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| amiri baraka somebody blew up america: Somebody Blew Up America, & Other Poems Amiri Baraka, 2004 Poetry. African American Studies. The publication of Amiri Baraka's SOMEBODY BLEW UP AMERICA & OTHER POEMS makes one more mark in the development in modern Black radical & revolutionary cultural reconstruction... Readers of course will want as quick as possible to read for them-self the now controversial title poem..., but check-out, among the others, In Town--pure-pure dark post-Plantation molasses...--Kamau Brathwaite. |
| amiri baraka somebody blew up america: Lunch Poems Frank O'Hara, 2014-06-10 Celebrate the 50th Anniversary of Frank O'Hara's Lunch Poems Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry. Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including The Day Lady Died, Ave Maria and Poem Lana Turner has collapsed ]. This new limited 50th anniversary edition contains a preface by John Ashbery and an editor's note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch. Frank O'Hara's Lunch Poems, the little black dress of American poetry books, redolent of cocktails and cigarettes and theater tickets and phonograph records, turns 50 this year. It seems barely to have aged . . . This is a book worth imbibing again, especially if you live in Manhattan, but really if you're awake and curious anywhere. O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age.--Dwight Garner, The New York Times City Lights' new reissue of the slim volume includes a clutch of correspondence between O'Hara and Lawrence Ferlinghetti . . . in which the two poets hash out the details of the book's publication: which poems to consider, their order, the dedication, and even the title. 'Do you still like the title Lunch Poems?' O'Hara asks Ferlinghetti. 'I wonder if it doesn't sound too much like an echo of Reality Sandwiches or Meat Science Essays.' 'What the hell, ' Ferlinghetti replies, 'so we'll have to change the name of City Lights to Lunch Counter Press.'--Nicole Rudick, The Paris Review Frank O'Hara's famed collection was first published in 1964, and, to mark the fiftieth anniversary, City Lights is printing a special edition.--The New Yorker The volume has never gone out of print, in part because O'Hara expresses himself in the same way modern Americans do: Like many of us, he tries to overcome the absurdity and loneliness of modern life by addressing an audience of anonymous others.--Micah Mattix, The Atlantic I hope that everyone will delight in the new edition of Frank's Lunch Poems. The correspondence between Lawrence and Frank is great. Frank was just 33 when he wrote to Lawrence in 1959 and 38 when LUNCH POEMS was published The fact that City Lights kept Frank's LUNCH POEMS in print all these years has been extraordinary, wonderful and a constant comfort. Hurray for independent publishers and independent bookstores. Many thanks always to Lawrence Ferlinghetti and everyone at City Lights.--Maureen O'Hara, sister of Frank O'Hara Frank O'Hara's Lunch Poems--which has just been reissued in a 50th anniversary hardcover edition--recalls a world of pop art, political and cultural upheaval and (in its own way) a surprising innocence.--David Ulin, Los Angeles Times |
| amiri baraka somebody blew up america: Wise, Why's, Y's Amiri Baraka, 1995 A poetic voyage in five parts that charts the ebbs and flows of the African-American movement. |
| amiri baraka somebody blew up america: S O S Amiri Baraka, 2015-03-03 “S O S provides readers with rich, vital views of the African American experience and of Baraka’s own evolution as a poet-activist” (The Washington Post). Fusing the personal and the political in high-voltage verse, Amiri Baraka whose long illumination of the black experience in America was called incandescent in some quarters and incendiary in others was one of the preeminent literary innovators of the past century (The New York Times). Selected by Paul Vangelisti, this volume comprises the fullest spectrum of Baraka’s rousing, revolutionary poems, from his first collection to previously unpublished pieces composed during his final years. Throughout Baraka’s career as a prolific writer (also published as LeRoi Jones), he was vehemently outspoken against oppression of African American citizens, and he radically altered the discourse surrounding racial inequality. The environments and social values that inspired his poetics changed during the course of his life, a trajectory that can be traced in this retrospective spanning more than five decades of profoundly evolving subjects and techniques. Praised for its lyricism and introspection, his early poetry emerged from the Beat generation, while his later writing is marked by intensely rebellious fervor and subversive ideology. All along, his primary focus was on how to live and love in the present moment despite the enduring difficulties of human history. A New York Times Editors’ Choice “A big handsome book of Amiri Baraka’s poetry [that gives] us word magic, wit, wild thoughts, discomfort, and pleasure.” —William J. Harris, Boston Review “The most complete representation of over a half-century of revolutionary and breathtaking work.” —Claudia Rankine, The New York Times Book Review |
