Sunday, October 30, 2016

Scenes from the East St. Louis Postcard Exhibit (Oct. 19)

Enlarged images of postcards of East St. Louis schools from the Andrew J. Theising Research Collection


Earlier in the month, I organized a viewing of East St. Louis postcards from the Andrew J. Theising Research Collection for students in our "Culture, Politics, and the Redmond Collection" course. The viewing went really well, so I decided to coordinate a similar show for a larger group of students.

On October 19, more than 200 students attended a Public Thinking event and viewed a sampling of images from Theising's collection of postcards focused on East St. Louis. The students also responded to a series of questions about the exhibit.









Related:
Fall2016 Programming
Students view postcards from the Andrew J. Theising Research Collection

Wednesday, October 26, 2016

The Humor of Malcolm X


By Kenton Rambsy and Howard Rambsy II

Malcolm X is often characterized as a fiery, militant, Black Nationalist activist. For some, he represented the epitome of an angry black man. We understand where some of those perceptions of him come from, and why some people found his words and positions unsettling. But, what about Malcolm’s humor? What about his joke-telling skills? What about his abilities to make people laugh?

We’ve taken a close look at Malcolm’s famous speech “Message to the Grassroots.” What we discovered were more than 60 jokes. He offers humorous putdowns, teasing jabs, playful rhymes, and exaggerated language to mimic people he opposes. The speech lasts over 45 minutes, and Malcolm’s jokes and sarcasm prompt his audience to laugh out loud on numerous occasions throughout the speech.

He prompts laughter from his audience at one point when he says “and don’t be shocked when I say I was in prison. You still in prison. That’s what America means: prison.” Later, he tells the audience that “Whoever heard of a revolution where they lock arms… singing ‘We Shall Overcome’?” Soon after, he says that “These Negroes aren’t asking for no nation. They’re trying to crawl back on the plantation.”

He discusses serious topics throughout as well, but the joke-telling contribute to making the speech entertaining. The use of jokes also allows Malcolm to showcase a broader range of his verbal skills and talents. For instance, he frequently modulates his voice to differentiate his own voice from that of the man on the street as well as the voice of so-called Uncle Toms.

“’I ain’t left nothing in Africa,’ that’s what you say. Why, you left your mind in Africa.”

In that instance, Malcolm accentuates the deficiencies of the presumed sellout by presenting the person using an apparent ungrammatical double negative. Malcolm moves from the voice of that figure back to his own authoritative persona with the powerful rejoinder that “you left your mind in Africa.”

Malcolm offers relatively few jokes about white people. For the most part, his humor concentrates on African Americans. He makes what we call “black-on-black jokes.” In this case, those are jokes about and for black people.

At multiple points in “Message to the Grassroots,” he suggests that King and other leaders are “Uncle Toms.” He refers to these leaders as “Uncle Tom’s of the 20th Century” whose job is to “keep you and me in check, keep us under control, keep us passive and peaceful and nonviolent.” Later on, in another instance, he says, “To keep you from fighting back, he [“the white man”] gets these old religious Uncle Toms to teach you and me, just like Novocain, suffer peacefully.”

One result of thinking about what Malcolm does as “black-on-black jokes,” is that it leads us to an understanding of differences between black people and black people. By putting down one kind of black person, Malcolm elevates others. His jokes about black folks highlight the divergent thinking among us and reveal that some positions we hold are more and less progressive than others.

The views of Malcolm as a fiery, militant black nationalist are well-founded. His defiant tone radiates throughout many of his speeches. Yet to fully understand Malcolm’s appeal among his black audiences and to grasp the dexterity of his verbal skills, we do well to take his joke-telling into account. After all, Malcolm was, among other things, a militant with a sense of humor.


Acknowledgement:
We wish to thank Cynthia Campbell for assistance tallying all of Malcolm’s jokes.

