brought oug l!.ast of Moonli ght ,--_ in 19(3 , but testimonies is "High on the Hog 11 one of h ~ q u e n t which ~ est a blishes herfigp_t • to h a ve "caviar 11 or "Shrimp souffle" over ~ L Ja )_i,. stances-t• a~ A"'-n7of-r,ic J I revol u tionaries, she says;lf.e h a s E: 11 "gut b a II or "Jowl . " ~c over-exotici zed b'y rt<t I/MA. ,, A 1 ,. ~~ ,,,!:,,. I,../,,.. ea rend 11 the right to enb lrt(sh • She has e v en heard "Maus Maus" scr e aming and ~Romanti c izing 0 i pain . 11 from both But The i"@/3/ x/o~ le'f.-t in po~ts of lJt!f<1. ~~YJ,8jil-c. Fl'7 Thet(con- s s!en by somra;~jor juncture in the New • Gwendolyn Broo k s talk 4Jabout it in her auto - b iogra phy , Margare t v~alker discussed it with Nikk i Giovanni in their published " conversations , 11 Blac k Worl d. a r g \¥,i t e rs ~u 7 l er wrote glowingly of it in e c onfe renc e were David Llorens , ~ Fuller ~ Milne r , Clarke , ~ennett , Maggaret ~anner , Nikki Giovanni , Randal l , Lee , Margaret \-Jalker , t>onia Sanchez , Jones , and Marg aret Bur r oughs . �39 . ., 1; il provided the first writer s. ~wendolyn coHl..ly res p ected" afte r ,,,. I"'"' just h a ving f l own Ja to Nas h vi l le from 11 whi te -whit e ~outh Daij:ota. 11 P-owever, she was amon g t h e first (with Handall a nd .1:'' u l l e r u p t h e babner of the <ii? of to take J the Black Aesthetic 2nd the causes of ,,,.l the young writers . t!i.S; + Such action, of course, was dis n leasing to a numeber of whi , e and Black poets, not the le a st among them Hayden -who rmfi:Dses e~o acknowlege the exist~nce of a ~'' who expre~red l:Jj s feelAngsaboPt i "1u!,'&.<Pf!ti@ A.aesthetic + tr for Blacks md bie :moe J io ;pee,i:::tiisa p?eiett 12n~aleidos~ope • • • Janua ry, Bl ack World po11)af BJaolc mibcrs wrd er!i:tics • Although the Fisk conference has been followed by dozens E. ~ no 1968 , ollifJOfs Black colleges all over the South, Midwest and st, ;,here is still but Cf"'\. monolithic st a nd *""dire ctions" 771 a g'r: some writers keep trying ; to give them anyway . One indicationg of t h e healthy diversity among Black writers is the journal Roots, published at Texas Southern University • .C.ditors are Tommy Guy, Jeffree James , ·.1,·urne r Whorton, and Nance \rJi lliams . Volume I, number I contains es s ays, art and ( the works of ~PA trt.er i ~emsn poets , most of them southerners. The poetry, d evoid of monotonous theme or style, represents a broad rang e ~ of interests in supreme" says 11 ,# • ai@~lfllm!~~ subjects and forms. ?m 1 lo in 11 a love all my eyes gazed forever backwards ." In 'she 1 11 never knxow" :Mick ey Leland writes of various a s pects of the social and pl;tysical l an dscape, including the "Kinky haired boys" -who build 11 arsen~ls of s traw." ~ la rence ~ard notes in "nanging On' " that ~ the rent h a s gone up , eviction is Ao 1 ..g, t h ere is no food for r the baby, and Han ging on aint easy •••• j ahmad j . 1 s title "rtard He ad 1v1akes a ~oft .1:-iss" i mp lies t h e poem's statement . ~taszy: eternalizes, "like a good high, '1 for Tommy Guy in 11 Brother . 11 � 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_26 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, B. Griefs of Joy: The Poetry of Wings, p. 1-39, 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 Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, B. Griefs of Joy: The Poetry of Wings, p. 1-39 with additional page 1a. https://digitallis.isg.siue.edu/files/original/2c10cb80f982bd8cecdc13e9698d0417.pdf b152d5e2d632be3ca4a24011f22a6846 PDF Text Text .,. seculars . 7 It is next to imppossible t o ~ l i s t all(or each type) of the SecuJa rs. \ve have mentioned Profe s r or Talleyc!:s pioneering efforts at C1assifying them. But many obst a cles lay in the way of , of secular folk life. One problem was that Such e. all types of Black creativity, from the slave narratives to religious songs. Hence the more "urotesting" aspects of the xm: works were deleted as were "offensive words." Ar,yone who h'1s heard "authentic" Black folk songs knows that they ~a;;& roflectU(, of the converg;:nce :p 1 madness, absurdity and hope in the Black body. Subsequently what are known as "curse" or 11 obscene 11 words are sprinkled throughout Brown discusses the 11 realism 11 in the folk rhymes along with an attempt to classify at least some of the~( "fiddle -sings, 11 "c~songs, 11 crow/): Ballads , Ballads : Ne 0 ro Heroes , 1 • jig-tunes," "ups tart John Henry(folkified in song), ork S 0 ngs, The Blue s, Irony and ,Protest • . Irony andr ~ protest~ of Course, run through Black folk and literary poetry from the earliest days ( ~~hi tfield, Harper , anti-slavery songs) to the most recent times(Josh Vhite , Leon Thomas, D0 n L. Lee, John ~ chols, Johnny Scott). Some observers have pointed to the silliness of taiili€(!\dlli•~ resetw:-che rs who, white as ever, appeared endorsed 11 askl\i'Olk song writers and singers if they;\; ■ z 11 prote s~ away ,hature and history ~ satisfied with a "no" answer~,. Given th ..-of ..i!!!i11,tm::mllliiei1a re- __.El.~_cy lations o-nP c....-. - ~ - , M . , O ~ . C - ~ .l.:ii11¥i1.-IMIIIJlll!!l-±E~~~ reluctance on the parts of Blacks to tell whites ,--. the truth about 11 anything" let alone ro out sucJ'sensti ti ve.-:.