| amiri baraka somebody blew up america: Beautiful Enemies Andrew Epstein, 2006-09-21 Although it has long been commonplace to imagine the archetypal American poet singing a solitary Song of Myself, much of the most enduring American poetry has actually been preoccupied with the drama of friendship. In this lucid and absorbing study, Andrew Epstein argues that an obsession with both the pleasures and problems of friendship erupts in the New American Poetry that emerges after the Second World War. By focusing on some of the most significant postmodernist American poets--the New York School poets John Ashbery, Frank O'Hara, and their close contemporary Amiri Baraka--Beautiful Enemies reveals a fundamental paradox at the heart of postwar American poetry and culture: the avant-garde's commitment to individualism and nonconformity runs directly counter to its own valorization of community and collaboration. In fact, Epstein demonstrates that the clash between friendship and nonconformity complicates the legendary alliances forged by postwar poets, becomes a predominant theme in the poetry they created, and leaves contemporary writers with a complicated legacy to negotiate. Rather than simply celebrating friendship and poetic community as nurturing and inspiring, these poets represent friendship as a kind of exhilarating, maddening contradiction, a site of attraction and repulsion, affinity and rivalry. Challenging both the reductive critiques of American individualism and the idealized, heavily biographical celebrations of literary camaraderie one finds in much critical discussion, this book provides a new interpretation of the peculiar dynamics of American avant-garde poetic communities and the role of the individual within them. By situating his extensive and revealing readings of these highly influential poets against the backdrop of Cold War cultural politics and within the context of American pragmatist thought, Epstein uncovers the collision between radical self-reliance and the siren call of the interpersonal at the core of postwar American poetry. |
| amiri baraka somebody blew up america: Tales of the Out & the Gone Amiri Baraka, 2009-12-01 Controversial literary legend Amiri Baraka's new short story collection will shock and awe. |
| amiri baraka somebody blew up america: Somebody Blew Up America Imamu Amiri Baraka, 2001 |
| amiri baraka somebody blew up america: Black Music LeRoi Jones (Amiri Baraka), 2023-12-04 A maioria dos críticos de jazz até agora são americanos brancos, enquanto os principais músicos não Black Music: free jazz e consciência negra (1959-1967), de Amiri Baraka (LeRoi Jones), é um dos exercícios mais radicais e selvagens de crítica musical que já foi posto em prática. Nestes ensaios, resenhas, entrevistas, encartes, crônicas e impressões pessoais publicados entre 1959 e 1967, Baraka retrata a florescente cena do free jazz, um movimento que envolveu o aprofundamento das inovações sonoras do bebop e a recuperação do jazz como expressão autêntica da cultura afro-estadunidense em uma época em que seu sucesso comercial a tornava um gênero padronizado e palatável para a amérikkka branca. Figura central e unificadora do movimento Beat nos anos 50 e Black Power nas décadas seguintes, Amiri lança mão de uma linguagem elétrica e furiosa que reflete a liberdade de improvisação do free jazz para deixar claro que essa música só pode ser compreendida como parte de um conjunto de experiências, que ao longo do século XX, moldaram uma nova consciência do que significava ser negro nos Estados Unidos. E é por isso que os seus intérpretes, entre os quais se destacam John Coltrane, Ornette Coleman, Archie Shepp, Sun Ra, Thelonious Monk, Albert Ayler, Pharoah Sanders, Sonny Rollins, Don Cherry, Wayne Shorter e Cecil Taylor, devem ser considerados, além de grandes músicos: intelectuais ou místicos, ou ambos. |
| amiri baraka somebody blew up america: Contested Records Michael Leong, 2020-05-01 Why have so many contemporary poets turned to source material, from newspapers to governmental records, as inspiration for their poetry? How can citational poems offer a means of social engagement? Contested Records analyzes how some of the most well-known twenty-first century North American poets work with fraught documents. Whether it’s the legal paperwork detailing the murder of 132 African captives, state transcriptions of the last words of death row inmates, or testimony from miners and rescue workers about a fatal mine disaster, author Michael Leong reveals that much of the power of contemporary poetry rests in its potential to select, adapt, evaluate, and extend public documentation. Examining the use of documents in the works of Kenneth Goldsmith, Vanessa Place, Amiri Baraka, Claudia Rankine, M. NourbeSe Philip, and others, Leong reveals how official records can evoke a wide range of emotions—from hatred to veneration, from indifference to empathy, from desire to disgust. He looks at techniques such as collage, plagiarism, re-reporting, and textual outsourcing, and evaluates some of the most loved—and reviled—contemporary North American poems. Ultimately, Leong finds that if bureaucracy and documentation have the power to police and traumatize through the exercise of state power, then so, too, can document-based poetry function as an unofficial, counterhegemonic, and popular practice that authenticates marginalized experiences at the fringes of our cultural memory. |
