Tuesday, August 30, 2016

How do we get from Gwendolyn Brooks to Mahogany L. Browne?


Last week, on the opening day of one of my African American literature classes, I gave the students a preview of the opportunity that awaits us. First, we listened to the poem "A Song in the Front Yard." Next, we listened to another poem, "Black Girl Magic." After that, the big question before us was this: How did we get from the sound of Gwendolyn Brooks to the sound of Mahogany L. Browne?

We're spending the next few months formulating answers. And more questions.

We want to come to terms with the ways Brooks and Browne converge and diverge as poets reading their works. Of course, we'll be listening to multiple voices along this journey. Margaret Walker. Maya Angelou. Sonia Sanchez. Lucille Clifton. Nikki Giovanni. Kelly Norman Ellis. Tracie Morris. Evie Shockley. Nicki Minaj. Beyoncé. And so forth.

We'll consider what collective sounds over the last 50 years may have entered the creative domains of spoken poetry to contribute to the sonic aesthetics of black women performing poems or raps. By the way, what are the routes folks travel to get from reading to performing poems?

The journey from Brooks to Browne is filled with all kinds of exciting sounds, artistic decisions, and varying delivery styles. I'm looking forward to traveling and charting some routes with my crew.

Related:
An African American literature course: Recordings of black women reading poetry (Fall 2016) 

Monday, August 29, 2016

Divergent receptions: Ta-Nehisi Coates & Colson Whitehead


As a literary scholar, it's a good feeling when a writer you've been studying for years finally receives widespread attention. I experienced that feeling last year with the tremendous response to Ta-Nehisi Coates's Between the World and Me (2015). And I'm experiencing the feeling again as I track the coverage of Colson Whitehead's The Underground Railroad (2016). 

There's a lot in common about the receptions of Coates and Whitehead. Two New York City-based, black men writers of a certain generation receive an abundance of praises for their works. In addition, their books were endorsed by two prominent women--Toni Morrison for Coates and Oprah Winfrey for Whitehead. Within weeks of publications, their books ascended to the top of the New York Times best seller list.

There are still many divergences in the coverage. While dozens of reviewers chimed in on Between the World and Me and The Underground Railroad, responses to Whitehead's book have remained largely confined to the world of contemporary literature. The reviewers for his book are primarily people who have always reviewed fiction. 

By comparison, Coates's book attracted a far more eclectic group of reviewers: journalists, cultural commentators, professors, entertainers, and others. There were also lively debates about the implications of Coates's work. Some wondered, for instance, does Coates do enough to address the concerns of black women? Others were vexed about this, that, this, and that concerning "white audience" and liberal adulation for Coates (i.e. David Brooks wrote a piece entitled "Listening to Ta-Nehisi Coates While White").
 
How do we account for the divergent receptions of Coates and Whitehead?

For one, I think, there is simply less wide-ranging interest in African American fiction than in African American nonfiction. Second and related, commentators and media coverage apparently elevate African American literary artists and African American nonfiction writers in different ways. Whitehead is presented as an exceedingly talented novelist, while coverage of Coates suggests that he is a leading spokesperson on race in America.

Third, market forces and societal concerns matter. Between the World and Me fulfilled an important void for audiences looking to read a thoughtful perspective related to the ongoing national conversation about violence against black bodies in this country. Further, Coates's book is presented as superb at illuminating problems concerning race and racism. Accordingly, Between the World and Me is a popular selection for university common reading programs and church reading groups. 
 

Related:
Ta-Nehisi Coates
Colson Whitehead

Friday, August 26, 2016

C. Liegh McInnis's books


I was writing about C. Liegh McInnis's productivity recently. Here's a list of his productions over the years.

Poetry
Matters of Reality:  Body, Mind, and Soul (1997, 2007)
Confessions:  Brainstormin' from Midnight 'til Dawn (1998, 2007)
Searchin’ for Psychedelica (1999, 2007)
Da Black Book of Linguistic Liberation (2001, 2007)

Short stories
Scripts:  Sketches and Tales of Urban Mississippi (1998, 2007)
 
Nonfiction
The Lyrics of Prince (1997, 2000, 2007)
Prose:  Essays and Letters  (1999, 2007)
Brother Hollis: The Sankofa of a Movement Man (2015) with Hollis Watkins

Editorial work
Black Magnolias: A Literary Journal (2001 - 2014)

Audio CDs
Poetic Conversations (2001-2008)
Introduction of a Blues Poet (2001-2008)

For more  information, see his website.

Related:
C. Liegh McInnis

The Inspiring Productivity of C. Liegh McInnis

A glimpse of productions by C. Liegh McInnis

As an undergraduate  at Tougaloo College in the late 1990s, I was fortunate to look beyond the school and explore some of the arts projects taking place around Jackson, Mississippi. Somehow I stumbled onto the activities of C. Liegh McInnis. At the time, as an undergrad, I only witnessed him presenting his poetry at some of the local sets. I had a vague sense that he was producing a poetry book here and there.

When I departed for Pennsylvania State University in 1999, I reminded myself to continue following McInnis works from afar. Since that time, I tracked his work and was deeply inspired by his high level of productivity over the years. Volumes of poetry, a book of short stories, a collection of essays, a book on Prince, audio cds of poetry readings, production and editorial work with his magazine Black Magnolias (2001-2014). Editor/collaborator for the autobiography of a Civil Rights activist. McInnis does it all.

McInnis has published essays, a book of short stories, and an examination of lyrics by Prince.

