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This is not just another poetry anthology. It is a gathering of poems that demonstrate what happens when writers in a marginalized community collectively turn from dedicating their writing to political, social, and economic struggles, and instead devote themselves to the art of their poems and to the ideas they embody. These poets bear witness to the interior landscapes of their own individual selves or examine the private or personal worlds of invented personae and, therefore, of human beings living in our modern and postmodern worlds.The anthology focuses on post-1960s poetry and includes such poets as Rita Dove, Ai, Nathaniel Mackey, Natasha Trethewey, Kevin Young, Terrence Hayes, Elizabeth Alexander, Major Jackson, Carl Phillips, Harryette Mullen, and Yusef Komunyakaa--artists who, using a wide range of styles and forms, are cultivating a poetry of personal voice and interiority that speaks against the backdrop of community and anscestry.
This anthology begins with the memory of landscapes and landmarks, presenting poems in the For My People tradition of Margaret Walker. It includes a section titled "Blood and Disappointment in the Land," which documents ongoing social struggles. Other poems focus on the love that is essential for survival, rebirth, and dreams. More than 100 prominent African American poets contribute, including the distinguished and award-winning poets Toi Derricotte, Sam Cornish, Jabari Asim, and Pinkie Gordon Lane.
The Black Arts Enterprise and the Production of African American Poetry offers a close examination of the literary culture in which the Black Arts Movement's poets (including Amiri Baraka, Nikki Giovanni, Sonia Sanchez, Larry Neal, Haki Madhubuti, Carolyn Rodgers, and others) operated and of the small presses and literary anthologies that first published the movement's authors. The book also describes the role of the Black Arts Movement in reintroducing readers to poets such as Langston Hughes, Robert Hayden, Margaret Walker, and Phillis Wheatley. Focusing on the material production of Black Arts poetry, the book combines genetic criticism with cultural history to shed new light on the period, its publishing culture, and the writing and editing practices of its participants. Howard Rambsy II demonstrates how significant circulation and format of black poetic texts--not simply their content--were to the formation of an artistic movement. The book goes on to examine other significant influences on the formation of Black Arts discourse, including such factors as an emerging nationalist ideology and figures such as John Coltrane and Malcolm X.
The New Red Negro surveys African-American poetry from the onset of the Depression to the early days of the Cold War. It considers the relationship between the thematic and formal choices of African-American poets and organized ideology from the proletarian early 1930s to the neo-modernistlate 1940s. This study examines poetry by writers across the spectrum: canonical, less well-known, and virtually unknown. The ideology of the Communist Left as particularly expressed through cultural institutions of the literary Left significantly influenced the shape of African-American poetry in the 1930s and 40s, as well as the content. One result of this engagement of African-American writers with the organizedLeft was a pronounced tendency to regard the re-created folk or street voice as the authentic voice--and subject--of African-American poetry. Furthermore, a masculinist rhetoric was crucial to the re-creation of this folk voice. This unstable yoking of cultural nationalism, integrationism, and internationalism within a construct of class struggle helped to shape a new relationship of African-American poetry to vernacular African-American culture. This relationship included the representation of African-American workingclass and rural folk life and its cultural products ostensibly from the mass perspective. It also included the dissemination of urban forms of African-American popular culture, often resulting in mixed media high- low hybrids.
The newest addition to the acclaimed Poetry for Young People series shines a light on the power and beauty of African-American verse. Co-editors Arnold Rampersad and Marcellus Blount—both towering figures in literary criticism—have put together an impressive anthology that will open up a world of wonderful word images for children. The classic poems come from some of the most influential and celebrated African-American writers in history, including Langston Hughes, Gwendolyn Brooks, Countee Cullen, Lucille Clifton, and James Baldwin. nbsp; Helpful and generous annotations, a lively introduction, and beautiful illustrations by Karen Barbour make this the ideal book to introduce young readers to the marvels of poetry. nbsp;
Black poets from the early twentieth century and onward come together for a moving anthology, edited and organized by the late, revered poet June Jordan. First published in 1970, soulscript is a poignant, panoramic collection of poetry from some of the most eloquent voices in the art. Selected for their literary excellence and by the dictates of Jordan’s heart, these works tell the story of both collective and personal experiences, in Jordan’s words, “in tears, in rage, in hope, in sonnet, in blank/free verse, in overwhelming rhetorical scream.” Soulscript features works by Jordan and other luminaries like Gwendolyn Brooks, Countee Cullen, Paul Laurence Dunbar, Nikki Giovanni, Langston Hughes, Gayl Jines, James Weldon Johnson, Audre Lorde, Claude McKay, Ishmael Reed, Sonia Sanchez, and Richard Wright, as well as the fresh voices of a turbulent era’s younger writers. Celebrated spoken-word poet Staceyann Chin, an original cast member of Def Poetry Jam on Broadway, has also added an introduction that speaks to Jordan’s legacy, helping to further cement soulscript as a visionary compilation that has already become a modern classic.