| amiri baraka somebody blew up america: Preface to a Twenty Volume Suicide Note... LeRoi Jones, 1969 |
| amiri baraka somebody blew up america: American Exceptionalism and American Innocence Roberto Sirvent, Danny Haiphong, 2019-04-02 “Fake news existed long before Donald Trump…. What is ironic is that fake news has indeed been the only news disseminated by the rulers of U.S. empire.”—From American Exceptionalism and American Innocence According to Robert Sirvent and Danny Haiphong, Americans have been exposed to fake news throughout our history—news that slavery is a thing of the past, that we don’t live on stolen land, that wars are fought to spread freedom and democracy, that a rising tide lifts all boats, that prisons keep us safe, and that the police serve and protect. Thus, the only “news” ever reported by various channels of U.S. empire is the news of American exceptionalism and American innocence. And, as this book will hopefully show, it’s all fake. Did the U.S. really “save the world” in World War II? Should black athletes stop protesting and show more gratitude for what America has done for them? Are wars fought to spread freedom and democracy? Or is this all fake news? American Exceptionalism and American Innocence examines the stories we’re told that lead us to think that the U.S. is a force for good in the world, regardless of slavery, the genocide of indigenous people, and the more than a century’s worth of imperialist war that the U.S. has wrought on the planet. Sirvent and Haiphong detail just what Captain America’s shield tells us about the pretensions of U.S. foreign policy, how Angelina Jolie and Bill Gates engage in humanitarian imperialism, and why the Broadway musical Hamilton is a monument to white supremacy. |
| amiri baraka somebody blew up america: Transbluesency Amiri Baraka, 1995 Poet, dramatist, essayist, fiction writer and political activist, Amiri Baraka is considered by many to be the most influential and preeminent African-American literary figures of our time. Transbluesency reveals a writer shaping a body of poetry that is as well a body of knowledge--a passionate reflection upon the cultural, political, and aesthetic questions of his time. |
| amiri baraka somebody blew up america: Extraordinary, Ordinary People Condoleezza Rice, 2011-10-11 This is the story of Condoleezza Rice that has never been told, not that of an ultra-accomplished world leader, but of a little girl--and a young woman--trying to find her place in a sometimes hostile world, of two exceptional parents, and an extended family and community that made all the difference. Condoleezza Rice has excelled as a diplomat, political scientist, and concert pianist. Her achievements run the gamut from helping to oversee the collapse of communism in Europe and the decline of the Soviet Union, to working to protect the country in the aftermath of 9-11, to becoming only the second woman--and the first black woman ever--to serve as Secretary of State. But until she was 25 she never learned to swim, because when she was a little girl in Birmingham, Alabama, Commissioner of Public Safety Bull Connor decided he'd rather shut down the city's pools than give black citizens access. Throughout the 1950's, Birmingham's black middle class largely succeeded in insulating their children from the most corrosive effects of racism, providing multiple support systems to ensure the next generation would live better than the last. But by 1963, Birmingham had become an environment where blacks were expected to keep their head down and do what they were told--or face violent consequences. That spring two bombs exploded in Rice’s neighborhood amid a series of chilling Klu Klux Klan attacks. Months later, four young girls lost their lives in a particularly vicious bombing. So how was Rice able to achieve what she ultimately did? Her father, John, a minister and educator, instilled a love of sports and politics. Her mother, a teacher, developed Condoleezza’s passion for piano and exposed her to the fine arts. From both, Rice learned the value of faith in the face of hardship and the importance of giving back to the community. Her parents’ fierce unwillingness to set limits propelled her to the venerable halls of Stanford University, where she quickly rose through the ranks to become the university’s second-in-command. An expert in Soviet and Eastern European Affairs, she played a leading role in U.S. policy as the Iron Curtain fell and the Soviet Union disintegrated. Less than a decade later, at the apex of the hotly contested 2000 presidential election, she received the exciting news--just shortly before her father’s death--that she would go on to the White House as the first female National Security Advisor. As comfortable describing lighthearted family moments as she is recalling the poignancy of her mother’s cancer battle and the heady challenge of going toe-to-toe with Soviet leaders, Rice holds nothing back in this remarkably candid telling. |