In many respects, studying McInnis was an important early gateway into several other artists producing across multiple genres such as Amiri Baraka, Larry Neal, Carolyn Rodgers, Kevin Young, Elizabeth Alexander, and Ta-Nehisi Coates. Perhaps those figures are more widely known in African American critical discourse. For me however, McInnis, more than many others, excelled in the art of possible.           

Without a local model in my mind like McInnis, I could have hardly had the motivation to pursue various self-publishing enterprises, like this blog. You can keep the ideas and creative energy bottled up somewhere in private. Or, you could always pull a C. Liegh McInnis.

Recently, I was expressing a little frustration with some artists and those of us in African American literary studies. I was irritated and wondering if we were doing too little for readers and audiences. But maybe I was being unfair. What if I hadn't lucked up and discovered a figure like McInnis at an early point of my career? Wouldn't my view of the possible be infinitely smaller?

A few of McInnis's poetry books




Although I first encountered McInnis on the spoken word scene as an undergraduate, I later learned that he self-published his poetry as well. He initially published those books in the late 1990s and then released updated editions of the books in 2000 and 2007. 

A prolific and multidimensional writer, McInnis published essays and short stories. He also produced a scholarly book on Prince. In graduate school, I started reading Amiri Baraka's writings on jazz artists and Greg Tate's writing on a range of artists as well. But McInnis was one of the first literary artists I encountered who produced extensive analyses on a musician.

Issues of Black Magnolias

For over a decade, McInnis led the production and editing of Black Magnolias--an arts journal with a black and southern focus. I first began receiving copies of the journal while I was a graduate student at Pennsylvania State University. I continued subscribing and reading when I moved to St. Louis. I was intrigued to see McInnis showcase his skills beyond poetry and nonfiction writer by demonstrating that he was also a highly capable publisher/editor.



Most recently, McInnis collaborated with Hollis Watkins on the production of Brother Hollis: The Sankofa of a Movement Man (2015). So again, he takes on the role of editor, arranger, transcriber, and "author" of a different sort. And yet again, he provides a model for what's possible and necessary. 


Related:
Reading Brother Hollis: The Sankofa of a Movement Man
C. Liegh McInnis

Reading Brother Hollis: The Sankofa of a Movement Man


Recently, I've been reading Brother Hollis: The Sankofa of a Movement Man (2015) by Hollis Watkins with C. Liegh McInnis. Watkins was born in Lincoln County, Mississippi, in 1941, and became active in the modern Civil Rights Movement during the 1960s. In particular, he was an organizer for theStudent Nonviolent Coordinating Committee (SNCC). Brother Hollis details his upbringing and chronicles his involvement in "the Movement."

Watkins offers an in-depth inside look at efforts of civil rights groups to address injustices. He and his fellow organizers spent time planning projects, participating in sit-in demonstrations, and registering black voters.  His details of people, places, and activities presents a really complex look at the Movement (and its many embedded movements). 

The Movement was clearly an ever intense series of moments, as organizers faced constant threats and acts of violence. At one point, Watkins describes a time when he and a group of organizers who had been arrested were transported from a city jail to a county jail. A "mob" of white people had gathered to taunt and harass the activists as they were prepared for transport. Watkins observes that:
Walking through that mob was like walking through a swirling, angry gathering of wasps, looking to sting this black thing that had invaded their nest. The tunnel through the center of the mob was narrow, and the two police officers seemed to disappear into the mob as their hands or the hands that guided me through the tunnel appeared to be the limbs from the angry mob pushing and pulling me along the trail of the shrinking tunnel. It was hot and noisy. The threats and insults from the mob seemed as fiery tongs licking and slashing my face and body (87).
So often, the Civil Rights Movement is presented as these joyous events of young activists locking arms and singing. There was that. But, Watkins's book also attests that the Movement was as horrifying as being trapped in a nest of angry wasps. 


Watkins's book is "with C. Liegh McInnis," an editor and literary artist whose works I've followed for years now. I was pleased to see that he extended his tireless productivity by collaborating on the production of this project.   

Related:
The Inspiring Productivity of C. Liegh McInnis 
C. Liegh McInnis

Monday, August 22, 2016

An Af-Am lit. course: Recordings of black women reading poetry

The students in the class will receive flash drives containing all of the poems.  

The primary texts for one of my African American literature courses this semester will be audio recordings. The students in my class -- all first-year black women college students -- will cover over 60 poems by more than 25 black women poets. We'll listen to Elizabeth Alexander, Gwendolyn Brooks, Lucille Clifton, Nikki Giovanni, Tracie Morris, Harryette Mullen, Sonia Sanchez, Evie Shockley, and more.

We'll take note off what it means to experience the poetry audibly, not just on the page. We'll also take the time to distinguish differences between black women poets and black women poets.


Related:
How do we get from Gwendolyn Brooks to Mahogany L. Browne?
List of audio recordings by black women poets and lyricists
Situating the bold & bodacious poetic voice of Mahogany L. Browne
Can the sounds of black women's poetic voices get a witness?
African American Literature @ SIUE

Additional Fall 2016 courses:
An African American lit. course: "Hip Hop & Black Consciousness"
An African American literature course on Ta-Nehisi Coates  

Wednesday, August 17, 2016

An African American lit. course: "Hip Hop & Black Consciousness"

[The course description for my ENG 343 course this semester.]



"My emancipation don't fit your equation.” —Lauryn Hill

“I'm like Che Guevara with bling on, I'm complex
I never claimed to have wings on
[Ninja], I get my ‘by any means’ on…” —Jay Z

Listen. You already know what this class is about: the ways hip hop folks infuse ideas associated with Malcolm X, struggles for liberation, and serious knowledge into the culture. You know the deal too: we’ll listen to, analyze, and discuss works by Nas, Lauryn, Jay Elect, Kendrick, B.I.G. K.R.I.T, Dre 3000, and obviously the “God” (Rakim). In the process of thinking about black consciousness in hip hop, we’ll seek to enhance our own consciousness. You down?

