Subjects

Announcing “The Lives of Robert Ryan” by J.R. Jones

The Lives of Robert Ryan provides an inside look at the gifted, complex, intensely private man whom Martin Scorsese called “one of the greatest actors in the history of American film.” The son of a Chicago construction executive with strong ties to the Democratic machine, Ryan became a star after World War II on the strength of his menacing performance as an anti-Semitic murderer in the film noir Crossfire. Over the next quarter century he created a gallery of brooding, neurotic, and violent characters in such movies as Bad Day at Black Rock, Billy Budd, The Dirty Dozen, and The Wild Bunch.

 Jones comps.indd

His riveting performances expose the darkest impulses of the American psyche during the Cold War. At the same time, Ryan’s marriage to a liberal Quaker and his own sense of conscience launched him into a tireless career of peace and civil rights activism that stood in direct contrast to his screen persona. Drawing on unpublished writings and revealing interviews, film critic J.R. Jones deftly explores the many contradictory facets of Robert Ryan’s public and private lives, and how these lives intertwined in one of the most compelling actors of a generation.

For more information on Robert Ryan, visit the book’s website.

J.R. Jones is an award-winning film critic and editor for the Chicago Reader. His writing has appeared in New York Press, Kenyon Review, Da Capo Best Music Writing, and Noir City. He lives in Chicago.

Catch a screening of The Set-Up at Chicago’s Music Box Theatre, including a Q&A with the author and Lisa Ryan, daughter of Robert Ryan. Purchase your book and film ticket in advance and save $2 off the cover price, courtesy of The Book Cellar.

You can also catch J.R. Jones at Chicago Tribune’s Printers Row Lit Festival in June.

Enjoy clips from Robert Ryan films, below.

Praise for The Lives of Robert Ryan:

“As self-effacing yet as solid and as ethically engaged as Robert Ryan himself, J.R. Jones offers a comprehensive and sensitive chronicle of one of the giants of American movie acting.”
—Jonathan Rosenbaum, author of Movie Wars

“Too many critical biographies lurch back and forth between biography and criticism. Jones weaves the criticism in the biographical fabric, and the finished product has a very friendly mien—The Lives of Robert Ryan is a book you will want to spend time with.”
—Kent Jones, author of Physical Evidence: Selected Film Criticism

“J.R. Jones’s meticulous, revealing book on Robert Ryan places the actor’s life and career against the turbulent politics of the Cold War and the Red Scare in Hollywood. Jones is especially adept at moving between the life and the work, the films and their contexts. He introduces political history throughout, in ways that are both relevant and revelatory.”
—Foster Hirsch, author of The Dark Side of the Screen: Film Noir

The Lives of Robert Ryan is a well-written, insightful biography on an important Hollywood actor who is finally getting the attention he deserves. Ryan was a fearless liberal who embraced controversial causes during a time when most Hollywood stars remained apolitical. Even many film scholars are unaware of this aspect of Ryan’s career. This biography emphasizes it.”
—Richard B. Jewell, author of RKO Radio Pictures: A Titan is Born

 

Publication of this book is funded by the Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving.

Wesleyan Film @ SCMS Montreal

The Society for Cinema & Media Studies‘ annual conference is currently underway in Montreal. Founded in 1959, SCMS is a professional organization of college and university educators, filmmakers, historians, critics, scholars, and others devoted to the study of the moving image. Wesleyan’s film series acquisitions editor, Parker Smathers, will be in attendance this weekend, catching up on the latest news in the field.

The Wesleyan Film series takes a back-to-basics approach to the art of cinema. Books in the series deal with the formal, the historical, and the cultural—putting a premium on visual analysis, close readings, and an understanding of the history of Hollywood and international cinema, both artistically and industrially. Volumes in the series are rigorous, critical, and accessible both to academics and to lay readers with a serious interest in film.

 FilmFall_14-Spring_15covers

Our new and forthcoming film-related books include:

The Director Within: Storytellers of Stage and Screen

The Cinema of Errol Morris

The Lives of Robert Ryan

View a full list of books in the Wesleyan Film Series here.

On May 31st the Music Box Theatre in Chicago will host a special screening of The Set-Up to celebrate the release of The Lives of Robert Ryan. A Q&A with author J.R. Jones and the late actor’s daughter, Lisa Ryan, will follow the screening. Attendees will be able to purchase a book/ticket combo at a discounted price, thanks to the support of The Book Cellar. Stay tuned for details! For now, you can check out this piece on Robert Ryan, from The Chicago Reader, by J.R. Jones.