- areaf as "protest." Yet in the dog-eat-dog world of survival, the folk person knows that "If he dies, I'll eat his co 1 n; AnJ if he lives, I'll ride 1 im on. --30-- 11 �C?.!Vsecul rs 8 In suimnaryp)11n we can say t hs t unlike other ethnic immigrant groups(the Afro- erican was not a willing immigrant!), the Black American did not simply transplant his stories--keeping them in thetr exact same form. lie found American or ~uropean languag e ,> count e rparts for his themes and vocab~lari. But his phonology, style and spirit were informed by the African tradition. The student of Black folk poetry will wand to comare and contrast the Secula rs to othe r ethn ic stories and songs. Boasting or 11 lying, 1 for examp le, is one ing redient of the "tall" tale. How does the Bl a ck song or story(i.e., "Sh ine," mite, II " Frankie and Johnrwe, II 11 :::>ign"fying Honey,n etc.) fit this PJ.Otif? How do es it conceal deeper meanings on the issues of slavery, inhuman work conditions, or contradictions in Christianity? What are the ~ similarities between the Se culars a nd the ~pirituals? Between the Beculars and the lit erary poetry? Th~d other qu e stions(on Black heroes, cultural motifs, blues themes, langua g e and endurance) will le a d oneWilf through exciting corridors of Black ~ativtty and t ho ught. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_25 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, p. 19 and 20, Seculars 7 and 8 Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/9d2563405437f3b198a16775de1116d4.pdf 1ad35d6d5980763968fcc17cd7917904 PDF Text Text .AND UN1(110 1:JN BARDS 'o black and unknown b2.rds of long ago, How came your lips to touch the sacred fire? - -James We ldon Johnson J. Black Expression: G_ this ~ t e r , as in~~i_'i.{ ores, ~lack creativ@ mind ::i:: will attel'lpt to ple.ce •·•~·!:!!!:::l}:~~me-,1111:11-=••wi~•~~La...- wi tti~the spirit and letter ~rican-Americ Unfortunately, many~~• early scholars played down or ignor~d ~ African influ~nccs ei t he r1' • This was c ertainly of on brief every- mince most antholo vl!k:!t~~. . . . becausel\one will e of Black literature and poetry omit these items; and 'lc,_...,. hard-pressed to understan l:.J:! I a a rut 0 Dunbar use of folk matoria.fts(see,(J. ohiison, v Walker and others). Bronm, �(} wt 4 ~ olr! . a .J discussing <l/1- t h e origins of Black expression, . 12&£!g'?: + • 0 it,(, ment i on,,.,.illl!-lliiil(h~the role of the pre-industrial African(and other) societies . ~ grio . t s-s t ems f rom th e group o f ar t i. sans kn own as lillDi,: --=:-.-:--- h lore. -~ ._ a, ' r • • • • •.'· ~- • human1';'.:~•i~ of iMlll!IIIIIIII family and national~ ~ .. Originally ~ e d to recite--without flaw--the geneologies , eulogies, victories l. cal ami tie s~:m:f::::l:i::i:ee:::=ll:c:t::::i;J;1:::t;i11@1-e~~~mm- of the folk, the griot(like the •11111• lead his reportage with iiiilliim'ii"ftE singer of Spirituals) had to spice itementM.1~~.~ ,~;,,iµ~c,-,,~ iia:IB:i1111a~Hardly a Black younsgter grew up ( even in recent times) without input from a .Ac-et °(j griot(uncle , grandmother , big brother or sister , mother or ~ather, job preacher, etc) . The ,__,_ of the griot, like that of the mater-ceremonial . ~ t societies a#mistake drumrner;R wa s so , t). , i mportant that in many 4 ~ could sost~•---- life. 1· - very · j 7. early ~ -ef ~~,~~~.:~~~5£::1'.!l:lr~e . adjustment r. griot life his ii • nu mastery of technique and inf0rm- Like the drumm~r, he ------1.w•~ undevstud~eJ, ~ .l. a••••BY t(is trainingje,.a:;:t;;1.;ax:l,:-'!!!l!!'J!"'!!"'e-iiiei• a certain psychological '/, ~ to ;;,;gd J?eali!la'6ioP I i i !!Hlln the significance of his job-- o 11 contain(anr,1dvi~e o~ the and centuries passed, this heirloms 11 of the community. -Om. ~ A.s years 'factual" information wa s conve rted into a lore, cosmologyA web of racial consciousne ].¥-, and legend; it became a part of the vast emory. It became the legacy with which ev e ry new born bhild learly , then, the myth- a nd legend-building poet has a past to dip and a future to predict, project and protect. ~ ''.' any violation of the pas~present or future constitutes a serious crime against one 1 s ancestors--against one's parents, a gainst one's blood, against one I s god.;,'t that the poet --griot --}s not some haphazzardly ~ arrived hipster or slick-talk er P#fl J1!f1J simply l!!F6.c:w.w:i~tired old phrases. ~ To the/lgriot-sing er-poet the job of unra veling the complex network of his past and present-future worlds is a painful but rewarding labor of love. �.ttf J';(n· 1/,Ti, A: 1e B a.ck Experience n the United States continues via the African Continuum: a complex (~cJ,.