***********

Related:
An African American literature course: Recordings of black women reading poetry (Fall 2016) 
An African American literature course on Ta-Nehisi Coates  (Fall 2016)
African American Literature @ SIUE 

Tuesday, August 16, 2016

An African American literature course on Ta-Nehisi Coates


This semester, I'm teaching a course focusing on Ta-Nehisi Coates. The class will be comprised of first-year black men college students.  We'll take a look at a sampling of Coates's blog entries, his article "The Case for Reparations," his book Between the World and Me, and his first story arc for the Black Panther comic book. 

I've taught writings by Coates in the past, but this is the first time I'm devoting a full class to his works. In various classes some years ago, my students and I covered Coates's The Beautiful Struggle (2008). Every now and then in classes, I brought in some of his blog entries, and one of my classes covered Between the World and Me when it came out last year. 

This course will give me an opportunity to introduce a group of guys to an important black writer, and at the same time, we'll get to consider several related writers as well as a wide range of topics and different modes of creative communication like blogging and comic book writing.

I'll run entries here about what the course entails as well as some of my observations of what we're covering.

Related:
Ta-Nehisi Coates
An African American literature course: Recordings of black women reading poetry (Fall 2016)  
An African American lit. course: "Hip Hop & Black Consciousness" (Fall 2016)
African American Literature @ SIUE 

Sunday, August 14, 2016

Sanford Greene's Black Panther variant covers


Artist Sanford Greene produced this run of variant covers for the first story arc of Black Panther written by Ta-Nehisi Coates. Several different artists did variant covers for Black Panther #1, but Greene was the only one to do a series for #1 - #4.

Greene caught my attention from the first one. He presents an African couple holding and adoring their child, perhaps a young T'Challa. The second cover image depicts a young man, shirtless and wearing a traditional loin cloth. He's backed by warriors with spears and a larger image of boy or young man charging toward battle.

The third cover image shows the young man from the second cover, slightly older, sharing a tender, intimate moment with a woman. Behind him is a large image of the Black Panther with his arms crossed looking forward. He's rocking a gold necklace with a panther emblem at the center, and two panthers rest in front of him.

Finally, the fourth cover image presents the scene of a protest or uprising, as people are shown shouting and carrying anti-Black Panther flags. In the background, we see what appears to be a toppling Black Panther statue; a version of that falling statue was depicted in Brian Stelfreeze's cover for Black Panther #2.

Related:
List of Black Panther variants and artists  
A Notebook on Black Panther

Reading, Viewing & Sharing Deborah Willis's books


I rarely get opportunities to meet the many writers whose works I've read and treasured over the years. So a few weeks ago at the Toni Morrison Society conference when I spotted Deborah Willis sitting toward the back of the room, I took advantage of the moment and introduced myself. I mainly tried -- inarticulately -- to communicate to her how much I've been moved by her wonderful picture books. I also let her know that I've selected her books as gifts for students over the years. 

Among others, Willis compiled and edited books like Reflections in Black: A History of Black Photographers 1840 to the Present (2000, 2002), Black: A Celebration of a Culture (2004, 2014), and Posing Beauty: African American Images from the 1890s to the Present (2009).


I'm not sure when I first started thinking about African American picture books, but early on as an undergraduate, I was fortunate to come across Richard Wright's 12 Million Black Voices (1941). Later, I stumbled onto books like I Dream a World: Portraits of Black Women who Changed America (1989) by Brian Lanker.


Yet, Willis opened up a really vast world for me. I've always taken note of African American photographs here and there, but she brought everything together in one place. She also highlighted the many photographers -- of various races and backgrounds -- who had trained their cameras on black folks. Her book-form curatorial work of photographs has given me so much visual delight over the years.



I turn to just about any page of Reflections in Black, Black: A Celebration of Culture, or Posing Beauty, and I'm met with some image that has my mind off and running. Look at Malcolm. Who's that in that image? Who are they? What were those folks doing? What other lives did that photographer chronicle? And on and on.        

I'm always discovering a new image or rediscovering one that caught my attention from previous readings of the book. Some of the images pop up in various other places as well. On the web. In a different book. In a magazine.

Deborah WIllis's Black: A Celebration included among texts I gifted to students last year.

Since I've enjoyed Willis's books so much over the years, I regularly include them in packages of gifts I pass along to students. I'm always pleased to know that I can assist with building their personal libraries by passing along one of Willis's works.
 
Related:
Photographs of Black Poets Matter: Victoria Smith and Of Poetry and Protest

Friday, August 12, 2016

Kevin Young as poet, editor, curator, and now Schomburg director


The announcement that Kevin Young would become the new director of the Schomburg Center for Research in Black Culture was both surprising and exciting news. His career had already been extraordinary -- the prolific publishing, the editorial projects, and the nonfiction, scholarly work. And now, we'll witness him taking off on another wonderful professional opportunity.

He's been at Emory University since 2005, where in addition to his duties as a creative writing and English professor, he's been curator of the Raymond Danowski Poetry Library. In that position, he's organized exhibits of materials in the collection, and he has also been instrumental assisting the library acquire private collections. Perhaps his work as curator primed him for seeking out or being recruited for this position at the Schomburg?

Given his worth ethic and resourcefulness as a poet, editor, scholar, and curator, we might have some indication of what he'll do in his role as director.    

