Some Other Blues: New Perspectives on Amiri Baraka
Editat de Jean-Philippe Marcouxen Limba Engleză Paperback – 10 feb 2021
(Include contributors if space allows) Contributors: Tony Bolden, Jeremy Glick, William J. Harris, Benjamin Lee, Aidan Levy, John Lowney, Jean-Philippe Marcoux, Kim McMillon, Fred Moten, Michael New, Aldon Lynn Nielsen, Amy Abugo Ongiri, Gregory Pierrot, Howard Rambsy II, Emily Ruth Rutter, Anthony Reed, Lauri Scheyer, Kathy Lou Schultz, Michael Simanga, James Smethurst, Laura Vrana, Tyrone Williams, Kalamu ya Salaam.
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Specificații
ISBN-13: 9780814257845
ISBN-10: 0814257844
Pagini: 286
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.42 kg
Ediția:1
Editura: Ohio State University Press
Colecția Ohio State University Press
ISBN-10: 0814257844
Pagini: 286
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.42 kg
Ediția:1
Editura: Ohio State University Press
Colecția Ohio State University Press
Recenzii
“This is a most timely and long-overdue collection that not only enriches our understanding of Baraka’s work but also points to new avenues of scholarly inquiry.” —Jürgen E. Grandt, author of Gettin’ Around: Jazz, Script, Transnationalism
“Some Other Blues will situate Baraka rightly as a model of intellectual and artistic innovation, adventure, and integrity, and it will locate him at the intersection of the some of the most important ideas of black cultural radicalism, the avant-garde, and artistic activism. It is a collection worthy of the man himself.” —Keith D. Leonard, author of Fettered Genius: The African American Bardic Poet from Slavery to Civil Rights
“Some Other Blues will situate Baraka rightly as a model of intellectual and artistic innovation, adventure, and integrity, and it will locate him at the intersection of the some of the most important ideas of black cultural radicalism, the avant-garde, and artistic activism. It is a collection worthy of the man himself.” —Keith D. Leonard, author of Fettered Genius: The African American Bardic Poet from Slavery to Civil Rights
Notă biografică
Jean-Philippe Marcoux is Professor of American Literature at Laval University. He is also Vice President of the Amiri Baraka Society.
Extras
Some Other Blues is not only the first attempt to present the results of two decades of innovative research on Baraka, but it is also the product of many ongoing conversations between the scholars gathered to honor, celebrate, and assess the work Baraka bequeathed to his readers. It certainly feels like the time is right to have new critical insights into Baraka’s oeuvre, as he not only would have had a lot to say about the current political climate, but he would also be proud to see how he continues to influence generations of African American poets trying to negotiate mainstream society.
Some Other Blues is modeled after the call-response pattern of black vernacular music—it is, after all, the “mode of (musical) expression” (Black Music 181) that has remained central to Baraka’s idea of black expressive traditions and to his translation of the black cultural memory into verse and text, what in “New Music/New Poetry” he calls “speech musicked” (The Music 243). Structurally and thematically, each part and each chapter of this collection is antiphonally connected; for instance, the first essay of each “side” of Some Other Blues issues a call in the form of a shorter Harris essay, which is responded to by the ensuing chapters. Part II responds to the idea of legacy mapped out critically in Part I. And Fred Moten provides us with the core riff on Baraka’s impact and centrality. In Part 1 Side A, William J. Harris proposes a poetics of place—27 Cooper Square—that becomes a space Baraka uses to experiment with traditions, forms, and aesthetics at the same time as he fashions an identity that anticipates a deep immersion in black vernacular culture (in Side B). The first response comes from Aldon Nielsen, who studied under Baraka and shared a friendship with him. Nielsen tackles the significance of the Winter 1963 issue of Kulchur in fashioning the new direction of black poetics in the context of the early ’60s. Kathy Lou Schultz engages Baraka’s experimentalism and vanguard aesthetics, this time through 6 Persons, a multivocalic experimental memoir that, she argues, constructs black subjectivity. Tyrone Williams riffs on the idea of tradition by drawing links and establishing thematic correspondences between Countee Cullen, Baraka, and Natasha Trethewey. Emily Ruth Rutter focuses on Baraka’s less-explored writings about sports, which become opportunities to address issues related to resistance, appropriation, and co-optation. In the last essay of the first part, Jeremy Matthew Glick provides a transition between Sides: He places Hegel’s short essay entitled “Who Thinks Abstractly?” in conversation with tracks from the 1982 jazz album New Music/New Poetry, especially “Strunza Med,” which allows him to reconsider politics of revolution, nation building, and black internationalism.