Wesleyan UP @ AWP2015—Minneapolis

banner

Wesleyan University Press @ AWP2015—Minneapolis

Friday, 4/10: 1:30–2:45pm
A Tribute to Gerald Vizenor
w/ Heid Erdrich, Kim Blaeser, Gordon Henry Jr., Margaret Noodin, & Gerald Vizenor
Room 208 C&D, Level 2
Anishinaabe writers will read selections from Gerald Vizenor’s vast body of work and reflect on how this elder statesman of Anishinaabe literature influenced and supported their own work. Vizenor’s political writing, nationalist poetry, and history-steeped novels will be represented in this tribute, fittingly held in his homeland of Minnesota. Panelists will reflect on Vizenor’s role as a mentor and teacher who enabled generations of Native writers to find their voice.
Read more here.

Saturday, 4/11: 10:30–11:45am
Wesleyan University Press Poetry Reading
w/ Rae Armantrout, Sarah Blake, Heather Christle, Honorée Jeffers, and Fred Moten
Room 101 H&I, Level 1
A dynamic reading reflecting the breadth of Wesleyan University Press’s esteemed poetry series. These five poets represent diversity of age, race, aesthetics, and poetic voice, and are among the strongest voices in poetry today. Each engages his or her subject matter in distinct, unexpected ways through the use of language and imagery. Their work contemplates popular culture, history, ethics, race, and politics, as well as their personal experiences.
Read more here.

Book Signings @ WUP booth 907

Heather Christle — Thursday, 4/9: 1–2pm

Honorée Fanonne Jeffers — Friday, 4/10: 11am–12pm

Gerald Vizenor — Friday, 4/10: 3:30–4:30pm

Rae Armantrout & Sarah Blake — Saturday, 4/11: 12:30–1:30pm

Fred Moten — Saturday, 4/11: 2–3pm

Offsite Events

[Not organized by Wesleyan. Wesleyan authors, past and present, are included.]

 

Wednesday, 4/8: 7pm
BOMB & Two Dollar Radio Present:
Rae Armantrout, Sarah Gerard, Ian Dreiblatt, & Nicholas Rombes
Magers & Quinn Booksellers, 3038 Hennepin Avenue, Minneapolis, MN 55408
More info here.

Wednesday, April 8th, 7:30-8:30pm
Women’s Caucus Reading
Readings by Joy Harjo and Natalie Diaz. Introduction by Heid Erdrich.
Augsburg College, Satern Auditorium, 22nd Ave. South & South 7 1/2 Street, Minneapolis
More info here.

Thursday, 4/9: 6pm
Presenting: Tender Buttons, Black Radish Books, Ugly Duckling Presse, and Station Hill
Lee Ann Brown is reading from Bernadette Mayer’s Sonnets (Tender Buttons)
514 Studio, 514 North 3rd Street Suite 101, Minneapolis
More info here.

Thursday, 4/9: 8pm
Rain Taxi Benefit at Walker Art Center, Greatest Hits Reading
Peter Gizzi, Pierre Joris, Forrest Gander and many others.
Walker Art Center, 1750 Hennepin Avenue, Minneapolis
More info here.

Thursday, 4/9: 7:30pm–1am
VIDA Awards, Motionpoems Film Screening, & Dance Party
Sarah Blake’s poem “A Day at the Mall Reminds Me of America” was used in Ayse Altinok’s short film, included in the Motionpoems screening.
Skyway Theater, 711 Hennepin Avenue, Minneapolis
More info here.

Thursday, April 9: 7:30–9:30pm
Hick Poetics Anthology Release
Forest Gander is among the participants
Patrick’s Cabaret, 3010 Minnehaha Avenue, Minneapolis
More info here.

Saturday, 4/11: 6pm
The Volta Book of Poets
Fred Moten and Evie Shockley are among the sixteen readers.
Harriet Brewing, 3036 Minnehaha Avenue, Minneapolis
More info here.