| amiri baraka somebody blew up america: Annihilated Time Jeff Derksen, 2009 Essays that explore the ways in which poetry, visual art and critical practices encounter the imperialist agenda of globalization. |
| amiri baraka somebody blew up america: Prolific Timothy Prolific Edwaujonte, Timothy Prolific Veit Jones, 2006-07 Prolific is a collection of the early work of Timothy Prolific Veit Jones. It is a coming of age book of poetry written by Jones when he was a young adult, and has been re-released with a specific focus of engaging young adults whose interests in social justice, romance, literature, spirituality, and education converge. |
| amiri baraka somebody blew up america: American Heart of Darkness Robert Kirkconnell, 2013-05 These days, most Americans know that the country has serious problems. Problems that will have to be addressed before the country can move forward. What are these problems? Where did they come from? Before we can move forward we have to know where we are and how we got there. American Heart of Darkness paints an unvarnished picture of the seeds of destruction that were sown into the foundations of the Republic from the very beginning. How did slavery come about in the land of the free? How did a pre-Columbian native population, in North America alone, of over eighteen million (yes, you heard it right) native peoples dwindle down to about two hundred thousand? Was it really Small Pox? Why has a people who constantly talk about freedom, democracy, equality, human rights, life, liberty, and the pursuit of happiness continually practiced racism, genocide, and war? How do drugs come into the country, and who is really behind the most profitable product sold in the world? There are also other unanswered questions that need to be explored: Why were thousands of the worst Nazi war criminals given refuge in the U.S.? Who financed Hitler? Where did Hitler get his master race and genocidal ideas from? Was Lee Harvey Oswald a C.I.A. agent? Were Oswald, Sirhan Sirhan, Ted Kaczynski, Timothy McVey, and the Peoples Temple all mind control, MKULTRA, subjects? What really happened in the Jeffery MacDonald, so-called Fatal Vision case? How does hundreds of billions of dollars come into the United States every year without detection? The answers to these questions, and many more, will surprise you! They are not in the History books, although they should be. American Heart of Darkness, Volume I, explores the ugly side of America that has been hidden for far too long, and it is literally killing us. This book is not for the reader looking for an uplifting story to escape everyday life for a few hours. It is for true patriots who are sick and tired of being lied to and stolen from. It is for those who know they need to do something but do not know where to start. It is for those who feel powerless and that America's problems are far too big for little ol' me to handle. It is for those with the courage to go from darkness to light. As comedian and activist Dick Gregory once said, If you been in the DARK for so long, LIGHT will hurt your eyes . This book will hurt your eyes. The reader will be shocked, then angry, then motivated, and finally, in the author's next two books, empowered and liberated. It is better to see where we are and where we need to go, right now, before it is too late. Congratulations! If you have read this far this book is probably for you. Please keep in mind the universal truth that with any form of government, the leaders only have the power that the people allow them have. This was true in India when a little skinny guy named Gandhi with no money and only a rag wrapped around his middle took on the British Empire, and won! There is no question that the American people have the power to reclaim a government that is clearly not being run for them. We have to empower ourselves to take this government back from only a handful of selfish and greedy individuals, who have proven that they only care about making more and more money. Let us all stop giving them the power that belongs to us. Reading this book is a beginning, and then we will talk about what to do about it in the author's next two books! |
| amiri baraka somebody blew up america: Un Poco Low Coups Amiri Baraka, 2004 Poetry. African American. In this latest chapbook from one of the 20th century's most vital and revolutionary authors, poems are set visually on canvas-like pages, blurring the line between visual and poetic art. Whether it's politics, music, literature, or the origins of language, there is always a historical and time/place/condition reference that will always try to explain why I was saying both how and for what--Amiri Baraka. |