In the opening remarks to Part I Side B, Harris highlights the significance of Baraka attending the Five Spot, where he experiences the power of black jazz musicians, especially Thelonious Monk and John Coltrane, creating a black avant-garde music. Harris argues that for Baraka, the club is “a black space, a new cultural space.” In this second call, Harris lays the groundwork for assessing the means of absorption and the resultant work: vernacularized poetics and politics.
Some Other Blues is modeled after the call-response pattern of black vernacular music—it is, after all, the “mode of (musical) expression” (Black Music 181) that has remained central to Baraka’s idea of black expressive traditions and to his translation of the black cultural memory into verse and text, what in “New Music/New Poetry” he calls “speech musicked” (The Music 243). Structurally and thematically, each part and each chapter of this collection is antiphonally connected; for instance, the first essay of each “side” of Some Other Blues issues a call in the form of a shorter Harris essay, which is responded to by the ensuing chapters. Part II responds to the idea of legacy mapped out critically in Part I. And Fred Moten provides us with the core riff on Baraka’s impact and centrality. In Part 1 Side A, William J. Harris proposes a poetics of place—27 Cooper Square—that becomes a space Baraka uses to experiment with traditions, forms, and aesthetics at the same time as he fashions an identity that anticipates a deep immersion in black vernacular culture (in Side B). The first response comes from Aldon Nielsen, who studied under Baraka and shared a friendship with him. Nielsen tackles the significance of the Winter 1963 issue of Kulchur in fashioning the new direction of black poetics in the context of the early ’60s. Kathy Lou Schultz engages Baraka’s experimentalism and vanguard aesthetics, this time through 6 Persons, a multivocalic experimental memoir that, she argues, constructs black subjectivity. Tyrone Williams riffs on the idea of tradition by drawing links and establishing thematic correspondences between Countee Cullen, Baraka, and Natasha Trethewey. Emily Ruth Rutter focuses on Baraka’s less-explored writings about sports, which become opportunities to address issues related to resistance, appropriation, and co-optation. In the last essay of the first part, Jeremy Matthew Glick provides a transition between Sides: He places Hegel’s short essay entitled “Who Thinks Abstractly?” in conversation with tracks from the 1982 jazz album New Music/New Poetry, especially “Strunza Med,” which allows him to reconsider politics of revolution, nation building, and black internationalism.
In the opening remarks to Part I Side B, Harris highlights the significance of Baraka attending the Five Spot, where he experiences the power of black jazz musicians, especially Thelonious Monk and John Coltrane, creating a black avant-garde music. Harris argues that for Baraka, the club is “a black space, a new cultural space.” In this second call, Harris lays the groundwork for assessing the means of absorption and the resultant work: vernacularized poetics and politics.