-4) ~ · ) (5ee~ 1 ~ h ~ J . ) . of mythica\, linguistil' gestura\, psychological, sexual,M~ phvsical and religious forms. - 11 }l. This complex is e~idenced in M~4 the day-to-day attitudes~of Blacks: their sacred and secular (~ expressions, their physical appearances, their dress patterns and their family life. Jot only in the United States, but , in the Caribbean, lrtbe West Indies, in Latin America, in all WlrJitl IM\,~~ (J4 th t-l«' lM J) J-it'.l •. ~ r n,,..,..Jr,. ,.,_ - -tfiey areas of' tbel\ :t:ie:opePS.i'\~-~~-A£ri-ean--e-.xffae-tJ • ~ Aexbi bit �~~t~ ~ '-1 ( I ;r:; t characteristics peculiar to the nature of indigeno s Africans. /J • }..,,.,,.,._ -jJlllmu-J'!!. , 1 fl ac,-,-,pmtlm~ ~ eral Black 1/xP.ression~ 'fi~::· :; ,.. · "'/\Black ,ulture; and {-OfMl) p ft~) (Aiu r,'\ the art~st c "expression--tradi tional Black Jommifni ties did people·--is a more sophis- not separate ~ l i f e ticated form boned from the '""eneral "storehouse." No one bas yet put their hands on exactly what moment in time and where the first African sounds or movements were incorporated into nwhite" or Western frames of references or vice versa; but we do know that it did happen. Unfortunately, inept reporting on the Black Experience has muddied the waters so much that one is repulsed and horri.fied by eem:e- of the observations and conclusions of some Black and white 11 "" researchers.n In an unflinchingly brilliant analysis of Black African Oral Literature, presented at the First World Festival of Negro Arte4 (1966) in Dakar, Senegal, Basile-Juleat Fouda , noting that 11 oral literature is as old as creation, 11 Archival Literature of Gesture." revelations, Fouda said: 11 coined the phrase Concludinc his important "Thus in the Black Africa of tra- dition, literary art is an anonymous art because it is a social art; it is a social art because it is a functional -rtt; and it is functional because it is humanist. is not bounded by color. 11 t:t29J, ~esearch Black sociologist E. Franklin Frazier (Black Bour~eosis) h e i ~ there were no significant carry( ~ l.1/ t N\,ll.,~~TI.l,Q~ overs~from ~frica to tbe United States. (Slavery, Frazier said, "stripped" the African of his culture and "destroyed" his personality.) White anthropologist Melville Herskovits (The Myth of the Negro Past) proved without a doubt that 41 �there were African nsurvivalisms" operating daily in Black Ameri?ans culture. (fo (!J; lR'-9. t<,M,.., 1..J. ~. -To.. ?, 1,1,. 1 IvvA1, • I~ • •'f ) , 0 ..,.. ,.,.t _ w1.>.,".mt T>-J. •• >Vhlk oc ~ If ,, ,,.,,flu '1 , 6!8¼112:ft I -- p . ~ Rudimentary Black/x~ression~Na.... a~ ~ w erous . l folk forms it produced (field hollers, vendors shouts, chants, worksongs, Spirituals~teflues Gospels, JAzz, }{hythm 'n ,Blues, ~ '-.!~£~ ~oul Music) f~~ ases for,lBlackA:5cetry. S<>11~ ~ The N f":"' .;::,/ ,~~{ · r.f early tM-clstle~fo~Ms ~ere almost always accompanied b y what we have come to call __J.. _ .(J,,r1~ 11 \.!,I dramaticl ideogra1!1s "-ir-o~c~._ :1~.P:.:ld lr;-/-<rtk~. ~ three basic~ ar istil°"~odes/\lfu~ and Drum. ';; ~ ~ M.t li~ ~ " 4 . · Ol1 ~eans or communicati-, over distances, the dr~yed~ar?'-i~~ role in t ~ e s of traditional ,8") 1 . .i\.frican peoples. -1 The career drummer, like the BlacK~musician today, went through years of grueling practice and preparation-·learning not only drumming techniques but the legends, the myths, ' the ~P-~nin~s and symbols of which the drum was derivative. Dance always accompanied song--Fouda refers to the "acoustical phonetic alphabet 11 --sp that the complex web of ora.l nuances ~ was tµ h. IT~ate ,J. .. ,,.,J Obv1ously, when teaching or entertaining , the artist/teacher had to present his material in interesting make-up, props and i mportant subject matter. A Jn..t ~~, n<YtrtvicariousAbut one of the act and �'lche #8.m'i .time: T '-lile such a prospect boggles the mind, a serious study of these forms and the general tradition will \~ ~ye-opening for many a disbeliever. Early Black American oral and gestural art forms init.t ~ ~ LJ.u,., - • heri ed the~above mentioaed ~ri±t-t'e. In lang~~§e in (<.iui«, ) dance, and, more importantly, in points of view~toward time, -i,, . life and death, the cosmology of Africa ~ ('4~~~~-~4) "continue~in the Black efulture o- the Western Hemisphere. Specifically, in- 1 for mation was conveyed by~.a of aphorisms, riddles, parables, tales, enigmatic dances an jokes and poetry. 01,'.\~t ,>(.o(.(,' ) §o"'ill'ld~o J ··.nL'!O--·• que~utte ances, puzzles, t rfunt~ The pattern remains in tact today. -- .Jahn ments many examples of the African ncarryovers 11 and "survivalisms 11 operating in the Western Hemisphere. One can f nd the tradition -' ' · 4.t1-ni6' 1, 1/; ~ "vw 4(ru{t in Black poe s,~inistevs and~family,._,ga~herings. The scintillating Black po'et I'olson operates ~ 1 the old eni gmf'l t i c ( ~ ~ ~ frame when in "An Ex-Judge at the Bar 11 'be says: Bartender, make it straight and make it twoOne for the y~u in me and pn~.frp. tpe me in you. t" ~ N ~ i-fc · 'JI ,Ju.,kd t £ti.•, ~ . « > t.W Ar ·AIMlft~ ~ ..-.~~:.<, ~-. '', e''t. N _ I .1~ Tolsonl\.ends the poem~ ith n equallw en· gmat·c rn c : '~ <) Barte n er , make it straight and make it threeOne for the Negro ••• one for you and me. /, . ~UJ ' I n t he Sp rituals (t:5.e.:.:::~n~ml'?3"S't'ttmi /4 '~ Bi ..............,""-¥·) one finds s milar debts to the African tradition of song, dance and drum. ~ ::. r- So too in the shouts and hollers where (J f:.M n NOTe:it ~ actual African ·wor ds and phrases were iftnii,ie.11-, used. A Hence we can say that the traditional African phonology and ritual, modified on the anvil of slavery, were operating and continue ' . ~ " " " ~ ~;r nu.~~· [r;, to w 6 . . 