| amiri baraka somebody blew up america: The Wicked Son David Mamet, 2009-09-15 David Mamet's interest in anti-Semitism is not limited to the modern face of an ancient hatred but encompasses as well the ways in which many Jews have internalized that hatred. Using the metaphor of the Wicked Son at the Passover seder (the child who asks, What does this story mean to you?) Mamet confronts what he sees as an insidious predilection among some Jews to exclude themselves from the equation and to seek truth and meaning anywhere--in other religions, political movements, mindless entertainment--but in Judaism itself. He also explores the ways in which the Jewish tradition has long been and still remains the Wicked Son in the eyes of the world. Written with the searing honesty and verbal brilliance that is the hallmark of Mamet's work, The Wicked Son is a powerfully thought-provoking look at one of the most destructive and tenacious forces in contemporary life. |
| amiri baraka somebody blew up america: Dutchman Amiri Baraka, 1967 Issued to promote the 1967 adaptation to film of Baraka/LeRoy Jones's play , based on his screenplay, directed by Anthony Harvey, and starring Shirley Knight and Al Freeman. For their performances, Knight and Freeman were nominated for awards at the Venice Film Fetival; Knight won. This pressbook inludes sample press copy, credits, and examples of the promotional paper |
| amiri baraka somebody blew up america: Digital Poetics Loss Pequeño Glazier, 2002 In Digital Poetics, Loss Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium. Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avantgarde poetics and its relationship to the on-line age, the relationship between web pages and book technology, and the way in which certain kinds of web constructions are in and of themselves a type of writing. With convincing alacrity, Glazier argues that the materiality of electronic writing has changed the idea of writing itself. He concludes that electronic space is the true home of poetry and, in the 20th century, has become the ultimate space of poesis. Digital Poetics will attract a readership of scholars and students interested in contemporary creative writing and the po |
| amiri baraka somebody blew up america: Terrorism and Literature Peter C. Herman, 2018-09-13 Terrorism has long been a major shaping force in the world. However, the meanings of terrorism, as a word and as a set of actions, are intensely contested. This volume explores how literature has dealt with terrorism from the Renaissance to today, inviting the reader to make connections between older instances of terrorism and contemporary ones, and to see how the various literary treatments of terrorism draw on each other. The essays demonstrate that the debates around terrorism only give the fictive imagination more room, and that fiction has a great deal to offer in terms of both understanding terrorism and our responses to it. Written by historians and literary critics, the essays provide essential knowledge to understand terrorism in its full complexity. As befitting a global problem, this book brings together a truly international group of scholars, with representatives from America, Scotland, Canada, New Zealand, Italy, Israel, and other countries. |
| amiri baraka somebody blew up america: Poetry After 9/11 Dennis Loy Johnson, Valerie Merians, 2011-08-16 This important and inspiring collection is a sweeping overview of poetry written in New York in the year after the 9/11 attacks . . . This anthology contains poems by forty-five of the most important poets of the day, as well as some of the literary world’s most dynamic young voices, all writing in New York City in the year immediately following the World Trade Center attacks. It was inspired by the editors' observation that after the tragic events of September 11th, 2001, poetry was being posted everywhere in New York—on telephone poles, on warehouse walls, on bus shelters, in the letters-to-the-editor section of newspapers ... New Yorkers spontaneously turned to poetry to understand and cope with the tragedy of the attack. Full of humor, love, rage and fear, this diverse collection of poems attests to that power of poetry to express and to heal the human spirit. Featuring poems by Pulitzer Prize winner Stephen Dunn; Best American Poetry series editor David Lehman; National Book Award winner and New York State Poet Jean Valentine; the first ever Nuyorican Slam-Poetry champ; poets laureate of Brooklyn and Queens; and a poem and introduction by National Book Award finalist Alicia Ostriker. |
| amiri baraka somebody blew up america: Raise, Race, Rays, Raze Amiri Baraka, 1971 This book contains essays on race relations in America since 1965. |