New film on dancer Martha Hill

Martha Hill (1900–1995), the first Director of Dance at the Juilliard School, was one of the most influential dance figures of the twentieth century. Her leadership was instrumental in cementing dance’s position as an art form and as an area for serious scholarship. She carved out a place for contemporary dance in America, paving the way for artists like José Limón and Merce Cunningham. Recently, Hill has come back into the public eye with Greg Vander Veer’s movie Miss Hill: Making Dance Matter, which premiered at the 2014 Dance on Camera Festival in New York. In her review of Miss Hill for Film Journal International, Lisa Jo Sagolla writes that “Hill’s crucial role in modern dance history is comprehensively delineated in Janet Mansfield Soares’ exemplary 2009 biography, Martha Hill & the Making of American Dance. Yet director Greg Vander Veer’s smartly constructed documentary bears viewing, even by those who’ve thoroughly digested Soares’ book.”

Author Janet Mansfield Soares was a student, colleague, and teacher of dance composition with Martha Hill at the Juilliard School and is a professor emerita of dance at Barnard College, Columbia University.

Janet Mansfield Soares and her book, Martha Hill & the Making of American Dance

Janet Mansfield Soares and her book, Martha Hill & the Making of American Dance.

Martha Hill, along with contemporaries like Martha Graham, Hanya Holm, and Doris Humphrey, broke away from the old-world paradigms of ballet and European dance to create the distinctly American art form of modern dance. Soares traces the social and political forces that shaped Hill’s life, following her as she challenged the expectations placed on women in terms of their physical capabilities. Hill questioned the tenets of “white-gloved” physical education for women, and battled members of the “old boys’ club” in her mission to gain acceptance and status for dance as an independent performing art. Her work was essential in proving female dancers, teachers, and choreographers to be true artists in their own right. In her introduction to Martha Hill & the Making of American Dance, Soares wrote: “Hill worked to position dance as a valued artistic practice, one that belonged in the sociocultural life of campuses and arts centers in the United States and around the world—and one that would gradually shape a cultural entity of its own… [Hill], with her colleagues, managed to transform a many-faceted group of eccentrics into a community of talents with a single goal: to assure the survival of contemporary dance into a new millennium.”

President Gerald Ford greeting Martha Hill in 1976. Courtesy of the Martha Hill Archives.

President Gerald Ford greeting Martha Hill in 1976. Courtesy of the Martha Hill Archives.

#tbt: Tricia’s Rose’s Black Noise

This week’s Throwback Thursday post, the final post for our Black History Month series, features one of Wesleyan University Press’ best-selling titles, Tricia Rose’s Black Noise: Rap Music and Black Culture in Contemporary America. Rose’s book is one among many published by Wesleyan on African American music and musicians. Other books include Monument Eternal: The Music of Alice Coltrane, by Franya J. Berkman, on the life and work of Alice Coltrane as a composer, improviser, and guru; the classic text Music of the Common Tongue: Survival and Celebration in African American Music, by Christopher Small, who explored the origins, nature, and function of music in human life; and Jazz Consciousness: Music, Race, and Humanity, by Paul Austerlitz, who provides a scholarly argument to support the theory of a wide-reaching jazz consciousness—an aesthetic of inclusiveness—considering jazz within the African diaspora and in varying transnational scenes, from Finland to the Dominican Republic.

 MusicArt copy

In Black Noise, Rose grapples with the lyrics, music, cultures, themes, and styles of rap music, and discusses the most salient issues and debates that surround it. She writes, “Rap music brings together a tangle of some of the most complex social, cultural, and political issues in contemporary American society. Rap’s contradictory articulations are not signs of absent intellectual clarity; they are a common feature of community and popular cultural dialogues that always offer more than one cultural, social, or political viewpoint. These unusually abundant polyvocal conversations seem irrational when they are severed from the social contexts where everyday struggles over resources, pleasure, and meanings take place.”

In the following excerpt, Rose discusses the deep political implications present in rap music:

Rap music is, in many ways, a hidden transcript. Among other things, it uses cloaked speech and disguised cultural codes to comment on and challenge aspects of current power inequalities. Not all rap transcripts directly critique all forms of domination; nonetheless, a large and significant element in rap’s discursive territory is engaged in symbolic and ideological warfare with institutions and groups that symbolically, ideo­logically, and materially oppress African Americans. In this way, rap music is a contemporary stage for the theater of the powerless. On this stage, rappers act out inversions of status hierarchies, tell alterna­tive stories of contact with police and the education process, and draw portraits of contact with dominant groups in which the hidden tran­script inverts/subverts the public, dominant transcript. Often rendering a nagging critique of various manifestations of power via jokes, stories, gestures, and song, rap’s social commentary enacts ideological insubor­dination.

