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In 1962, the Heritage Series of Black Poetry, founded and edited by
Paul Breman, published Robert Hayden's A Ballad of Remembrance. By
1975, the Series had published 27 volumes by some of the
twentieth-century's most important and influential poets. As
elaborated in Lauri Ramey's extensive scholarly introduction, this
innovative volume has dual purposes: To provide primary sources
that recover the history and legacy of this groundbreaking
publishing venture, and to serve as a research companion for
scholars working on the Series and on twentieth-century black
poetry. Never-before-published primary materials include Paul
Breman's memoir, retrospectives by several of the poets published
in the Series, a photo-documentary of W.E.B. Du Bois's 1958 visit
to The Netherlands, poems by poets represented in the Series, and
scholarly essays. Also included are bibliographies of the Heritage
poets and of the Heritage Press Archives at the Chicago Public
Library. This reference work is an essential resource for scholars
working in the fields of black poetry, transatlantic studies, and
twentieth-century book history.
This collection of essays provides an imaginative international
perspective on ways to incorporate black British writing and
culture in the study of English literature, and presents
theoretically sophisticated and practical strategies for doing so.
It offers a pedagogical, pragmatic and ideological introduction to
the field for those without background, and an integrated body of
current and stimulating essays for those who are already
knowledgeable. Contributors to this volume include scholars and
writers from Britain and the U.S. Following on recent developments
in African American literature, postcolonial studies and race
studies, the contributors invite readers to imagine an enhanced and
inclusive British canon through varied essays providing historical
information, critical analysis, cultural perspective, and extensive
annotated bibliographies for further study.
This collection of essays provides an imaginative international
perspective on ways to incorporate black British writing and
culture in the study of English literature, and presents
theoretically sophisticated and practical strategles for doing so.
It offers a pedagogical, pragmatic and ideological introduction to
the field for those without background, and an integrated body of
current and stimulating essays for those who are already
knowledgeable. Contributors to this volume include scholars and
writers from Britain and the U.S. Following on recent developments
in African American literature, postcolonial studies and race
studies, the contributors invite readers to imagine an enhanced and
inclusive British canon through varied essays providing historical
information, critical analysis, cultural perspective, and extensive
annotated bibliographies for further study.
African American poetry is as old as America itself, yet this
touchstone of American identity is often overlooked. In this
critical history of African American poetry, from its origins in
the transatlantic slave trade, to present day hip-hop, Lauri Ramey
traces African American poetry from slave songs to today's
award-winning poets. Covering a wide range of styles and forms,
canonical figures like Phillis Wheatley (1753-1784) and Paul
Laurence Dunbar (1872-1906) are brought side by side with lesser
known poets who explored diverse paths of bold originality. Calling
for a revised and expanded canon, Ramey shows how some poems were
suppressed while others were lauded, while also examining the role
of music, women, innovation, and art as political action in African
American poetry. Conceiving of a new canon reveals the influential
role of African American poetry in defining and reflecting the
United States at all points in the nation's history.
What I Say is an anthology of formally experimental and innovative
poetry by black writers in America from 1977 to the present that
allows readers to map the independent routes by which various
poets reached their particular modes of aesthetic experimentation.
What I Say: Innovative Poetry by Black Writers in America is the
second book in a landmark two-volume anthology that explodes narrow
definitions of African American poetry by examining experimental
poems often excluded from previous scholarship. The first volume,
Every Goodbye Ain’t Gone, covers the period from the end of World
War II to the mid-1970s. In What I Say, editors Aldon Lynn Nielsen
and Lauri Ramey have assembled a comprehensive and dynamic
collection that brings this pivotal work up to the present day. The
elder poets in this collection, such as Nathaniel Mackey, C. S.
Giscombe, Will Alexander, and Ron Allen, came of age during and
were powerfully influenced by the Black Arts Movement, and What I
Say grounds the collection in its black modernist roots. In tracing
the fascinating and unexpected paths of experimentation these
poets explored, however, Nielsen and Ramey reveal the tight
delineations of African American poetry that omitted non-canonical
forms. This invigorating panoply of work, when restored, brings
into focus the creatively elastic frontiers and multifaceted
expressions of contemporary black poetry. Several of the poets
discussed in What I Say forged relationships with members of the
L=A=N=G=U=A=G=E poetry movement and participated in the broader
community of innovative poetry that emerged in the late 1970s and
early 1980s and continues to exert a powerful influence today. Each
volume can stand on its own, and reading them in tandem will
provide a clear vision of how innovative African American poetries
have evolved across the twentieth century and into the
twenty-first. What I Say is infinitely teachable, compelling, and
rewarding. It will appeal to a broad readership of poets, poetics
teachers, poetics scholars, students of African American literature
in non-narrative forms, Afro-futurism, and what lies between the
modern and the contemporary in global and localized writing
practices.
African American poetry is as old as America itself, yet this
touchstone of American identity is often overlooked. In this
critical history of African American poetry, from its origins in
the transatlantic slave trade, to present day hip-hop, Lauri Ramey
traces African American poetry from slave songs to today's
award-winning poets. Covering a wide range of styles and forms,
canonical figures like Phillis Wheatley (1753-1784) and Paul
Laurence Dunbar (1872-1906) are brought side by side with lesser
known poets who explored diverse paths of bold originality. Calling
for a revised and expanded canon, Ramey shows how some poems were
suppressed while others were lauded, while also examining the role
of music, women, innovation, and art as political action in African
American poetry. Conceiving of a new canon reveals the influential
role of African American poetry in defining and reflecting the
United States at all points in the nation's history.
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