Related:
Mining Malcolm's "Message": A Notebook
Malcolm X

Colson Whitehead & Kevin Young autograph an early work


When Colson Whitehead was here in St. Louis in September for a reading, I was fortunate enough to get him to sign all 8 of his books. Pushing my luck on how much I could get him to sign, I also slid one more publication onto the table: Diaspora: the journal of black thought & culture from fall/winter 1989-90. Diaspora was a Harvard student publication co-edited by Kevin Young and Annlucien Senna.


A while back when I was building my collection of works by Young, I somehow came across that undergraduate publication. Diaspora includes various contributions, including works by Maya Brown, Tiya Miles, Tasha Tarpley,  Farai Chideya, and Whitehead, who was then writing under the name "Chipp Whitehead."




Kevin Young presents a suite of poems entitled "Visiting Home." Whitehead offers two contributions to the issue: an essay about two action films starring black men, Shaft (1971) and Action Jackson (1987). He also contributed a short story entitled "Sylvia's Crime." 

In the contributors biographical sketches, we learned that Young "won the Academy of American Poets Prize in 1989 and has another long poem forthcoming in The Harvard Quarterly." We learn that Whitehead "is currently at work on an illustrated history of the Jheri Curl."  
  
Back in the summer of 2015 during a literature seminar in Lawrence, Kansas, Kevin Young was signing books after a presentation. I brought along nearly all of my books by him, and he signed them, including that issue of Diaspora. So I was pleased to get the chance to add Whitehead's signature to the same publication last month.

Related:
Colson Whitehead
Kevin Young

Haley Reading Group: The Big Kill



[Best American Science and Nature Writing]

By Brittany Tuggle

Elizabeth Kolbert’s article “The Big Kill,” reprinted in The Best American Science and Nature Writing, sets its scopes on New Zealand’s ongoing problem with invasive mammals attacking native fauna which leads to native birds becoming extinct along with kiwi. Kolbert explores the issue of exterminating specific mammals for conservation of native wildlife, and how human migratory patterns throughout history have lead to certain species of mammals being brought to different parts of the world. Thus, she explains how enormous the task of eliminating invasive species truly is given the fact that humans will never stop traveling and shipping goods from country to country which leads to these invasions in the first place.

Kolbert’s discussion of humans hunting and killing invasive mammals to protect native wildlife and New Zealand’s national identity is extremely interesting. At one point, she quotes a New Zealander who explains that “‘The connection with species that are unique to New Zealand is increasingly part of our national identity. It’s what we are as New Zealanders, and I make no bones of the fact that the government is keen to encourage that. You need some things for a country to hold together’” (167). This indicates the great human tendency for identity and community within a single nation as a point of pride.

After reading Kolbert's article, what was one point concerning the irony of exterminating certain mammals to protect other species that was particularly profound to you? Please provide a page number citation.

Friday, October 21, 2016

Meeting Edward P. Jones at Old Ebbitt Grill

Edward P. Jones, Maryemma Graham, and Kenton Rambsy
By Kenton Rambsy

On June 24, 2016, I was in Washington D. C., and had the opportunity to meet Edward P. Jones, a writer I’ve studied for years now. My graduate school mentor and dissertation advisor Maryemma Graham arranged the meeting, and the three of us met at Old Ebbitt Grill’s happy hour.

After placing our orders, Jones described the route he took to the restaurant. His description stood out to me because just like his short stories, he paid keen attention to place-based details by describing streets he passed and specific bus routes.
Jones recalled a time when he saw a movie at the building where we were having dinner.

While Old Ebitt Grill is DC’s oldest bar and restaurant, it has only been located at 675 15th St NW since October 1983. While eating oysters, Jones described how frequently moving around in his childhood made him much more attuned to details about neighborhoods and boundaries. The mention of specific routes and locations during our conversation over dinner reminded me of the significance of place in his writings.

During the course of the dinner, I asked him about how DC’s changing landscape affected his stories. I also talked to him about specific routes he mentions in his stories and notable black landmarks across the district. He was quite responsive to my inquiries and listened to me discuss how I was using digital mapping tools to identify patterns among characters in his stories.