In contemporary America, where most popular culture is electroni­cally mass-mediated, hidden or resistant popular transcripts arc readily absorbed into the public domain and subject to incorporation and in­validation. Cultural expressions of discontent are no longer protected by the insulated social sites that have historically encouraged the re­finement of resistive transcripts. Mass-mediated cultural production, particularly when it contradicts and subverts dominant ideological posi­tions, is under increased scrutiny and is especially vulnerable to incorpo­ration. Yet, at the same time, these mass-mediated and mass-distributed alternative codes and camouflaged meanings are also made vastly more accessible to oppressed and sympathetic groups around the world and contribute to developing cultural bridges among such groups. More­ over, attacks on institutional power rendered in these contexts have a special capacity to destabilize the appearance of unanimity among powerholders by openly challenging public transcripts and cultivating the contradictions between commodity interests, (“Docs it sell? Well, sell it, then.”)and the desire for social control (“We can’t let them say that.”) Rap’s resistive transcripts arc articulated and acted out in both hidden and public domains, making them highly visible, yet difficult to contain and confine. So, for example, even though Public Enemy know pouring it on in metaphor is nothing new, what makes them “prophets of rage with a difference” is their ability to retain the mass-mediated spotlight on the popular cultural stage and at the same time function as a voice of social critique and criticism. The frontier between public and hidden transcripts is a zone of constant struggle between dominant and subordinate groups. Although electronic mass media and corporate consolidation have heavily weighted the battle in favor of the powerful, contestations and new strategies of resistance are vocal and contentious. The fact that the powerful often win does not mean that a war isn’t going on.

Rappers are constantly taking dominant discursive fragments and throwing them into relief, destabilizing hegemonic discourses and at­tempting to legitimate counter hegemonic interpretations. Rap’s con­testations are part of a polyvocal black cultural discourse engaged in discursive “wars of position” within and against dominant discourses. As foot soldiers in this “war of position,” rappers employ a multifaceted strategy. These wars of position are not staged debate team dialogues; they are crucial battles in the retention, establishment, or legitimation of real social power. Institutional muscle is accompanied by social ideas that legitimate it. Keeping these social ideas current and transparent is a constant process that sometimes involves making concessions and ad­justments. As Lipsitz points out, dominant groups “must make their triumphs appear legitimate and necessary in the eyes of the vanquished. That legitimation is hard work. It requires concession to aggrieved populations…it runs the risk of unraveling when lived experiences conflict with legitimizing ideologies. As Hall observes, it is almost as if the ideological dogcatchers have to be sent out every morning to round up the ideological strays, only to be confronted by a new group of loose mutts the next day.” Dominant groups must not only retain legitimacy via a war of maneuver to control capital and institutions, but also they must prevail in a war of position to control the discursive and ideological terrain that legitimates such institutional control. In some cases, dis­cursive inversions and the contexts within which they are disseminated directly threaten the institutional base, the sites in which Gramsci’s wars of maneuver are waged.

In contemporary popular culture, rappers have been vocal and un­ruly stray dogs. Rap music, more than any other contemporary form of black cultural expression, articulates the chasm between black urban lived experience and dominant, “legitimate” (e.g., neoliberal) ideolo­gies regarding equal opportunity and racial inequality. As new ideologi­ al fissures and points of contradiction develop, new mutts bark and growl, and new dogcatchers are dispatched. This metaphor is particu­larly appropriate for rappers, many of whom take up d-Og as part of their nametag (e.g., Snoop Doggy Dog, Tim Dog, and Ed O.G. and the Bull­ dogs). Paris, a San Francisco-based rapper whose nickname is P-dog, directs his neo-Black Panther position specifically at ideological fissures and points of contradiction:

P-dog commin’ up, I’m straight low
Pro-black and it ain’t no joke
Commin’ straight from the mob that broke shit last time,
Now I’m back with a brand new sick rhyme.
So, black, check time and tempo
Revolution ain’t never been simple

Submerged in winding, dark, low, bass lines, “The Devil Made Me Do It” locates Paris’s anger as a response to white colonialism and positions him as a “low” (read underground) voice backed up by a street mob whose commitment is explicitly pro-black and nationalist. A self­ proclaimed supporter of the revived and revised Oakland-based Black Panther movement, Paris (whose logo is also a black panther) locates himself as a direct descendent of the black panther “mob that broke shit last time” but who offers a revised text for the nineties. Paris’s opening line, “this is a warning” and subsequent assertion, “So don’t ask next time I start this, the devil made me do it,” along with his direct address to blacks “so, black, check time and tempo,” suggest a double address both to his extended street mob and to those whom he feels are respon­sible for his rage. “Check time and tempo” is another double play. Paris, a member of the Nation of Islam (NOI) is referring to the familiar NOI cry, “Do you know what time it is? It’s nation time!” and the “time and tempo” based nature of his electronic, digital musical production. Later, he makes more explicit the link he forges between his divinely inspired digitally coded music and the military style of NOI programs:

P-dog with a gift from heaven, tempo 116.7
Keeps you locked in time with the program
When I get wild I’ll pile on dope jams.