Related:
Kevin Young

Thursday, August 11, 2016

Meta DuEwa Jones and the mix of black poetry scholarly work


If you're searching for useful scholarly writing on black poetry, you won't look too far before you'll find the work of Meta DuEwa Jones. Her book The Muse Is Music: Jazz Poetry from the Harlem Renaissance to Spoken Word (2012) extends and clarifies long-running conversations in the critical discourse about how integral music and voice are to the production of poetry over the course of the 20th century.

And perhaps, she takes us beyond the 20th century. "Ultimately, the history and experience of the transatlantic slave trade," she writes early on, "haunts and hallows the legacy of voice and voicing in black expressive culture." Meta takes us from Langston Hughes all the way through poets who style their works based on hip hop.  

The Muse is Music corresponds to a large body of writings, including books by Tony Bolden, Aldon Nielsen, Evie Shockley, and James Smethurst, to name a few. Her book, like those, also brings to mind Eugene B. Redmond's foundational work Drumvoices: The Mission of Afro-American Poetry (1976).

Meta, along with a range of different scholars, contributes to a distinct body of Black Arts-related scholarship produced over the last decade.  Black arts scholarship, of course, forms the basis of my own work and really my entry into critical writing on black poetry. 

Meta DuEwa Jones & Evie Shockley as guides

As I've noted before, many of the scholars have been generous with their time  and ideas with me over the years. Evie Shockley and Meta, for instance, provided me with all kinds of guidance at conferences and in their writings. I communicate regularly with scholars William J. Harris and Tony Bolden on Facebook, and Jerry W. Ward, Jr. through email. 

At the moment, I'm preparing for my fall courses, and was looking back on notes from Meta's The Music is Music. I was quickly reminded how linked her work is to these many mixes of conversations and scholarly writing on black poetry. 

Related:
African American Literary Studies

Meta DuEwa Jones & Evie Shockley as guides


I was at a workshop recently where senior scholars (somehow I was in that category) were asked to offer advice to a group of junior scholars in our field. At one point, I was telling some of the junior scholars how I've benefited by drawing on and learning from Meta DuEwa Jones and Evie Shockley. They're my peers, and they've also served as guides, unofficial mentors, and older sisters.

They're both poets, scholars, poet-scholars, and scholar-poets. Take your pick.

I've written quite a bit about Evie's poetry, but she and Meta have often imparted scholarly ideas as well. They've passed those ideas on to me at conferences and through their writings.

[Related: Meta DuEwa Jones and the mix of black poetry scholarly work]

Among various articles, Evie published Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry (2011) and Meta published The Muse Is Music: Jazz Poetry from the Harlem Renaissance to Spoken Word (2012). Both books have been useful to my thinking on poetry over the years.

Related:
African American Literary Studies

Wednesday, August 10, 2016

Coverage of Tyehimba Jess's Olio


Beginning in September, I'll coordinate an online reading group on Tyehimba Jess's Olio. In the meantime, I've been re-reading the book and also looking over reviews and interviews. Here's a round-up of pieces I've read.

2017
• July 15: The Unconventional Poetry Of Tyehimba Jess - Dan Wanschura - NPR

2016
• August 9: Olio - Douglas Luman - Found Poetry Review
• August 1: Tyehimba Jess - Olio [interview] - Anne Rasmussen - Late Night Library
• July 26: On Poetry - Michael Andor Brodeur - Boston Globe
• July 15: Poets Take Cues From Journalism In Recent Collections - NPR 
• July 9: Book Review: Olio - Shani Jamila - African Voices
• July 6: 20 Fun Fiction Books to Read at the Beach, As Chosen by Authors - Maris Kreizman - Vulture 
• July 5: Remixing the Resistant Voices of Black Musical Performance in the US - Scott Borchert - Hyperallergic
• June 27: Jess Honors Sissieretta Jones, First Afr-Am to Perform at Carnegie Hall - Stephen Raskauskas - 98.7wfmt
• June 21: DOGBYTES Interview: Tyehimba Jess - Cave Canem 
• May 5: Tyehimba Jess on Excavating Popular Music Through Poetry - Adam Fitzgerald - Lit Hub
• April 27: Voicing Counterpoint - Kyla Marshell - Poetry Foundation
• April 13: On Olio by Tyehimba Jess - Evie Shockley - On the Seawall
• April 9: Olio by Tyehimba Jess - Rob Fields - Bold as Love
• April 8: Book Covers of Note April 2016 - The Casual Optimist
• April 6: Olio - Hanif Willis-Abdurraqib - The Rumpus 
• April 5: The Work of Reclamation - Kaveh Akbar - Oxford American
• April 5: New Book of Poetry Making Waves - Brookline Booksmith
• April 4: Olio - Stephen Burt - Poets
• March 18: 13 Poetry Collections To Read For National Poetry Month - E. CE Miller - Bustle
• February 15: Olio - Publishers Weekly

Poems by Jess from Olio 
• "Blind Boone's Vision" - Poetry Foundation
• "Freedsong: Dream Song" - Poetry Foundation
• "Sam Patterson, Harlem, NY: Dec. 12, 1924" - Poetry Foundation
Two Poems ("Alabaster Hands" and "Indian Combat") - Granta
• "Blind Boone's Apparitions" - The Spectrum

Related:
Tyehimba Jess's Olio: African American cultural & historical studies 
Tyehimba Jess's Olio and contemporary African American poetry
Tyehimba Jess and the outstanding Olio
Tyehimba Jess

Sunday, August 7, 2016

A print-only excerpt from Colson Whitehead's The Underground Railroad in the New York Times


Today, in print-only format, The New York Times ran an excerpt from Colson Whitehead's newest novel The Underground Railroad. The production offers a rare analog version of writing in a newspaper at a time when most venues privilege digital publications. The 16,000-word excerpt from The Underground Railroad was planned well in advance of the news early last week that Whitehead's novel was selected as a selection for Oprah Winfrey's book club.