| amiri baraka somebody blew up america: Blues People Leroi Jones, 1999-01-20 The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music. So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls negro music on white America -- not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history. |
| amiri baraka somebody blew up america: Somebody Blew Up America & Other Poems Imamu Amiri Baraka, 2007-12-01 |
| amiri baraka somebody blew up america: The Hatred of Poetry Ben Lerner, 2016-06-07 The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance-- |
| amiri baraka somebody blew up america: Words on Edge Michael Leong, 2018 Poetry. Leong superimposes the following layers onto the reader's experience of his latest contemporary poems; politics, chaos, hilarity, language, meaning and camouflage. He uses language to show us all how language is used to manipulate everything we experience. |
| amiri baraka somebody blew up america: The Autobiography of LeRoi Jones Amiri Baraka, 2012-04 The complete autobiography of a literary legend. |
| amiri baraka somebody blew up america: The dead lecturer Imamu Amiri Baraka, 1970 |
| amiri baraka somebody blew up america: Toilet Amiri Baraka, 1967 |
| amiri baraka somebody blew up america: The Writer's Brush Donald Friedman, 2007 Friedman has gathered together reproductions of paintings, drawings and sculpture, many from private collections, by a pantheon of great writers, including Hermann Hesse, Fyodor Dostoevsky and Joseph Conrad. |
| amiri baraka somebody blew up america: Why Poetry Matthew Zapruder, 2017-08-15 An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone. |
| amiri baraka somebody blew up america: The Motion of History, and Other Plays Amiri Baraka, 1978 |
| amiri baraka somebody blew up america: Confirmation, an Anthology of African American Women , 1983 |
| amiri baraka somebody blew up america: In Our Terribleness Amiri Baraka, Billy Abernathy, Fundi, 1970 There are mostly portraits here. Portraits of life. Of life being lived. Black People inspire us. Send life into us ... We wanted to conjure with Black Life to recreate it for our selves. So that the connection with you would be a bigger Self--From unnumbered page 13. |
| amiri baraka somebody blew up america: Multidirectional Memory Michael Rothberg, 2009-06-15 Multidirectional Memory brings together Holocaust studies and postcolonial studies for the first time to put forward a new theory of cultural memory and uncover an unacknowledged tradition of exchange between the legacies of genocide and colonialism. |
| amiri baraka somebody blew up america: The Music Amiri Baraka, Amina Baraka, 1987 The acclaimed author of Blues People and Black Music returns to the subject of music for the first time in two decades with this collection of essays on the history of jazz and blues, as well as critical comments on today's top performers. Black-and-white photographs. |
| amiri baraka somebody blew up america: Archive Fever Jacques Derrida, 1996 As a depository of civic record and social history whose very name derives from the Greek word for town hall, the archive would seem to be a public entity, yet it is stocked with the personal, even intimate, artifacts of private lives. It is this inherent tension between public and private which inaugurates, for Derrida, an inquiry into the human impulse to preserve, through technology as well as tradition, both a historical and a psychic past. What emerges is a marvelous expansive work, engaging at once Judaic mythos, Freudian psychoanalysis, and Marxist materialism in a profound reflection on the real, the unreal, and the virtual. |
| amiri baraka somebody blew up america: The LeRoi Jones/Amiri Baraka Reader Imamu Amiri Baraka, William J. Harris, 1991 Amiri Baraka-dramatist, poet, essayist, orator, & fiction writer-is perhaps the preeminent African-American literary figure of our time. Yet, until now, it has been impossible to find the full range of his work represented in one volume. The LeRoi Jones/Amiri Baraka Reader provides the most comprehensive selection of Baraka's work to date, spanning more than thirty years of a brilliant, prolific, & controversial career in which he has produced a dozen books of poetry, twenty-six plays, eight collections of essays & speeches, & two books of fiction. This essential anthology also contains previously unpublished work-including essays on Jesse Jackson & James Baldwin-as well as a chronology & a full bibliography. The LeRoi Jones/Amiri Baraka Reader includes poems from Preface to a Twenty Volume Suicide Note, The Dead Lecturer, Black Magic, Hard Facts, It's Nation Time, & Poetry for the Advanced; the plays Dutchman, Great Goodness of Life, & What Was the Relationship of the Lone Ranger to the Means of Production?; essays from Blues People, Social Essays, Black Music, Daggers & Javelins, & The Music: Reflections on Jazz & Blues; & much, much more. |
| amiri baraka somebody blew up america: Blue Fasa Nathaniel Mackey, 2015 A stellar new collection of poems by the Balanchine of the architecture dance (The New York Times), and winner of the National Book Award in poetry. |
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