Speaking to and about dominant powers and offering a commitment to military mob-style revolutionary force, P-dog seems destined to draw the attention of Hall’s ideological dogcatchers. Although revolution has never been simple, it seems clear to Paris that not only will it be televised, it will have a soundtrack, too.

Tricia Rose is Professor of American Studies at University of California at Santa Cruz. She is also the author of Longing to Tell: Black Women Talk about Sexuality and Intimacy.

#tbt: “a big train roaring through a long tunnel”

 Afam-wup-tbtBlog-pic copy

In honor of Black History Month, this week’s Throwback Thursday sheds light on some of the African American and Caribbean intellectual and scholarly works published by Wesleyan University Press. Not only has Wesleyan published a number of scholarly works that fall into the category of African American and Caribbean studies, we also recently became the distributor of works by the formative Jamaican-American author and journalist, J.A. Rogers. In keeping with Wesleyan’s tradition, we are very excited about a groundbreaking book coming this May, Why Haiti Needs New Narratives, in which Wesleyan anthropology professor Dr. Gina Athens Ulysse explores many facets of the aftermath of the devastating earthquake that struck Haiti in 2010.

There are many highlights in Wesleyan’s African American and Caribbean Studies list, from film scholar Christopher Sieving’s Soul Searching: Black-Themed Cinema From the March On Washington to the Rise of Blaxploitation, which examines African American commercial cinema prior to the advent of more commonly known “blaxploitation” movies, to seminal older works by renowned historian George M. Fredrickson, The Black Image in the White Mind and The Arrogance of Race.

Today’s excerpt is from Horatio T. Strother’s The Underground Railroad in Connecticut. Though it was published in 1962, the book maintains its relevance in today’s conversations about the development of slavery and abolitionism in America. Strother’s book is based on the masters thesis he wrote as a graduate student at the University of Connecticut. Having held a long fascination with what, as a child, he’d imagined as “a big train roaring through a long tunnel,” he persisted with the project, despite being told that there was not enough information available to form a cohesive thesis. Strother defied this warning and went on to uncover new material on the subject. At a time when the oral tradition was not held in high regard by mainstream scholars, Strother made a bold decision to include oral accounts of first generation descendants of people involved in the shepherding of escaped slaves. Sadly, Strother died in a tragic swimming accident at age 44, cutting short a promising academic career.

In Chapter 3 of the book, Strother describes the lives of three slaves who escaped to Connecticut. The first is William Grimes, whose life in Connecticut and eventual decision to purchase his own freedom is described in the following excerpt.

from The Underground Railroad in Connecticut:

But Grimes found it difficult to make a living in east­ern Connecticut, so he returned to New Haven. There he found work at Yale College, shaving, barbering, “waiting on the scholars in their rooms,” and doing odd jobs for other employers on the side. Six or eight months later he heard that a barber was needed at the Litchfield Law School—Tapping Reeve’s famous establishment—and there he went in the year 1808. He became a general serv­ant to the students and was also active as a barber, earning fifty or sixty dollars per month. “For some time,” he said, “I made money very fast; but at length, trading horses a number of times, the horse jockies would cheat me, and to get restitution, I was compelled to sue them; I would sometimes win the case; but the lawyers alone would reap the benefit of it. At other times, I lost my case, fiddle and all, besides paying my attorney…. Let it not be imag­ined that the poor and friendless are entirely free from oppression where slavery does not exist; this would be fully illustrated if I should give all the particulars of my life, since I have been in Connecticut.”