One fascinating aspect of Whitehead's novel concerns the fact that he presents the underground railroad as an actual underground series of tunnels designed to facilitate the escape of enslaved people. Those tunnels are visually referenced in the central opening image of the standalone excerpt, which depicts a tunnel with railway tracks.    

Related: 
The pre-publication of Colson Whitehead's The Underground Railroad 
Toni Morrison & Ta-Nehisi Coates, then Oprah Winfrey & Colson Whitehead: Notes on Book History
The Coverage of Colson Whitehead's The Underground Railroad  
Colson Whitehead

Thursday, August 4, 2016

Toni Morrison & Ta-Nehisi Coates, then Oprah Winfrey & Colson Whitehead: A Note on Book History


Years or decades from now, we might look back on two endorsements in 2015 and 2016 as signal moments in black book history, at least in the careers of Ta-Nehisi Coates and Colson Whitehead. When else have the appraisals of two black women been so prominent in the promotion of book by major black men writers?  

First in 2015, Toni Morrison offered a book blurb for Ta-Nehisi Coates's book Between the World and Me. While the book was already primed for success, the Morrison blurb became an integral part of the narrative about Coates and his work. 

"I've been wondering who might fill the intellectual void that plagued me after James Baldwin died," her blurb read in part. "Clearly it is Ta-Nehisi Coates."

In the lead-up to the publication of his book, Coates had informed his publisher that he was typically uncomfortable with blurbs. There was one exception though. "My whole thing was," he said, "if Toni Morrison can't blurb it, then I don't want anyone to blurb it." 

As our most critically acclaimed writer, Morrison's assessment of Coates was crucial to enhancing, if not expanding his audience.

That was 2015. Now, a year later, we have Colson Whitehead's The Underground Railroad. The novel was originally scheduled for a September 13 release. However, at some point, someone at Doubleday got an advance reader copy of Whitehead's novel to Winfrey. What did she think? "This book took my breath away," she said in one of her enthusiastic appraisals, announcing The Underground Railroad as an Oprah Book Club selection.

The Boston Globe reports that "Doubleday had planned an initial print run of 75,000 copies — the kind of robust figure typically associated with only the more popular literary fiction releases." However, after becoming aware that the book was an Oprah selection, the publisher decided to produce an initial run of 200,000 copies. And they decided to publish the book on August 2.

 Related:
Ta-Nehisi Coates
Colson Whitehead

Wednesday, August 3, 2016

The Coverage of Colson Whitehead's The Underground Railroad


What a surprise! Colson Whitehead's The Underground Railroad was initially scheduled for a September 13, release. However, Oprah Winfrey intervened. Hence, the publication date was moved up to Tuesday, August 2.

Back in May, I began tracking the pre-publication coverage of the novel, which was routinely appearing on "most anticipated" releases of the fall. Below, I provide coverage of Whitehead's recently published book.