Relatively few literary scholars get the opportunity to meet authors who are central to their research. The chance to have dinner with a Pulitzer-prize winning novelist is even rarer. So I was especially grateful to spend an extended amount of time talking Washington D.C. and teaching black literature with Jones and Graham.

Related:
• A notebook on short stories

Place in the Writings of Edward P. Jones


By Kenton Rambsy

A dinner this past summer with Edward P. Jones reminded me about how important the notion of place, specifically Washington D.C. is, in his writing. In Lost in the City (1992) and All Aunt Hagar’s Children (2006), Jones writes stories about black people set across various, recurring locations in DC.

The geographic boundaries inform a variety of character traits in Jones’s fiction thereby offering a wide spectrum of stories dealing with black people interacting in recurring locales from different social classes and locales.

Take “All Aunt Hagar’s Children,” for instance. The story follows an unnamed 24-year-old narrator recently back from the Korean War, restless with his life in the city. The narrator describes his surroundings with precision mentioning Dunbar High School, Kann’s Department Store, and Shiloh Baptist Church. The narrator reveals an intimate connection with Washington, especially the city’s majority black Northwest quadrant. Through meticulous descriptions and references to landmarks, there is a symbiotic relationship where the setting and protagonist complement, if not make one another.

Explorations of places through D.C.’s Northwest quadrant appear throughout Jones’s stories, including “A Rich Man,” “Old Boys, Old Girls” and “Bad Neighbors,” to name a few. For Jones, short stories provide an opportunity to plot diverse casts of black characters across various geographic locations in DC.

Despite the long history and dense population of African Americans living in or near the nation’s capital, the predominately black quadrants of Washington D.C., have a relatively small presence in literary studies. Thus, I’m looking forward to researching and writing more about Jones’s works, which do quite a bit to place D.C. on the map, so to speak.

Related:
A notebook on short stories

Wednesday, October 19, 2016

Eugene B. Redmond visits the Eugene B. Redmond class

Eugene B. Redmond speaks with SIUE students and guests

Yesterday for our co-taught course "Culture, Politics, and the Redmond Collection," Professor Andrew Theising and I hosted a poetry reading featuring none other than Eugene B. Redmond. It was a really lively, beyond-the-classroom event.

Theising and I spent the first two months of the semester discussing Redmond, his career, East St. Louis and regional history and politics, and the EBR Collection with students in our class. So we were pleased to finally get the chance to introduce Redmond to the class and various visitors from the community.


The reading took place in the Friends Corner of Lovejoy Library. Redmond read poems, which had been published from across the course of his decades long career. He also discussed his upbringing in East St. Louis and his many travels. He also encouraged the students to pose for a group picture.




Related: 
• Culture, Politics & the Redmond Collection

Reflections: The Best American Science and Nature Writing

 
 
[The Best American Science and Nature Writing]

In the past for the Haley Reading groups, we've covered books on business, poetry, social justice, and technology. This semester, we've moved in a different direction by reading articles from The Best American Science and Nature Writing (2015).

For now, we wanted to consider the possibility that we would all take up the practice of writing about science or nature. If you were tasked with the responsibility of using one of the essays you've read as a point of departure or as a kind muse, what would you write about? Keep in mind that you'd be in the role of science or nature writer.

And, which article -- “The Health Effects of a World Without Darkness," "No Risky Chances," “The Deepest Dig," “At Risk," or “Desegregating Wilderness," -- would serve as the basis for your article? Why that article?

Monday, October 17, 2016

William J. Harris, Bob Dylan, Jay Z & Secondary Literature


By Kenton Rambsy and Howard Rambsy II
"People see me all the time
And they just can't remember how to act
Their minds are filled with big ideas
Images and distorted facts" --from "Idiot Wind" by Bob Dylan

"I’m in Cuba, I love Cubans
This communist talk is so confusing
When it’s from China, the very mic that I’m using
Idiot wind, the Bob Dylan of rap music
You're an idiot, baby, you should become a student" --from "Open Letter" by Jay Z
Of all the news that emerged after the announcement that Bob Dylan earned the Nobel Prize for Literature, we were particularly intrigued by a discovery related to our professor, William J. Harris.