9· ' �1t vi .lviJ 1.,, ~ ~ ' fA"t--- J for ms of Black American ,,E'xpression. The African slave, forced to acquire functional use of English and to re j ect surface aspects of his reli gion, went "underground tr so to speak and became bi-lingual and bi-psychical. Hence, while much of the thematic material of the Black /o1k tradition is taken from the harsh difficulties the sl ve encounte r ed in America, A:frican. tonal scale and the employment of the blue tone, the development of a distinct body o:f folklore and a rich language to convey the lore--all represent the African's resourcefulness. Cross-cultural ¢As however, in--for example--the Spirituals which, in many cases,.. ~~, were influenced by tbe English tiym t• j Other consicteratio~ .., include t h ~ e o~ European instruments ~araka points out in 1 Black Music, that the piano was the last ·, nstrument to be td' mastered by the Black musician!f The reason ous ht to be obvious.), the Black adaptation of songs beard in t h e 11 bi g house," the continual re-styling of American fads and the employment of B.blical imagery and language in songs and sermons. Langston Hughes noted that the Blues usually dealt with the theme of the re j ected lover and personal depression. Hughes/ first volume o:f poems, in fact, was entitled The Weary Blues. ~ however, the Blues, like the §pirituals, . ' I. , .,.,~• I ,,i,.ll J., l( r 1 ,f.x, 11 ,~ �I ., I . • �Rather, as 3 ~ and Howard Thurman (The Negro Spiritual Speaks of Life and Death) note, underneath the complaint is a "plaint": things must get better or change! For as the slave said: Freedom, ob Freedom, bow I love thee! Freedom, oh Freedom, how I love thee! And before I'll be a slave I'll be buried in my e;rave And go home to my aker and be Free! �I ,1) nA.,k. ;~ ..;--F"e, 11<!&1.4 __::j( t'w:,, , ~~~~ . . '\~ht / -- �"Tryin I to get home 11 -~~For many reasons , the use o~e word 11 spi r i tual 11 Black reli gi osity is a misnomer . Current h ·"'-U-vwcn..1 new information an rch into I': us that the entire BJa ck world i s 11 responsible to a tai~IIIMQ.....~ili::Bi•c~~~~•~ , ida~ 11 . spiri tua~ 11 : i . e ., informed by and hi~er orde r"--the order of God or the "gods . 11 The e.xhuberance , the spontaneity, the ecst a s , the trances , the t~lking and flair in tongues , the racial flavor/ in dress(church and nightclub) , al~ point up the interdependence and t h e integrat ion of v arious modes and points of view in the Black community . Professor\1'ork describeS • · 11 it as r this difference and this oneness . " The contemporary Black poet l2B1 11 Hayden understands this integration when, in a poem to Ma~lcolm X, he excf laims the "blazing oneness" of Allah. Further proof is seen in the emotional abandonment of church secula r picnics , socials and othe r events of merriment . One has only to "---:::-~a~lft~e~rJn~a~t~e~~~~~ listen to Arebha Fran lin -..-. Gospel and ~ pues to see this unity of expr") ssion pe rating todayf ...nd c ertumly it is cl ear in the , work_s, of t ~ ~ ~l .e.....s~ S""'infe::::.; ~w5d,Hawkins~ g e rs. a n ~ a !' fs a more vulga :r:dzed manner i n Blip \•ilson(Rev~ Leroy) . ,\_Btill , it mmportan and break-doi-m that we offer the tra ditiona :gortrait/of Black folk expression --so as not to confuse or invade notetJ4(chapt er II) W J ~· 1·~ ~~lll'!l!I...Q that t he most ( .liant\ intimately }influent i alQnd b ~ ~ Black poets have ;understood this a s pe ct of Black cu lture. Almost 11i thout exception(and Ke rlin, Br01.-m and others 1.mrn young Bl a ck writers to follow exarnnle) Black poets since the Civil Uar have avai led themse lve s of i n te gral folk rudime1 ts--even when they did not use them in poetry. It is still a fact that Black culturefdespi~e the r a cist and technolo gi cal barrages of the ~es t) still remains mo~"o/lt;_te at ed' than other JC I I: cultura l uni t ll in America. �5hou.lJ l �.' ��I I I ' J Chapter I :(.I insert(pl2) .... Professor Work 1 s 191.5 study was remains a l and mark in the study of African and Black American songs . His work provi des many.: answers to questions and issues that h a d b e&. z * been ( and contmnue to be) muddied by the waters of insensi ti v i ty and careless research . j P'f!o:cSr)::\;?,,. W;;; l I iii"- hi efforts , "undertaken for the the love of our fathers ' songs , " gives clear connections between the African ~nd Afro - American f olk song. ::::is main concerni.' is for the reltgious songs--although his s commen~on form and style are of general value: In America we hear it(the song) and see it acted in the barn dance , on the stage , in the streets among the children; in fact , many an occasion is enlivened by this spec ies of mus i c , the interest in which is intensifi ed by the rhythmical patting of hands rhythm and feet. This / !l\DlIXU is mout strikingly and accura tely broughtlll!IB out in their work songs . ' t 1 " " he emotionalism and uongifi ed ilat intensity of ~ Black Amerio ~ ays "He worships not s o much because he ought , the as be - I c ause he loves to wor@hip." Th "worship , " of course , is the kind we reintegration of into the ferred to earlier : the~!lliii.lQ~ id::u sensu e c stasy sweeping ritual is "as natural to the American Negro as his breath" : Indeed, it is a portrayal of his soul , and is as characteristic as a re his physical features. Hear him sing in his church, hear him preach, moan, and give 1 gravery 1 in his sermon , hear the washerwoman .' .. singing over her tub, hear the laborer singing his accompaninent to his toil, hear the child babbling an extemporaneous