• September 10: A Clanking Ride to an Uncertain Freedom - Matt Sandler - LA Review of Books
• September 8: 14 Facts You Probably Didn’t Know About Colson Whitehead - Jarry Lee - BuzzFeed
• September 8: The Underground Railroad Is Bigger and Better Than You've Heard - Rich Smith - The Stranger
• September 8: Colson Whitehead's Underground Railroad is his finest - Tyrone Beason - Seattle Times
• September 1: Bringing the Underground Railroad to life - Kate Evans and Kathleen Calderwood - ABC
• September 1: A powerful, mesmerizing story of slavery - Sam Coale - Providence Journal
• September 1: Colson Whitehead on reimagining America’s history of racism - Donna Bailey Nurse - Maclean's
• August 31: Colson Whitehead Explains How He Grew as a Writer - Brandon Harris - Vice
• August 30: A novelistic tour de force about American slavery - Donna Bailey Nurse - Maclean's
• August 27: Why Colson Whitehead made the Underground Railroad real - Eric Farwell - Salon
• August 26: Biblioracle on Colson Whitehead, plus recommendations - John Warner - Chicago Tribune
• August 26: Whitehead's 'The Underground Railroad' is timely, necessary, shattering - Rebecca Carroll - LA Times
• August 25: 'Underground Railroad' an unforgettable journey through slavery - Colette Bancroft - Tampa Bay Times
• August 22: The Perilous Lure of the Underground Railroad - Kathryn Schulz - The New Yorker
• August 20: Colson Whitehead reimagines Underground Railway to freedom - Don Anderson - The Australian
• August 19: Why White Americans Fail to Reckon with the truth of slavery - Claire Fallon - Huffington Post
• August 19: 'The Underground Railroad' a compelling story - Jim Higgins - Milwaukee Journal Sentinel
• August 19: Colson Whitehead brings 'Underground Railroad' to Miami - Connie Ogle - Miami Herald
• August 19: Whitehead reveals The Underground Railroad will hit No. 1 - Adam Lujan - Entertainment Weekly
• August 18: Colson Whitehead on His Spectacular New Novel, The Underground Railroad - Megan O'Grady
• August 18: The Excellence of Colson Whitehead - Kima Jones - GQ
• August 18: ‘The Underground Railroad,’ by Colson Whitehead - Dan Dryer - San Francisco Chronicle
• August 17: Colson Whitehead: 'My agent said: Oprah. I said: Shut the front door' - Michelle Dean - The Guardian 
• August 15: Whitehead Talks Ferguson, Fiction and Acclaim vs. Bad Reviews - Sarah Seltzer - Flavorwire
• August 14: In Conversation With Colson Whitehead - Boris Kachka - Vulture
• August 13: Whitehead skillfully depicts slavery...in Underground Railroad - Harper Barnes - St. Louis Post-Dispatch
• August 12: Here's What President Obama is Reading This Summer - Sarah Begley - Time
• August 12: Obama offers glimpse into his summer book list - Nolan D. McCaskill - Politico
• August 12: Unflinching 'Underground Railroad' is essential fiction - Ron Charles - Houston Chronicle
• August 12: Colson Whitehead and Jeffrey Toobin Talk About Their New Best Sellers [Podcast] - NY Times
• August 12:  A powerful reimagining of American history - Andray Domise - The Globe and Mail
• August 12: Could this be the book of the year? - Connie Ogle - Miami Herald
• August 11: 6 Questions for Colson Whitehead, Author of The Underground Railroad - Radhika Jones - Time
• August 11: Times takes a step back in time with a print-only extract from new slavery novel - Noel Young - The Drum
• August 10: Oprah Book Club Pick 'Underground Railroad' is a hit - Jocelyn McClurg - USA Today
• August 10: Rights Available! Oprah Winfrey's Latest Book Club Pick - Andy Lewis - Hollywood Reporter
• August 10: Practicing Art With Liberty and Joy - Laura Miller - Slate
•  August 9: 'Underground Railroad' Traces The Terrible Wounds Of Slavery - Michael Schaub - WPSU
• August 9: These Are the Books You Should Read in August - Kevin Nguyen - GQ
• August 9: 'Underground Railroad' tells a disturbingly real story of slavery - Nick Romeo - Christian Science Monitor
• August 8: Colson Whitehead's The Underground Railroad - John Burnham Schwartz - Wall Street Journal
• August 8: Colson Whitehead's 'Underground Railroad' Is A Literal Train To Freedom - NPR
• August 6: New Novel Takes 'The Underground Railroad' Beyond The Metaphor (interview) - Scott Simon - NPR
• August 5: Newspaper Goes With 'Print-Only' Approach -- For Now - Mary Shedden - WUSF Public Media
• August 5: Toward a More Perfect Union - Sam Sacks - Wall Street Journal
• August 5: In...The Underground Railroad More Than a Metaphor - Juan Gabriel Vásquez - NY Times
• August 4: ‘Underground Railroad’  ... is an important American novel - Anthony Domestico - Boston Globe 
• August 4: Behind Oprah’s Book Club Pick of “The Underground Railroad” - Jennifer Maloney - Wall Street Journal 
• August 3: Imagining the Underground Railroad as an actual train system - PBS NewsHour
• August 3: Whitehead's Oprah-endorsed slavery tale....is a crafty allegory - Dylan Hicks - Minneapolis Star Tribune
• August 3: Where Colson Whitehead Got the Idea for The Underground Railroad - Oprah.com
• August 3: ‘The Underground Railroad’ review - Gene Seymour - Newsday
• August 3: With New Book Club Pick, Oprah's Still Got The Golden Touch - Madeline Berg - Forbes
• August 3: Oprah Announces Her Newest Oprah's Book Club Selection - Oprah.com 
• August 3: Colson Whitehead's 20-Year Journey to Oprah's Book Club - Ryan Bort - Newsweek
• August 2: Oprah Interviews "Underground Railroad" Author Colson Whitehead - The Root
• August 2: Oprah Winfrey picks Colson Whitehead's latest, 'The Underground Railroad' - Michael Schaub - LA Times
• August 2: Have I found a great book - Oprah Winfrey - Amazon
• August 2: Oprah Names a New Book Club Selection - Jeff Somers - Barnes and Noble
• August 2: The fascinating new novel that Oprah just picked for her book club - Meryl Gottlieb - Business Insider
• August 2: Ripping the Veil - Brit Bennett - New Republic
• August 2: Whitehead will discuss his novel (new Oprah pick) in STL - Jane Henderson - St. Louis Post-Dispatch
• August 2: Colson Whitehead, A Literary Chameleon - Jesse McCarthy - Harvard Magazine
• August 2: Oprah's Book Club Announces 'The Underground Railroad' as Newest Selection - Broadway World
• August 2: Oprah’s book club pick: ‘The Underground Railroad' - Ron Charles - Washington Post
• August 2: Oprah Winfrey selects Colson Whitehead's The Underground Railroad for book club - Adam Lujan - EW
• August 2: Winfrey picks Whitehead novel for book club - Hillel Italie - AP
• August 2: Colson Whitehead discusses “The Underground Railroad” -  Jennifer Schuessler - NY Times 
• August 2: ‘Underground Railroad’ Lays Bare Horrors of Slavery and Its Toxic Legacy - Michiko Kakutani - NY Times
• August 2: New York Times is publishing a print-only novel excerpt this Sunday - Joseph Lichterman - NiemanLab
• August 2: Underground Railroad...Cements Status As Fall’s Most Buzzworthy Book - Nate Jones - Vulture
• August 2: Oprah Winfrey Chooses The Underground Railroad for Book Club 2.0 - Maryann Yin - GalleyCat
• August 2: Colson Whitehead is an Oprah pick - Michael Merschel - Dallas Morning Star
• August 2: Oprah's Book Club pick 'Underground Railroad' - Charles Finch - USA Today
• August 2:  Whitehead’s ‘Underground Railroad' ... released a month early - Tom Beer - Newsday
• August 2: So how did a hot fall book get published a month early? - Paul S. Makishima - Boston Globe 
• August 2: Oprah Announces Her Newest Oprah's Book Club Selection - Oprah.com
• August 2: "This book took my breath away." - Oprah Winfrey - Twitter

Related: 
The pre-publication of Colson Whitehead's The Underground Railroad 
Colson Whitehead

Three black poetry projects confront police brutality


Over the last few years, we've witnessed a few different African American poetry projects concentrating on critiques of police brutality and injustice. For one, there's the project #BlackPoetsSpeakOut (Black Poets Speak Out), which began in late 2014. The project involves poets making a statement on video that "I am a black poet who will not remain silent while this nation murders black people," before reading a poem by them or another black poet.

