Thursday, September 29, 2022

Covering Amiri Baraka's "Dope" with Collegiate Black Men



Every fall semester since 2004, I've taught an African American literature course for first-year black men, and every year, as we did Tuesday, we covered Amiri Baraka's "Dope." Those 18 years of covering the poem just flew by. (And really, this marks my 20th year covering the poem, as I first covered it in a class I taught as a graduate student in 2002). 

The poem and perhaps more specifically Baraka's performance of the poem really move students. The content has not changed over the years, but students have. They arrive to the poem with less knowledge about the references he makes to various people and things. 

For instance, when I covered the poem in the early 2000s, more of the students were aware of Roots and The Jefferson's, which Baraka mentions. My students in class today were born in 2004, so they needed me to tell them about more references than my students 10 and 18 years ago. 

Still, across the years, the many students who are mesmerized by Baraka's reading have remained constant. Some laugh when Baraka goes "uuuuuu," at the beginning. Others are amused by the "owow."

Students are shocked and intrigued by Baraka mocking a preacher, especially with his repeated use of the line "put your money in the plate." Th guys say they've never come across a poem in a classroom setting where the poet is so overtly and comically critical of black Christianity.  "You better enjoy this moment," I said on Tuesday, because it's unlikely a moment like this will ever come again. 

Moving forward, I think I'm going to have to create an annotated printout of Baraka's poem, so that the students have a way of understanding more of the references, and also as a way of adding reflections on some of their responses to the poem over the years.   


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Thursday, September 22, 2022

Static Shock

The latest episode of Remarkable Receptions focuses on the comic book and television show African American superhero Static Shock. The episode was written by Stephyn Phillips.
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Black Panther variant cover exhibit



September 21, we hosted an exhibit on comic book cover variant images as part of our series of exhibits this semester. In 2016, Marvel Comics did something unusual with respect to a comic book featuring a black character by a black writer.  When Black Panther #1 was released, it included two dozen different variant covers.

Students took a look at several different variant covers for Black Panther #1 (2016). The consensus among the viewers was that an image by Sanford Greene and Alex Ross were the favorites. 

The Black Panther #1 variant cover by Greene depicts a father and mother with a newborn—presumably a young Black Panther. The clothing of the couple suggests a time in a somewhat distant past. The cover image is unusual for a comic book cover: two black parents adoring their child.



Alex Ross's Black Panther #1 variant displays T'Challa/Black Panther in a mid-air leap. At his back are a group of police officers training their guns on the protagonist. Prior to taking on duties as the writer for Black Panther, Ta-Nehisi Coates became well known for his commentary on African Americans and strained race relations in the United States. As Ross constructed his cover, he perhaps assumed that Coates might take up issues such as police brutality in his run on Black Panther. That probably explains the apparent conflict between T'Challa and the police officers in the image.

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Tuesday, September 20, 2022

Creating welcoming spaces vs. inviting black students

Last week at the "Expanding Access to Digital Humanities" workshop, Meg Smith gave a presentation discussing various issues concerning digital humanities (DH). Toward the end, she highlighted a really crucial point.

She talked about how there are many faculty, staff, and units on campuses that announce themselves as  welcoming spaces for diversity and African American students. But after working with a recent program, RISE-DH, which she, I, others, and black students collaborate on at SIUE, Meg noted that creating welcoming spaces is not necessarily the same as actively engaging and inviting black students into spaces. 

Just because you create a space doesn't guarantee black students will come.  

For "spaces," Meg was talking about DH Centers as well as other tech and humanities environments, but now I'm thinking about how universities face challenges and opportunities inviting black students into a variety of spaces on campuses. Folks haven't thought about it enough.  

During my years at SIUE, I've had the good fortune of contributing to the development of a couple of vibrant networks that involve large numbers of black students. The Student Opportunities for Academic Results (SOAR) on the one hand, and then African American literature studies courses on the other. Somewhere in between there, I also developed a few special projects that involved many students. 

But those programs are hardly the norm. And you'll hear quite a few students at SIUE discussing their feelings of isolation. It's not difficult to see many ways that they are excluded from an array of academic resources and spaces on campus. So there's a lot of work to do to address those problems. 

I'm glad that Meg's presentation at the workshop got me thinking on it a little more.  

Notes on the Expanding Access to Digital Humanities Workshop



On September 16 and 17, I attended the "Expanding Access to Digital Humanities" workshop at Lindenwood University. The workshop, funded by a National Endowment for the Humanities (NEH) grant, was co-directed by Geremy Carnes, Associate Professor of English at Lindenwood, and Meg Smith, digital humanities research professor at SIUE and one of my key collaborators. 

The workshop brought together about two dozens educators -- secondary teachers and college professors -- from the St. Louis region. The gathering is designed to "build a digital humanities network for the greater St. Louis metropolitan area, linking faculty, students, and community members across the region’s educational and cultural institutions in a community of pedagogy and practice."