tune_aallfitl!!IIIM!,'1!!111~ been educated and who have been influenced by long study , find it difficult to express their musical selves in any other way . �.' possesses both pure song(the Black song , as is readily observable , verse ahd chorus plan) and chant(use of interjection s and expletives) qualities : Poor man Laz 1 rus, poor as I , Don't you see? Poor man La z 1 rus , Poor as I , Don ' t y)u see? 1:·Jhen he died he found a home on high , Be had a home in dat rock , Don ' t you see? the deeper , more psych?logicalf ..._, meaning of th es e songs , Professor Work ~ a s r;rw,,t. . " there are closer relati ons betwe en the soul and musi cal expression~ than have been satisfac tmrily explained. These relations can be felt , but any accurate description s ,:;ems beyond the grasp of man ' s mind . 11 Nevertheless this important study goes on to :pim..Rirrxm:mll classify and number th es e songs of : J oy , Sorrow, Sorrow with Note of ~oy , F aith , Hope , Love , Determination , Adora tion, Patience , Courage and Humility. Pir o f esso 1 U e !Fli:J k ke most scholars of the Spirituals , ~ i n t s out that the re is no hate , :fowe v e r , resentment or vi~dfct~r;rss i n them./Dr. Thurman , theologian and f p h i l o s o p h e r ~ ~ n n i n g s of turbulencetf:~drllll!ll::llllili!R ~ M WJA~~~He--lft'Tm~:;i!!tl;M'1311 , Dr . Thl2mna ¥gr the slave. Li of anxiety and fear , the slav ~ developed a rather stoic such an atmosphere attitude in which he saw death as inescapable a.nd as , possibly, the only remaining ____ p lant a tion lords ~ Vehicle for media ion · i th t h e ~. The s1 a ve could take his 01.m life , if ~ •ranted to--as he did many times in preference to slavery or separation f r om family andi or l oved ones . Dr . Thurman ' s brilliant analysis must be r ead by any serious student of Black thought a nd culture . �. /JI J Folk Seculars 1')wt I( insert ffl l I I wdi. Al 0:. II I I \l , 1 ~0, I, 1 I f;:'oLL--}-( ~ ive~~~~ll:9a~ observed t hat t he re is a thin line betwee secul a r world,._f a ck This is true for many reasons--some of t hem stemming from the African tradition of inter-rel a ting all aspects of life. As John M' Biti (African Heligions . < and Philosoph1 ) , Gabriel Bannerman-Richter and others point out, the African takes his religion(his beliefs) with him where ever he goes. eTls st -'ild~NliilQPii{ Jahn, 11T 1 Bi .L"frican ti and others) also remind us two languages a»e inseparable. Again ,...--,. the ways of i-i.frican peoples(see Mphahlele's i hi~lwind) i Black .8.rneri ca are expressed in 11 inte grated 11 terms . True, th7r'fl._.-;.,__~ tension between and religious communities-~but so often(and most different hats on different occasions. 0 tudy, Re v. Jesse Jackson or a rlev. I k e or a ,iC,t,n We have also observed tha 'T'ba t is, ,.., a gain, th e c as e of a Lev. Ada~ Clayton Powell J ' r (~ many motis;> o :~ip re ssion are interchangeable. song{, designed for -a....church or other reli gi ous be re-cu t(modified) for a s e cular--so ground has be en the training/a91!l!M.-.1Ai~ ~1:::~=~ if you will; see Frazier's The Negro Ch urch in .americ for most in Black popular music as well as for important orators, race le a devs an~ community businessmen. I Against the fore going al part of the ri ch storehouse of Black folklore. Through songs, aphorisms(my 1 y 11 You don't believe f a t meat s greasy. 1 and "If you grandmo ther!U e to ain't gon' do n othing get off the pot ! " ), f ables(see Aesop), jokes(s e e minstrelsy and the Black comed (over) tra~tion), blues and other enduring �..• insert for seculars p~l ! Then:e are numerous examples of the this practice. During the Civil rtights era, we would sing I woke up this mornin with my mind stayed on £reedom church though we were fully aware that olk szi-. were used to singing · this way: I woke up this mornin with my min~ stayed on Jesus strongly 's(and the Impressions') songs Many of Curtis songs sung in Black churches. Even Mayfield 1 s 11 1 f there, s A Hell Below") c 8 rry the Black church societal destruction, fla.-,vor--wi th their warnings, admonishments pleas for love(s e e also Nargin Gaye's pieces like 11 ::::iave The Wild 11 ) by the femptations ·sto ri cal theme of "searching" •~ p,r, ,, . ~~~1 Up This Mornin" is a blues idea expr e ssed above in the II ...~.iii!l:l!t!l:~&0 $~premes singing religious ~ 1# j the -i.;;.o.,;;;;..i.J,,W" Spiritual: "I Woke Up this mornin . 11 Stop in the Name of Love II we .,.,.t,a.C..,, "God. wanted to replace "~ove 11 with - 11 When ~ ,,_,.,111!'~!:f',ilorl--ti~t,Orte 11 .,.:s,. ' exchangeable and interahangeable words such as 11 Lord 11 and 11 "Baby" and "God"; "Sweet thing" a nd "Sweet Jesus"; and "God" and "Han." The reasons t "Mother"; Captain 11 and "Maker" ; for such usages, as we have stated , are deepllf enmeshed in the mythes of Blacks . Hichard Wright's "Bright and Morning .:>tar(in t h e Bible · lJI I ~ ld Jesus) becomes ,.,_son of ' ! t i n the s h ort story-,,,. by tha t name . The hero of The Man Who Cried I Am says 11 thank you man 11 to God after ~~~.::s:tl::l:Ig::::!:C:::mt.