Cuprins
Foreword “We Seen It, Too”
Fred Moten
Introduction
Jean-Philippe Marcoux
Part I Perspectives on Record
Side A Home (A Cultural Space of Experiment)
1 Amiri Baraka Among the Bohemians: 27 Cooper Square
William J. Harris
2 Kulchur Wars
Aldon Lynn Nielsen
3 “Other Autobiographies”: Racial and Spiritual Consciousness and the Prism of Identity in Amiri Baraka’s 6 Persons
Kathy Lou Schultz
4 Baraka, Cullen, Trethewey: Incidents
Tyrone Williams
5 “Legitimate Black Heroes”: Amiri Baraka’s Prescient Views on the Politics of Sports
Emily Ruth Rutter
6 Hegel off the Tracks
Jeremy Matthew Glick
Side B The Music (Ideations and Renegotiations)
7 The Five Spot Café
William J. Harris
8 “Of Langston and Langston Manifestos”: Langston Hughes and the Revolutionary Jazz Poetry of Amiri Baraka
John Lowney
9 Amiri Baraka and the Dream of Unity Music
Grégory Pierrot
10 “A Marching Song for Some Strange Uncharted Country”: The Black Nation, Black Revolution, and Amiri Baraka’s Liner Notes
James Smethurst
11 Baraka’s Speculative Revolutions
Benjamin Lee
12 Black and Blues: Amiri Baraka and Gil Scott-Heron’s Political Poetry
Michael J. New
13 “Pick Up Them Cliffords”: Amiri Baraka, Clifford Brown, and the Coinage of Currency
Aidan Levy
14 We Are the (Rhythm and) Blues
Anthony Reed
Part II In the Tradition: Reassessments, Recollections, Legacies
15 The Legacy and Place of Amiri Baraka
Lauri Scheyer
16 Anthologizing the Poetry of Amiri Baraka, 1960–2018
Howard Rambsy II
17 Black (Feminist) Art: Contemporary Black Female Poets Speak Back to Baraka
Laura Vrana
18 Black Magic: Evolving Notions of Gender and Sexuality in the Work of Amiri Baraka
Amy Abugo Ongiri
19 Amina Baraka: The Woman Who Guided the Ship
Kim McMillon
20 Amiri Baraka: Mentoring as Revolutionary Praxis
Michael Simanga
21 The Overlooked Spirit Reach of Amiri Baraka’s Terribleness
Kalamu ya Salaam
Blues/Funk Outro Amiri Baraka as Cultural Philosopher
Tony Bolden
Works Cited
List of Contributors
Index
Fred Moten
Introduction
Jean-Philippe Marcoux
Part I Perspectives on Record
Side A Home (A Cultural Space of Experiment)
1 Amiri Baraka Among the Bohemians: 27 Cooper Square
William J. Harris
2 Kulchur Wars
Aldon Lynn Nielsen
3 “Other Autobiographies”: Racial and Spiritual Consciousness and the Prism of Identity in Amiri Baraka’s 6 Persons
Kathy Lou Schultz
4 Baraka, Cullen, Trethewey: Incidents
Tyrone Williams
5 “Legitimate Black Heroes”: Amiri Baraka’s Prescient Views on the Politics of Sports
Emily Ruth Rutter
6 Hegel off the Tracks
Jeremy Matthew Glick
Side B The Music (Ideations and Renegotiations)
7 The Five Spot Café
William J. Harris
8 “Of Langston and Langston Manifestos”: Langston Hughes and the Revolutionary Jazz Poetry of Amiri Baraka
John Lowney
9 Amiri Baraka and the Dream of Unity Music
Grégory Pierrot
10 “A Marching Song for Some Strange Uncharted Country”: The Black Nation, Black Revolution, and Amiri Baraka’s Liner Notes
James Smethurst
11 Baraka’s Speculative Revolutions
Benjamin Lee
12 Black and Blues: Amiri Baraka and Gil Scott-Heron’s Political Poetry
Michael J. New
13 “Pick Up Them Cliffords”: Amiri Baraka, Clifford Brown, and the Coinage of Currency
Aidan Levy
14 We Are the (Rhythm and) Blues
Anthony Reed
Part II In the Tradition: Reassessments, Recollections, Legacies
15 The Legacy and Place of Amiri Baraka
Lauri Scheyer
16 Anthologizing the Poetry of Amiri Baraka, 1960–2018
Howard Rambsy II
17 Black (Feminist) Art: Contemporary Black Female Poets Speak Back to Baraka
Laura Vrana
18 Black Magic: Evolving Notions of Gender and Sexuality in the Work of Amiri Baraka
Amy Abugo Ongiri
19 Amina Baraka: The Woman Who Guided the Ship
Kim McMillon
20 Amiri Baraka: Mentoring as Revolutionary Praxis
Michael Simanga
21 The Overlooked Spirit Reach of Amiri Baraka’s Terribleness
Kalamu ya Salaam
Blues/Funk Outro Amiri Baraka as Cultural Philosopher
Tony Bolden
Works Cited
List of Contributors
Index
Descriere
Drawing from both scholars and friends of Amiri Baraka, this collection reassesses Baraka’s multilayered creative output.