Participants included middle school teachers, high school teachers, librarians, professors of history, literature, philosophy, art history, and music. We discussed a number of topics, including:
• DH curricula
• Making DH projects access to students
• DH and social justice 
• Integrating DH into curricula 
• Collaborating on DH projects and resources 
I had a good time listening and learning from the variety of educators from across the region. 

It's an exciting proposition to develop an active DH network in the St. Louis area, which includes southern Illinois. There are several colleges and universities here, and then hundreds of secondary schools. Figuring out how to bring folks together who are working on technology and humanities projects is really something. 

I began this blog back in 2008, and in 2009, after participating in some of the conversations at the Modern Language Association conference, I started blogging about digital humanities. By 2013, I felt like I had enough posts to create a Notebook on DH.   

I live in St. Louis and work at SIUE, so for the most part, my local DH projects have taken place in Edwardsville and East St. Louis. I certainly hadn't given enough thought to what it might mean to converse and work with folks in the broader St. Louis region.  

In 2020, Geremy created the St. Louis Area Digital Humanities Network on Slack, using that messaging program to unite people and share information, news, and opportunities related to DH projects. In 2021, Geremy and Meg established a partnership between Lindenwood and SIUE by applying for and earning this NEH grant for the workshop.  I'm thankful to both of them and the gathering of educators for prompting me to consider what a DH network in this region might look like. 

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Saturday, September 17, 2022

Black Men Novelists and Intellectual Traditions

For the latest episode of Remarkable Receptions, I wrote a short take on an interconnected thread of intellectualism in novels by black men. 



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Friday, September 9, 2022

Black Novels with 1 Million+ Page Views

This visualization identifies 11 Black novels with more than 1 million pageviews on Wikipedia. 

Note: Visualization best viewed from desktop and laptop computers, rather than cellphones.


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Stats & Stelfreeze exhibit



Wednesday, Sept. 7 and Thursday, Sept. 8, we hosted our Stats & Stelfreeze exhibit. 

The exhibit focused on statistics concerning black student majors and graduation rates. At the same time, we showcased artwork by comic artist Brian Stelfreeze. 

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African American Literary Studies Programming, fall 2022

This semester, we'll coordinate several different public exhibits. The exhibits will take place in the Eugene B. Redmond Center in Lovejoy Library unless otherwise noted.  

Schedule 
Wednesday, September 7, 12:00 – 3:00 pm
Thursday, September 8, 10:30 – 3:30pm

Wednesday, September 21, 11:00 am – 1:00pm

Wednesday, October 5, 11:00 am – 3:00 pm
Thursday, October 6, 10:30 – 3:30 pm

Wednesday, October 19, 11:00 am – 1:00pm

Wednesday, November 2, 10:45 am – 3:00 pm
Thursday, November 3, 10:30 am – 3:30 pm
Wednesday, November 16, 11:00 am – 1:00 pm

Monday, December 5, 11:00 am – 3:00 pm
Tuesday, December 6, 11:00 am – 3:30 pm

The Reception of Neo-slave Narratives on Wikipedia

This visualization charts the responses and interactions to the Wikipedia pages of neo-slave narratives. 

Note: Visualization best viewed from desktop and laptop computers, rather than cellphones.




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Thursday, September 8, 2022

Mentions of Notable People In Paul Beatty's The Sellout

This visualization accounts for the extraordinary number of athletes, politicians, musicians, historical figures, and other people that Paul Beatty references in his novel The Sellout (2015).

Note: Visualization best viewed from desktop and laptop computers, rather than cellphones.




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Word count vs. Sources


Note: Visualization best viewed from desktop and laptop computers, rather than cellphones.



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Age of Author at time of Novel Debut

This visualization highlights the ages of 25 different black novelists at the time their first novel was published. 

Note: Visualization best viewed from desktop and laptop computers, rather than cellphones.



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The Literary Data Gallery Visualizations

Kenton Rambsy and Howard Rambsy II 

Note: Visualization best viewed from desktop and laptop computers, rather than cellphones.

Visualizations:


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About the Literary Data Gallery

Kenton Rambsy and Howard Rambsy II 

The Literary Data Gallery consists of a collection of visualizations derived from quantitative information about black novels and novelists. The visualizations represent the convergence of African American literary studies and data storytelling.

This project explores possibilities for engaging expansive bodies of data related to literary art. Moving beyond the typical approach of examining one novel at a time, we consider the implications studying large numbers of books. Data visualizations facilitate our abilities to study and showcase information about literary art and history through the use of technology.

The Literary Data Gallery is part of the Black Literature Network, a joint project from African American literary studies at Southern Illinois University Edwardsville and the History of Black Writing at the University of Kansas. The project is made possible by generous support from the Mellon Foundation.