- • When we he a n a tune like ----~- ("when I heard my mother say 11 John A. William~ ) War's "Slipping into Darkness" we must understand the historical si gnfficance ; ,. ~tlfli:il•► and function of social art--just a s we must underst~=··= -= · onishe saac Hayes to D r,1/ ; 11 shet 11 in "~haft•1 �u seculars II form severe"&· tribulations, folk wisdom, joys and tra gedies, and the longings and hopes of Blacks during slavery more so than· the clues to the innertradi:.tion lie structure and Spirituals, ~omrnon workings of tne ack principles of folk psychology. It is, after all, back and forward to these folk materials that researchers will have to go if they are serious about de ·neating the feelin gs, emotions and t he ~ecul because ~jii5~;;i'i;;;:;r-t Ko.:1,i~_..,pe,e of Blacks. [ workin gs of the folk mind n0t as limited as th e 8pirituals,MU.±lJa:i::::e=mm$~a......lll._rtxlm:mu Bl a cks in the United bt a tes are aware of and have heard number ~ r::tihll..-"ill•~~ have had sust a ined the j to be informed entertainers to borrow freely from what they he a r-~~ while the folks "run and tell that" once of from the people are: M.a.I~-Q.~,.p....;tl::tf!:~ Pm~;cs:rr-t>--:cit::t::n T'~~""'f't--'t"l'-+-8"11'e'I'. song-S epithets borrowed directly James Brown's ''Brand New Bag, " "Licking Stick"(s e e "honey stick" in McKay's story ,,rr ruant 11 ) , "Give It Up or 'l 'urn It II Loose,'' "'l 'he Paybac and ''It's Hell"; !Ollte'11Ilmn•~ I"'l a!1!';in Gaye's "What 1 s and Going "Let I s Get it On•IIJ~W"; Curtis May field' s "Superfly"; the on:t," Jackson Five's "Get It 'fogether or Leave It Alone"; Flip Wilson's "What you ~ee is What You Get 11 (and the Dramatics' tune by the same name); Franklin's Aretha "Hespect" and "Run and Tell That"; and Jean Knight's "Mr. Big .:>tuff 11 --to name just a few. As with the Spirituals, whites(primarily abolitionists) were among the first to collect iecula of whatever type. Wil J iam Wells Brown, the pub1im edJ first Black nov e list and playwright, collected s anti-slave ry songs. (over) �seculars j Thomas ~1 entworth Higginson, writer and aboli tionistl who led a .black regiment in the Civil ~ ar, collected song s he heard among primar:ily con - his men around campfires and during marches. Though ce~ned with reli g~ song also - described some of the properties of general Black song delivery. One ofthe most important collections of these seculars ,ras put to g ethe r by Thomas \.i . Talley(of Fisk University, as was Professor Work). Professor Talley did pioneering work in the indentiftcati on a nd classification o f • • ~ Negro Folk Rhymes. Describing ~ ' the philos phy,za, struc~u::_ ~~ in some c a ses, origin of the~~as>-.~} ~ the Fisk sch ola r ~ ~ ~ e l l over 300 examples. Other important - -..__ 411¥1.,lll -44~ examp les end discussions of th e J3;r:l~W lroducts t~ ~~> secular folk life can be found int he works Oi:~wer, Spalding,,_ Chapman'# Brown(Negro Poetry), Abrahams(Deep Down in The JungleA and Bell(The Folk J Roots of C0 ntemporary Afro-American Poetry). Bell's work in recent(irom the ':;J:4'.P I r perspective C14,;tV~(l.CJ-/ ne B · · .tg 5 P£ u J F. au iii> ...._-h.~ Also valuable9 ~xamination .-.?~A iJb@1tii:Uitr[of '.li\laet:<7:se'. 3 k' -4'.eculars are a Ii regional works(such as Abrahams') including Dru..~s and ~hadows(§liiltG-eorgia and ~outh -....Life aucLb.rolina), Goldstein 1 s(ed.) BlackJ\Culture in the nited States, Lorenzo Dow ~ ~ f ,~ '6,N)uJt . Turner's work fn~Bttuliaff"'c;;~~and othe .s.(see biblio g raphy). By far -.. :1-l -~~c~u~l~a:f.r:._i!.~~~~~ the most#..~Tmc represent a tion of olk mate ials in the written poetry lJ iS fr-; in the war~ of Sterling Brown(see~outhern rload; especially Johnson~s introduction, and h i ~ e n t s in Ne g ro Poetry). Brown takes exception to Johnson's comment thB.t dialect poetry has only two stops--''humar and pathos,t.!.!- and E I trt implies that Black poets up until ~ his time had been remiss(or lazy) in not developing broaaJ.er uses and deepenini 1.....:.:-- th e meaning of Bl a ck life through the use of folk materials. The tradition of "tall" tale-telling is, oE course, submerged in the -- ' American mythos. So the Black nar:rator found iii C · tr a flexi b le atmosphere lover J �® f secular into which he c ould introduc e his own manner of storyt e lling and his 01.m tradi ti on of son1:s . As he had done in the ~? frituals, he gained a r esourcefulnes s i n th e the s ong or r• of language , ~ruments to accomp anf 'rg '- s t o r ~ l oped an a"?ili ty to seize u p on a good or amenable c ontext in 'll'h i ch t o ~ o ry ; ~ ::.or,~;:;..;;;:~~ ~om the v a ~ themesde a s/iai ethni c p oyp ourri of America. The grew up s ~ of b y - s i de wi t h t h e Spirituals . The Spirituals e ~ a t tempt • o f the sla ve to --~,, web to g ethe r his disparate (yetfmutual) wouib.ds. Spiritu a ls represent t he slave' preserverence and ~n man! ins t an c e s) hi s h ope and f a ith in mank ind. The 0 eculars, also '--lii!jiiilli~~!i in the shado ws o f the the nm,o= Bl a c k ~ ~·,u,, _-'- · 11 bi g h ouse , ( 11 r e flect t he soci a l life of ~~ / ~ ~ th e ~ In ~ song s a n d ditties , t he Black A er i c a n c ouche d h is l o ~ t t e r n e s s e s., but voiced hi& hopes and ~ c yni ci sms through the oblique, eliptical and en coded words an d s e emi ngl y unintel li gible ph onetic symbols . Th e se Afr ican fo rms(see Rappin' a n d Stylin • Out , Kochman) h a ve continued up to the pre s ent. Few Bl a c k y oung sters a re able to side - step the ri gorous ( and s ome time s pai nful) v e rbal dexte~rn@8 dema nde d :ft: I ha playmates aftd ee@88LM.1ttab&s du ring verbal s p a r ring matches t h a t inevit a bly tak e place. Ba rts :t;c;i U I I t I ~ forms of ~ b ehavior were "- might/ in tac t duri ng slavery--wh en a slav~rzTT, b e d i s cus sing a ma ster ' s or " old l a dy 11 during a ra t he r harmle s s " rap "(rhapso dy? moma " rapport?) with his Ula r ra ti ve) fe l low fiel d worke r s . F r ede ric k D0 u g l a ss repo r ts ,,,-....._ 11 c that sla ve 1128 over- seers t h ought sla ves sa11,,g p e c a use 4a l)v r()t.4, ~ ~~~~!!!