In March, Jacar Press published Resisting Arrest: Poems to Stretch the Sky (2016) edited by Tony Medina. The anthology contains poems by more than 80 poets about police killings and other violence inflicted on black people. In June, W. W. Norton & Company published Of Poetry and Protest: From Emmett Till to Trayvon Martin (2016) edited by Philip Cushway and Michael Warr. The anthology contains poems by 43 poets and remarkable photographs of the contributors by Victoria Smith.

Those three black poetry projects -- Black Poets Speak Out, Resisting Arrest, and Of Poetry and Protest -- exhibit different and sometimes overlapping strengths in the process of showcasing the kind of works that poets do to confront police brutality. Taken together, the projects offer a poetic complement to activist organizing broadly defined as "Black Lives Matter." At the same time, the artistic projects highlight a variety of possibilities concerning the production of black poetry in the contemporary era.  

Black Poets Speak Out, which includes more than 200 select contributions, constitutes the most accessible of the projects, as audiences can view the poems on YouTube or the group's Tumblr page. The project, which emerged out of a conversation between Amanda Johnston, Jericho Brown, Mahogany Browne, Jonterri Gadson, and Sherina Rodriguez-Sharpe, makes use of technology to record, broadcast, and share the poems using multiple platforms such as Facebook and Twitter.

Resisting Arrest arguably has the most forceful militant thrust. Medina, who has been on the front lines of black poet activism for at least two decades now, solicited works that foregrounded concerns about the current violence against black people. Medina's project is more focused and necessarily edited than    Black Poets Speak Out, and contains more pointed critiques of anti-black racism than Of Poetry and Protest.

At the same time, Cushway and Warr's project is a really tremendous enterprise for multiple other reasons. For one, the relative smaller number of contributors to Of Poetry and Protest means more focused attention on the poets. Further, the book contains a mixture of poems, artwork, photographs, essays, write-ups from poets, and bibliographic information on the contents. More than any of the other projects, Of Poetry and Protest showcases the presence of the late Amiri Baraka--an artist-activist who led the way in organizing against the oppression of black folks.  

All three projects reveal the importance of poets as organizers. Johnston and Gadson, for instance, have been especially visible coordinating public readings and letter-writing campaigns to elected officials concerning police brutality. Medina and Warr, in their respective projects, demonstrate their capabilities pulling together a large, diverse group of poets together for common causes. Organizing large groups of artists for a distinct project requires coordination, patience, and boundless energy.  Black Poets Speak Out, Resisting Arrest, and Of Poetry and Protest collectively include more than 300 contributors, which should give us some indication about the resourcefulness of the poet-organizers.

Black Poets Speak Out project statement. Image source

What new or original directions do the projects take us? Black Poets Speak Out offers a glimpse of what's possible when poets merge artistic and advocacy interests with hashtag and online organizing. Of Poetry and Protest represents a multi-genre or mixed media black poetry anthology.

Beyond the thematic focus, there's some continuity with contributors. Kelly Norman Ellis and Douglas Kearney read for Black Poets Speak Out, and her poems appear in Resisting Arrest and Of Poetry and Protest. Poems by Kwame Dawes, Rita Dove, Cornelius Eady, Patricia Spears Jones, Yusef Komunyakaa, Quraysh Ali Lansana, Haki Madhubuti, devorah major, Marilyn Nelson, Ishmael Reed, Sonia Sanchez, Quincy Troupe, Frank X. Walker, and Afaa M. Weaver appear in Resisting Arrest and Of Poetry and Protest.

Tara Betts, Brian Gilmore, Mahogany L. Browne, Derrick Weston Brown, Jericho Brown, Rachel Eliza Griffiths, Douglas Kearney, Ruth Ellen Kocher, Raina J. León, Tony Medina, Kamilah Aisha Moon, Khadijah Queen, Metta Sáma, Phillip B. Williams, and L. Lamar Wilson participate in Black Poets Speak Out, and they contribute to Resisting Arrest. Reginald Harris and Tyehimba Jess contribute to Of Poetry and Protest and Black Poets Speak Out. All the cross-fertilization signals the inter-connectivity of black poetry projects.   


Related:
• A Notebook on #BlackPoetsSpeakOut 
Of Poetry and Protest and its aesthetic forces

Blogging about poetry in July 2016

[Related content: Blogging about Poetry]

• July 29: Listening to Dometi Pongo's Creative Work on Malcolm X 
• July 13: List of audio recordings by black women poets and lyricists
• July 3: Blogging about Poetry in June 2016

Tuesday, August 2, 2016

Photographs of Black Poets Matter: Victoria Smith and Of Poetry and Protest

Tyehimba Jess

There's poet Reginald Harris looking directly at us. Is it the second just before a wonderful smile? There's Nikky Finney and her flowing locks. Cornelius Eady greets us in mid laugh. Oh, and check out the joyous open-mouthed laugh or shout of Patricia Spears Jones. Or, the way Kelly Norman Ellis looks and smiles in our direction. And then Tyehimba Jess, turned somewhat to the side, but looking at us. Like with the image of Eugene B. Redmond, Jess wears one of his signature hats.
 