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Wednesday, September 7, 2022

Terry McMillan's Waiting to Exhale

A couple of years ago, I came across Veil & Vow: Matters in Contemporary African American Culture (2020) by Aneeka Ayanna Henderson. Her book, published by the University of North Carolina Press, focuses on popular culture representations of black marriage and romance in novels, music, and other modes of production. 

I enjoyed her book, and when I started gathering ideas for our podcast project Remarkable Receptions, I wrote a note to seek out and introduce myself to Professor Henderson and see if she would contribute. When I made contact with her, she agreed to share.  

This episode "Terry McMillan's Waiting to Exhale" by Henderson draws from her research and her book Veil & Vow


   
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How Students Connect to Ralph Ellison's "Battle Royal"

For this episode of Remarkable Receptions, Jennifer Colatosti  focuses on student responses to Ralph Ellison's "Battle Royal."
 


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Monday, September 5, 2022

The Mixed Results of Sutton Griggs's debut

Despite revieing positive reviews, why did Sutton Griggs have some unfavorable feelings about the circumstances surrounding his first book? Scholar John Gruesser provides answers in this episode of Remarkable Receptions


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The Bareness vs. Barreness of Beauty

I was recently taking a look at William J. Harris's poem on Jacob Lawrence. In his book Crooners (2011), the poem is entitled "The Bareness of Beauty," and when he reads the poem during a reading, it is entitled "The Barrenness of Beauty."

When I heard the recording where he said "barrenness," I had already published this blog entry using "The Bareness of Beauty." I assumed that I had misread the title. 

Figuring it out gave me a chance move back and forth from print to audio recording back to print. 

What's cool about the audio recording is that Harris provides a brief introduction to poem, mentioning Lawrence, the Migration series, and the recent exhibit featuring the 60 paintings in the series. 

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William J. Harris, Jacob Lawrence, John Biggers, and the Beauty of Bareness



In his poem "The Beauty of Bareness," William J. Harris points out that Jacob Lawrence's "genius" was his ability to document those origin places and spaces of African Americans who moved North during the Great Migration. 

"Lawrence's genius," writes Harris, "Was to paint / Those rooms / Left behind." He describes a painting that includes a brown bare wood room with "A single dark green / Shade / Covering / The window." Harris is referencing Lawrence's painting, panel 25 (They left their homes. Soon some communities were left almost empty) from his Migration Series, first published in 1941.  

These empty rooms, as envisioned and presented by Lawrence, explains Harris, showcases the process of 
Creating a 
Stark beauty 
A simple beauty
A bare beauty
The poem had me thinking about the beauty of bareness in Panel 25, and I was inclined to think about the presentation of empty spaces throughout other Lawrence images, especially those paintings focusing on the South. 

Here's one: 



Panel 13 (The crops were left to dry and rot. There was no one to tend them.) shows an empty field, the result when workers left for the North.   

Thinking about the implications of the image gives you (the viewer) some mixed feelings. It's sad to consider the absence of people here and what happens to the land. But on the other hand, it's refreshing to know that so many people escaped the physical and emotional tolls of sharecropping. 

Alright, and then consider Panel 15 (There were lynchings.) -- a sparse, beautiful, and deep powerful painting. We've been overwhelmed with detailed images of brutality committed against black people. I'm talking everything from the photographs of Emmett Till to the video of George Floyd as well as those depictions of beatings in films about slavery. All of those images are so direct, so vivid, so packed with information. 

Sunday, September 4, 2022

William J. Harris and those cardplayer paintings

Cézanne's The Card Players and Bearden's The Cardplayers.

William J. Harris could write a full book of poems about artwork. 

He's been viewing artwork at  museums and galleries for decades, but I only became aware of him doing so over the last several years. On Facebook, he posts short notes with his thoughts on paintings he views at museums in New York City. 

I recently read his poem "The Black Card Players: A Collage," which references Romare Bearden's The Cardplayers (1982) and Paul Cézanne's The Card Players (1890-1892). Well, Cézanne produced a series of card playing images. See here, here, here, and here

In the poem, Harris highlights some of the ways that Cézanne's and Bearden's paintings differ. He notes that the men in Cézanne's painting "intensely stare / At their / Cards," while one of the men in Bearden's images "Vacantly stares / Out / Toward us / But not looking / At us." 

In Cézanne's painting, the spectators stare off "Musing on / Their own lives," and in Bearden's painting there are no spectators. 

Over the years, I've read many poems by black poets about artwork, but Harris's poem is the first one I read that had me thinking about the relationships between paintings by black and white artists.  

Harris's poem also prompted me to read more about the two paintings, which in turn led me to several different paintings by artists who presented cardplayers. 

For one, there's Caravaggio The Cardsharps, circa 1594. 


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Saturday, September 3, 2022