£.. We know t hat · such Ha s n ot tne c a se~a nd that~~-~~l!flt'""'!"'e!M~-"'Uilllll~ i mpli ed "stea l i n g awayi' m 5 I •iFllli a lot more than wanting to r e ach t h e arms of 'l Jesus on the c ross . -:r enry Duma s ch roni cles similar"- o ~ in h is stortes d,f-~ and p o ems. An d iv1el Jat k ins (Amist a d2) d is c u ssed a n u pdate d vers i o~ of"-tn is ( o v e r) 16 �@ seculars . folk s i nger - h e ro phonenon in his article cl'l.lll•lllllJ••-lllliilZ!llli&a-ili&a on/James Bro~ . Tho @l he is•••l•m1 discussing a secular character, Watkins ' re v ela tions are Bhan Thurman ' s : that in the a bsurd context of similar to Dr. fRl · a f.1 I"') being o'W!le d.:f by someone el~ se, it i s £Ot l i fe or death that loom so importantly . One lives, ~ . (_IrMfr9dh .(J. ru; .t!,lli·son, su gp est:A, the day - to - day absurdity i n a sort of comic - tra g ic vice . Watkins says ~ James Brown's initmal ac ceptanc e by a b l a c k audien c e is fixed,, _.._ i n this crucial f a c tor. From t h e moment he sli, des onto the ..Ii :d ;tage, £ ~ whether unconsciously o r intentionally , his gestures , his facial expres si ons and even the sequential arrangement of his mate r ials ,-...,, external affirmat i ons of a shared a c ceptanc e of the absurd ore, more ing enously, of jiv ing . The impe c ably tai lored suits , whi ch he brandi shes at the outset, become meaningless ac coutrements j as his act pro g resses and, sweating and straining, he ge ts do ~m, lit e rally down on t h e floor , to wr ing the last drop '- of emotion from a song . . Wat k ins is ~ o r r e c t about the d r ess becoming 11 meaningle s s 11 to a Black audi ence ,~ s general thesi s i s ~ on targ et . b lsewhere i mp o rtanc e o f v erb a l a ili ~ Watkins , firmly understanding ef.. .in lare . IUac k-'./ says 1 r ap 1 or 1 11 it is common to hear bla c k women dis cussing a man ' s p r o g ram 1 on t he same level as they discuss his bank a ccount . 11 .._ gen~rallz_ Black:s ------ withhold t h eir judg,nent :fon ( o r a c e eptanc~ r fa ,r speak er or enter- tainer until he exhibits , in hi s dress - gesturet- rap , that · he , - . c:......:- underst and~ t he wellspring that produc ed the "Bl a ck and unk no'W!l b a rds . (over) 11 I �e f, ' ecula l'S Heturning ,XJ&Xmll briefly, to our historical a ssessment, we can . now see how th e fol k strain in Black wr itten a rt eveloved. F rom t h ~ "Song" recorded in the 1 8_5ors by Dou g lass, Dey gib#us de liquor, And say dat's good enough for t h e ni gg er. +.a t:Rl"f~ar of ~ 6a. " d e Cunjab Man" the latter part o f t h e 190 0 1 s, De Cunjah man, de Cunjah man, O ch illen run, de Cunjah man! the deceptively ~ as ~ " s i mple" employment o:f :folk expressionJ~vailed an i mp ortant antidote for the social mala~inherited by Blacks in the Western Remi s ph e re • ..., "De Cunjah man" is, of course, equivalent to the "thing s t h at go bum~ g in t h e night 11 i1 peg-leg, 11 11 bugga h -man"(lJunba r 1 s 11 0beah man. in Irela nd--and thus h~s olk sup e rstitions an d mytholo gy. But the r e aas - ~ ties also the 11 ~ " t i t t le Bt-01.m Baby"), t h e "rag ;nantl, raw-head and bloody bones II and( in places i k e Trinida d) the 1 ~lArA'l'JV' ~ Llt,l.lll'L'~ T.1ost of these superna t u ral characters -P1,itii!'!ll. .-i,M African 11 Blues and Gos p el Jubilee(held in Cliff Top, w. Va., in August and September of 1974) wa s "Tryin 1 to Get Home. 11 How ste a dfa stly the fol k tradition runs like a vein t h rough Black history, Ip the ~eculars(and the Spirituals) r::-, • f _, o.hAt;, ' stanza ;._;;;;> we .llliiil•b repeatedly he a r somethi~~the ,-;;~of illilllM{ "Rainbow Roun Mah !:>boulde r": I 1 m go n na bre a k ri '¥lt, break ri ght pas t h at sh ooter, . I' m go i n home, Lawd, I'm go in h ome. Again the u;e 0 f the word e,,...,,. n )d( { 11 Lawd " in a " s ecula r" song further bears out ~ . the A:integration of t h e fo lk expre ssion. Illfy"-si s ters often or exca.aim "Lord" or 11 Lawd" i n e v e ryday discussions about life. (over) interject � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_24 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter II. The Black & Unknown Bards Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Chapter II. The Black & Unknown Bards, with addenda note 4 on page 7, an inserted page after page 12, and an insert for seculars after page 13. https://digitallis.isg.siue.edu/files/original/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/6d2870f99578e24cdd7ec92987e876c1.pdf e0f0bf5e4f52a7cda7742fc5b227f530 PDF Text Text P:ffil!l'A6E :e.. ·1 \DU .H.t this ~uncture in the ~ro-American cistory, on , wave o.