Harris recently shared an excerpt from a short article that he published on Dylan, which appeared in Mad River Review in 1967. The excerpt reads:
His career as a poet of real consequence did not begin until ‘Like a Rolling Stone.’ Before this song-poem, he was more a writer of lyrics than a poet. But with it, and the album Highway 61 Revisited, Dylan has become the first important American poet since Ginsberg."
In their notations on Dylan, the Nobel committee observed that the songwriter has been the “object of a steady stream of secondary literature.” Harris’s review was an early contributor to that commentary and critical discourse on Dylan.

Beyond the classroom, we’d always known Professor Harris as one of the early, important scholars on the work of Amiri Baraka. But who knew that he also preceded the Nobel committee by 49 years as a strong advocate for Dylan as poet?

For some time now, we’ve been focusing on Jay Z. Recently, we’ve taught African American literature courses focusing on the rapper. We have examined the storytelling techniques and literary devices Jay Z uses across his 12 solo studio albums. We have placed his rhymes in concert with autobiographical and semi-autobiographical stories about black male characters in narratives by Frederick Douglass, Richard Wright, Ralph Ellison, and others.

We have also started an extensive data collection project on Jay Z’s song lyrics, collaborators, album sales, and album structures. Our courses and projects highlight the interplay between album content and production characteristics.

Covering Jay Z in this manner helps us to combine and develop our interests in verbal art, data science, African American artistic culture. Also, our continued projects on Jay Z allows us to think about his work and perhaps even rap music in alternative ways.

Coming across Professor Harris’s early work on Dylan validated our ongoing projects on Jay Z, and our efforts to situate rap lyrics within the realm of African American literary studies.

Related:
A Notebook on Jay Z

Thursday, October 13, 2016

Students view postcards from the Andrew J. Theising Research Collection


The Andrew J. Theising Research Collection contains a diverse assortment of items concerning East St. Louis, including approximately 339 postcards focusing on the city. Dozens of additional postcards in the Theising Collection concentrate on Granite City, Cahokia, and other places.

In the mid-1990s while pursuing research on East St. Louis, Theising, an avid collector, noticed a variety of photographs, historic documents, maps, postcards, and artifacts related to the city on eBay.

The postcards enhanced his view of East St. Louis. “I noticed how the old images,” observed Theising, “helped explain some of the issues I was trying to convey with my research.”

Student viewing samples of (enlarged) East St. Louis postcards.

Theising spent approximately $10,000.00, over the course of 10 years collecting East St. Louis materials. Those materials formed the basis of his book Made in USA: East St. Louis (2003). In the year that his book was published, Theising donated all of his East St. Louis materials to SIUE’s library.

On Thursday, October 6, and Tuesday, October 11, I coordinated a small showing of postcards from the Theising Collection in the Eugene B. Redmond Learning Center at Lovejoy Library. I had several of the postcards enlarged so that students could take a look at how East St. Louis was presented in the historical images.





Related:
• Notebook on the EBR Collection & EBR Learning Center
• Re-discovering St. Paul's Episcopal Church in the Theising Collection
• Culture, Politics & the Redmond Collection

Wednesday, October 12, 2016

Black Student Union: chalking about anti-black violence

 

The Black Student Union (BSU) has been having ongoing conversations about the murder of black men and women as a result of police violence. We were recently talking about how to express our concerns beyond small meetings (I serve as the advisor for the group). Last night, BSU organized a chalking event on campus, where they drew outlines and provided hashtags like "#IAmMikeBrown" and "#IamSandraBland."

A few images.






Related:
Silent March at SIUE 2016
Smarter Than You Think -- from book title to political statement 
3,600 seconds before a silent march at SIUE
Silent March at SIUE 2015

Haley Reading Group: Jourdan Imani Keith’s “At Risk” and “Desegregating Wilderness”

Cynthia A. Campbell and Howard Rambsy II

[Best American Science and Nature Writing]

Jourdan Imani Keith’s article “At Risk” focuses the term “at risk” as it applies to humans, endangered species (chinook salmon), and the ecosystem. Keith’s article “Desegregating Wilderness” highlights the contrast of the Civil Rights Act and the Wilderness Act.