Celebrating the creativity of the African American poet, this volume contains over 200 pieces by some of the best poets of the last decade. These span the entire range of African American experience in tanka and sonnets, in the oral tradition, and in lyrics that echo of jazz, hip hop and rap.
"Tracy K. Smith's poetry is an awakening itself." --Vogue Celebrated for its extraordinary intelligence and exhilarating range, the poetry of Tracy K. Smith opens up vast questions.Such Color: New and Selected Poems, her first career-spanning volume, traces an increasingly audacious commitment to exploring the unknowable, the immense mysteries of existence. Each of Smith's four collections moves farther outward: when one seems to reach the limits of desire and the body, the next investigates the very sweep of history; when one encounters death and the outer reaches of space, the next bears witness to violence against language and people from across time and delves into the rescuing possibilities of the everlasting. Smith's signature voice, whether in elegy or praise or outrage, insists upon vibrancy and hope, even--and especially--in moments of inconceivable travesty and grief. Such Color collects the best poems from Smith's award-winning books and culminates in thirty pages of brilliant, excoriating new poems. These new works confront America's historical and contemporary racism and injustices, while they also rise toward the registers of the ecstatic, the rapturous, and the sacred--urging us toward love as a resistance to everything that impedes it. This magnificent retrospective affirms Smith's place as one of the twenty-first century's most treasured poets.
Black Silk is filled with lush, sexy stories featuring heroines who are overwhelmingly in control of their love lives and unabashed about their libidinous appetites. The stories are written by the best Black American erotic authors.
An inspirational story about the allure of fame and the faith that binds a family forever . . . Delilah Monroe has done everything in her power to keep her three daughters strong since the death of her husband. And a big part of that connection is their singing group, Delilah's Daughters. Veronica, Roxanne, and Alisha each have their own unique sense of self, but they all share the dream of Delilah's Daughters hitting the Billboard charts. Now, just as they enter the final round of a national talent show, a record producer approaches Veronica with the promise of fame . . . if she goes solo. Then the man Delilah has always leaned on wants more from her than just friendship, and someone from her past comes calling with a shocking secret. Will Delilah be able to hold her family together?
After falling for the wrong man - and losing,everything - a young woman is given a second,chance at making a difference - for herself, her,three daughters, and for the generations that,will follow. With lessons learned from her proud,heritage sustaining her mind and spirit, she,learns that the cycle of negativity can be brokenand true love can be found.
In In the Heart of the Beat: The Poetry of Rap, bestselling author and scholar Alexs Pate argues for a fresh understanding of rap as an exemplary form of literary expression, rather than a profane and trendy musical genre. He focuses on works by several well-known artists to reveal in rap music, despite its penchant for vulgarity, a power and beauty that is the heart of great literature.
"A current, constructive, and actionable exploration of today's racial landscape, offering straightforward clarity that readers of all races need to contribute to the dismantling of the racial divide. In So You Want to Talk About Race, Editor at Large of The Establishment, Ijeoma Oluo offers a contemporary, accessible take on the racial landscape in America, addressing head-on such issues as privilege, police brutality, intersectionality, micro-aggressions, the Black Lives Matter movement, and the "N" word. Perfectly positioned to bridge the gap between people of color and white Americans struggling with race complexities, Oluo answers the questions readers don't dare ask, and explains the concepts that continue to elude everyday Americans. Oluo is an exceptional writer with a rare ability to be straightforward, funny, and effective in her coverage of sensitive, hyper-charged issues in America. Her messages are passionate but finely tuned, and crystalize ideas that would otherwise be vague by empowering them with aha-moment clarity. Her writing brings to mind voices like Ta-Nehisi Coates and Roxane Gay, and Jessica Valenti in Full Frontal Feminism, and a young Gloria Naylor, particularly in Naylor's seminal essay "The Meaning of a Word.""-- Provided by publisher.