£..., Bi-Centennial and in the midsh a jhird orld ve of HUI'lanism, Drumvoices comes as a partial answer to to trose who say poetry•s inpact on mankind 1 s cons ciousness has been insignificant . ih . . ~ ~ -.~~Blac!Trombones have historically blared through or soothed tqe •harsh end s • ~~ ((11.u I e 001 d.sA of realities of the Afro-AMerican Lxperience- /nd the cultural safe -~eposit boxes of as ever are as accessibie~to ~lleE!~ tCl tap~ • 1J._ -.>pir,(l.J Thes"{ spirits 1 r "roots" are what has Drumvoices ' 7 owes ~ debt to a S'1iri ts , 11 Known and unknown . " 71. As a reference mrk , Dru~voices attempts to fo l low in•~~--ll!t!~Si='• such important works as Vernon Log ins ' ~he Negro_ Author in Amori ca, Benjamin Brawley ' s ~arly 1egro Anerican •~iters ~nd The 1egro ~enius , j Sterlin lake -- Brown•s Ne 1 ro Poetry ~nd LJrama 1 J . Saund:re nectding ' ~ To I!: Poet Black he establishMent o~~ion end focus was · ~l"ed GeQYge msr · ton \ i 1 liams , Benj aMin E . Nays , b-p: imuortant dtudieP of W. E . B. DuT3ois , John Fope i•'ranklin , Lofton A Mitcl1 e ll and Dorothy Porter , to name just a few . Uf the cri~ics and }iterary historians , only Brown was concerned exrJusively with poets . Loggins I , lso include a checklist of Black poets . " '4' ID rk views~ Jjlack author-5,\until 190C;; and liedding, Brown, throughat the mid Dr umvoi ces 1930s. area of poetry--~ t,{J wi t h (/ Lucy J.'erry · S~ ~~ who wrote a poem 2?? years ar;o . 18tl-i abd Unfort unately, ~igni~icant studies of 19th century alack uoetry 7 ��' . ~ we re not availa~le to k..~o OF:liM1n• while chapters on these a r eas wer~ being written; h~vo~ , Jean Sherman's ~I~n~v~i~s~i~b~l~e~~~~P~o~e~t~s: _A_f_r_o_ _e_r_1_·c_a_n_s of the 19th Century and M.A. Richmond's Bid the Vassal Soar:Interpretive Essays on the Life and Poetry of .Phillis ·J heatley and cteorge rI_o_s_e_s_~-I_o_r_t_o_n_ provided gr e at insi gh t text. a J ~ J!~us ~specially some slight resh uffling of my ws.s Early Black American Poets, William Robinson 1 s i mportant antholo gy(with not e s)i.mi•lilHl'l-; at this writing , pvm ~ 4 f' it remains the best source . in the fioldw r holars"9 20th century fie ..--, Black poets, I . _ am indebted to Jean v a gn er 1 s Bl a ck Poets of the United From Paul Laurence Dunbar to Langston Hughes, S'rephel'l l-h~hdel"';(;,.-,l 1.1ndg 'U i' 1ligt:b e Nei+t(l¼l'-P•~) StatesjAArthur P. Davis i F'rom the Dark Tower:Afro-American Hri ters, 1900-1960, Donald Gibson's Modern Black Poets, B~l~a~c~k~P~o~e~t!r~y:_Ji~n:!_:Am~~e!r~i~c~a~~--- Thurman Blyden Hac k son 1 s and Louis Rubin's B. 0 1 Daniel 1 s Langston Hughes: Black Genius, George P. Kent's Blackness and the Adventure of Western Culture and Joy Flasch 1 s Melvin B. Tolson. A book does not just happen an d the fuel for this one has been pouring in over a number of years and from a great many sources. 9 1 students AC Ch@ f ~ srd • teecbsrs ,:n Bi zber sa:1sstj sr in Es t §t I211i a tbs serrsjrst · ~~ a i fl 602 tsa r Jtpu li:16110 t1112 &Plldif Germinating ideas came from li!ll orrfse.fsoir ces: students, fri® ds, teache r s , a nd most,import~antly, from collea gues at Southern Illinoim , \..!., university 1 s ~xpe riment in Hi gher ~du cation i n ~ast St. Loui s. The hundreds of po e ts a n d critics with wh om I h a w met and talked t h rough nights and days s tand now faceless and nameless, some ev e1b daad, but ~ ~ .~as much a part of this project as the autho ~+@~lellil!~helpful in this area were the critic.al 1(1-j C1yde Taylor, ~Orm.fr• teacher Ted Hornback .IRik LQ I ii L\'k 11.JlS~ i1s ki$ ~ 6harles Rowell. for thlt.,Gr p a tience, a ssistance and great stores of knowledg e I am indebted to librarians at California St a te Unive rsity, I R(New Yor).{ Public Li brar"M:) Sa cramento, the Schomburg Gent e r for eaearch in black Gultur~, the Moorland-Spingarn Hesearch 0 enter at Howard Univ e rsity, Oberlin Colle ge, �. . 3 and ~outhern University . Just as a book does not hap~en in the mind'-A; neither does it just hanpen on paper . Hours o f ~ and relentless work were invested by my g raduate assistant Julie compilation bibliog aphY, and textual problems . . sG · P-~ : ai ±er ~ similar matters,_:@il:J 11 tJ e · z .h.eith Jefferson and +t iu ev~ '('..> Rona ld 'fibbs . :B I il l ion ' s share of the load 1 / s:u~e1--v1.1ur- 0 fo t- fl' • i Otk p S 1 10 was assumed by Marie Collinsr J x~who type ;1 ii:!! 1'/ r ..,. otherwise committedAto the pro~ect . t- by (SUS sec..-!_I( ry jfr•fa...-?-r:~1•••••••-lll!!l!IJillill•z•J■·11111-11111•2•r•••••••s1••~Beve,!1Y Williams Finally , my editor , Marie Brown, deserves a a ilS.t II y; El I l gaA; f . izt 1@!1 l J !D r'llute for ·• □H QF7SH J I l&&&gl SM bwpsa; her I ? \en- couragement , concern , and iw■Pi!, .,.;,. continued suppo rt of the writing- research through to the end. Onward, the poets ! Eugene B. Redmond Febrµary 13 , 1975 ~acramento , California � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_22 Title A name given to the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Preface Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Description An account of the resource Draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Preface with a page 1 handwritten insert. https://digitallis.isg.siue.edu/files/original/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