In “At Risk,” Keith highlights the intersectional identity of being “at risk” as it pertains to race, gender, endangered species and physical location. The article speaks to the “at risk” label—protection or limitation/judgment. Keith notes that “Protecting an endangered species means changing the practices in an entire ecosystem to safeguard their survival” (150). This point indicates the dangers of ignoring the destruction of the ecosystem whether through climate change or ineffective safety precautions.

In “Desegregating Wilderness,” Keith illustrates the types of inequities associated with access to wilderness areas. The article addresses the problematic issues of the Wilderness Act. At one point, Keith notes that “people accessing recreation in the wilderness are still predominately white, and de facto segregation exists instead of a legal one” (152). This point indicates that divisiveness is associated with the lack of access.

After reading both articles, which one did you find most useful? Why?

Scenes from the Natural Hair Exhibit (October 2016)

Wednesday, October 5, I coordinated an exhibit, "Natural Hair: Moments from the Movement," which showcased a variety of ways black women fashion hairstyles, create and utilize products, and establish communities based on hair. There was a large turnout, including many young naturals.





Related:
 Fall 2016 Programming 
• Natural Hair: Moments from the Movement

Wednesday, October 5, 2016

Collegiate Black Women and Empowering poems

Mahogany Browne's "Black Girl Magic" is a class favorite. 
We've listened to more than 25 audio recordings of black women reading poetry in one of my African American literature courses. I'm learning as I listen to so many different delivery styles from black women poets, and just as important, I'm expanding and refining my knowledge concerning the artistic and political interests of collegiate black women, who comprise the entire make-up of my class.

The other day, I gave the students the opportunity to select what poems we listened to again. They only chose what we might refer to as the spoken word artists. The young women leaned toward poems that they thought projected messages of empowerment and black woman pride.

For instance, they were most interested in Mahogany L. Browne's "Black Girl Magic," jessica care moore's "Black Statue of Liberty," Danielle Hall's "In Transition," and a performance of "What if I am a Black Woman?"

Granted, the sisters are in their first year, so their poetic interests might head in different directions. Still, I am fascinated by their current interests. They shunned more canonical poems and gravitated toward poems that urged black people and especially black women forward.

What makes those empowering poems matter to them so much? Where do they encounter the poems, since as they tell me, they are never introduced to such works in formal classroom contexts? In what ways might we utilize empowering poems or the poetic interests of collegiate black women to enhance African American literary studies?  I hope to keep raising questions like these and asking the young sisters about answers.    

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

Haley Reading Group: Brooke Jarvis’s “The Deepest Dig”


[Best American Science and Nature Writing]

Brittany Tuggle


Brooke Jarvis’s article “The Deepest Dig” focuses on the unknowable consequences of toying with deep ocean seafloors and how deep sea mining is quickly becoming a new enterprise in spite of not truly knowing the risks. Jarvis unearths the heated opposing arguments for those who are either against deep-sea mining or supportive of this enterprise, and in doing so, she leaves the argument open for readers to dive into. Ultimately, the article extracts the unfamiliar and new to present a global issue, such as deep-sea mining, that is potentially beneficial to Earth, and/or potentially risky.

Jarvis’s discussion of humans scouring the sea for minerals that have been nearly used-up on Earth was extremely deep. At one point, Jarvis explains that “…as the most accessible land-based minerals are exhausted, those on the bottom of the sea are looking more like low-hanging fruit” (127). This point indicates the human tendency for excess and the desperate need for replenishment of these minerals that are decreasing on Earth due to our plentiful use.

After reading Jarvis’s article, what was one point concerning the potential dangers and/or benefits of deep-sea mining that was particularly profound to you? Please provide a page number citation.