Of Poetry and Protest: From Emmett Till to Trayvon Martin (W. W. Norton & Company, 2016) edited by Philip Cushway and Michael Warr constitutes a notable moment in the visual history of African American poetry. We have hundreds, no, thousands of books by African American poets, but relatively few widely available photographic images of the writers, at least in book form.   

Photographer Victoria Smith trains her camera lens on 43 prominent poets, and we're better because of it. See presents Amiri Baraka, Camille T. Dungy, Evie Shockley, Sterling Plumpp, Toi Derricotte, Quincy Troupe, and more in the images. They're remarkable outstanding photographs, offering intimate portraits of poets we've read closely over the decades. 

Wanda Coleman
Smith distinguished herself photographing professional musicians.  Among other major projects, she served as an the official photographer for SXSW, and she has covered the Glastonbury festival. She brought her wide-ranging experiences capturing musical performances by artists and thousands of people in expansive venues to this project. The results are multifaceted. A close-up image of Yusef Komunyakaa staring directly forward. Two images of the late Wanda Coleman, one with her looking smiling, and another with her hands partially covering her face, as she adjusts her glasses. An image of Haki Madhubuti smiling and looking downward, and an adjoining image that show his hands crossed on his knee.   

 I'm very much aware that we can and should write more about the actual writings of poets. I spend considerable amounts of time doing just that. At the same time, as a kind of cultural historian, I've also recognized how texts beyond the linguistic texts shape our reading experiences. And, well, photographs matter. In this case, photographs of black poets matter.

I first began thinking seriously about the photographic documentation of black poets in 2003, as I encountered the more than 100,000 photographs in Eugene B. Redmond's collection. His images of Amiri Baraka, Maya Angelou, Nikki Giovanni, Sonia Sanchez, and many others caught my attention, and I became aware that in addition to being poets, they and many others were notably photogenic.

Marilyn Nelson

While Redmond's photographs captured most of my attention, I was also aware of the images of writers in I Dream a World: Portraits of Black Women who Changed America (1989) by Brian Lanker and  African American Writers: Portraits and Visions (2001) by Lynda Koolish. Smith's images correspond with those books, and she goes even further back.

Remember those author portraits done by Carl Van Vechten? His images of various prominent artists came to mind as I thought about these wonderful images in Of Poetry and Protest. Yet, here, the poets have their own, modern and contemporary histories. I've enjoyed reading the poems and photographs in this book.  

Related:
Of Poetry and Protest and its aesthetic forces
Amiri Baraka's presence in Of Poetry and Protest

Monday, August 1, 2016

Amiri Baraka's Presence in Of Poetry and Protest

Photograph of Amina and Amiri Baraka at their home, Of Poetry and Protest

"I wrote poetry 'cause I always had something to say. 
Always." --Amiri Baraka

I was surprised and pleased to see that Amiri Baraka's work appeared in Of Poetry and Protest: From Emmett Till to Trayvon Martin (W. W. Norton & Company, 2016) edited by Philip Cushway and Michael Warr. Although Baraka passed away in January 2014, he apparently completed his submission to the project prior to that time.  The book includes an essay "Protest Poetry," which Baraka was commissioned to write for the anthology, a short reflection on how his childhood shaped his experiences as a writer, and his poem "Wise 5."

For much of his "Protest Poetry," Baraka explains why the label "protest" poetry, assigned to black poetry is problematic. "I have always resented the term 'protest poetry," he opens, "because it seems to me that it was dropping the poetry I felt closest to in a lead box so it wouldn't contaminate the dull ass mainstream." He reflects on how his own poetry was rejected "at light speed" from the pages of literary journals such as Sewanee, Partisan, Kenyon, Hudson, and Southern.

He came to realize that the poems he was reading in those venues had little to do with his own experiences. "So, it wasn't 'protest poetry' I wanted to write,' he explains, "it was simply to continue the tales about our own lives. I always thought the term 'protest poetry' was, to put it badly, 'some corny white shit.'" Baraka closes noting that "the main thrust of the term 'protest poetry' is to stigmatize the literature that questions the given, the status quo."

I wonder if the editors for the anthology were thinking of "protest poetry" in a contemporary sense as related to the organizing against police brutality and not the troubling "protest literature" assigned to African American literary works during the 1940s and up through the 1960s. At least the phrasing "poetry and protest" offers a little more clarity or distance in relation to the old-school use of "protest literature."



Amiri Baraka in Of Poetry and Protest

The book includes two photographs by Victoria Smith, who produced the photographs of all 43 contributing poets. One image shows Baraka at his home with  his wife Amina. They are sitting at a table. Baraka appears to be making a point to Amina and she looks on and listens.

Another photograph of Baraka appears on the opposite page of his reflections on his childhood writing activities up to becoming a poet. The photograph is a really vibrant image of one of our most treasured poets. Baraka is smiling and peering slightly off, away from the camera. He's full of life in the image, and every time I look at the photo, I miss him more.    
 
Baraka's presence in Of Poetry and Protest extends beyond his own writings. Various contributors to the book mention him by name as an influence. Cornelius Eady, Major Jackson, Yusef Komunyakaa, devorah major, Evie Shockley, for example, cite Baraka as a force for inspiration and or artistic guidance.    


Related:
Of Poetry and Protest and its aesthetic forces
Photographs of Black Poets Matter: Victoria Smith and Of Poetry and Protest