Back in New Haven in the year 1812 or 1813, Grimes met and soon married Clarissa Caesar, a colored girl whom he called “the lovely and all accomplished.” She was also a “lady of education,” teaching him all the reading and writ­ing he ever knew. Because his situation was not entirely safe—he was still a runaway slave and still, before the law, his master’s property—Grimes and his bride returned to “the back country” of Litchfield, where they bought a house and settled down. And just as he had feared, his owner eventually learned of his whereabouts and sent an emissary, a brisk and rude fellow called Thompson, to re­claim him. This man confronted the fugitive with a plain choice: he could buy his freedom, or Thompson would “put him in irons and send him down to New York, and then on to Savannah.” Grimes described his state of mind and his subsequent actions as follows:

To be put in irons and dragged back to a state of slavery, and either leave my wife and children in the street, or take them into servitude, was a situation in which my soul now shudders at the thought of having been placed. … I may give my life for the good or the safety of others, but no law, no consequences, not the lives of millions, can authorize them to take my life or liberty from me while innocent of any crime. I have to thank my master, how­ ever, that he took what I had, and freed me. I gave a deed of my house to a gentleman in Litchfield. He paid the money for it to Mr. Thompson, who then gave me my free papers. Oh! how my heart did rejoice and thank God.

Thus William Grimes became a free man, to live out the rest of his long life as his own man in a free state. Yet, as he came to set down his memoirs in later years, he viewed the condition of slavery and the condition of freedom in a somewhat ambivalent light:

To say that a man is better fed, and has less care [in slavery] than in the other, is false. It is true, if you re­gard him as a brute, as destitute of the feelings of human nature. But I will not speak on the subject more. Those slaves who have kind masters are perhaps as happy as the generality of mankind. They are not aware what their condition can be except by their own exertions. I would advise no slave to leave his master. If he runs away, he is most sure to be taken. If he is not, he will ever be in the apprehension of it; and I do think there is no induce­ment for a slave to leave his master and be set free in the Northern States. I have had to work hard; I have often been cheated, insulted, abused and injured; yet a black man, if he will be industrious and honest, can get along here as well as any one who is poor and in a situation to be imposed on. I have been very fortunate in life in this respect. Notwithstanding all my struggles and sufferings and injuries, I have been an honest man.

Read the rest of Chapter 3 here to learn more about Grimes, as well as two other former slaves who utilized the Underground Railroad.

We hope our readers will join us in celebrating Black History Month this February, with some great books!

#tbt: A note from Langston Hughes

This small flyer was recently unearthed from files relating to our 1962 publication The Underground Railroad in Connecticut, by Horatio T. Strother.

 HughesFlyer72

Wesleyan’s esteemed editor, José Rollin de la Torre Bueno, was seeking Hughes as a pre-publication reader for the book. Hughes regretted that he could not act as a reader, being busy with his own projects and on account of having:

..been away a great deal from New York…twice to California, twice to Africa, and having just now come back a few weeks ago from abroad…. I have just sent to the press my book on the NAACP; now I have one other long overdue book deadline to meet, not counting the numerous magazine articles and other things that I have promised. While I was away, mail piled up to the ceiling and I have now in front of me at least a half dozen new books in proofs and others that publishers have sent me that I have had no more than a chance to glance at.

The above flyer, advertising Hughes’s gospel song-play, Black Nativity, accompanied his letter. On the reverse there is a hand-written note explaining that the play would be performed in Spoleto, Italy. The European debut of the play was at the Spoleto Festival. Then the play moved to London, where it was taped for a television special by the Westinghouse Broadcasting Company.

#tbt: Evie Shockley’s “ode to my blackness”

Throughout the month of February, we will be celebrating Black History Month. Today’s Throwback Thursday post is a poem by Evie Shockley: “ode to my blackness,” from her collection the new black. Wesleyan University Press has published the works of many notable African American and Caribbean poets. Some recent books include Testimony, by Yusef Komunyakaa, The Little Edges, by Fred Moten, and Zong!, by M.NourbeSe Philip. We are pleased to announce that the long out of print book She Tries Her Tongue, Her Silence Softly Breaks, also by Philips, will be reissued by Wesleyan in the fall, with a new foreword by Shockley. And don’t forget we have a new book from Honorée Jeffers, The Glory Gets, coming this spring!

Poetry Banner

 

ode to my blackness

you are my shelter from the storm
and the storm
my anchor
and the troubled sea
* * *
nights casts you warm and glittering
upon my shoulders some would
say you give off no heat some folks
can’t see beyond the closest star
* * *
you are the tunnel john henry died
to carve
i see the light
at the end of you the beginning
* * *
i dig down deep and there you are at the root of my blues
you’re all thick and dark, enveloping the root of my blues
seem like it’s so hard to let you go when i got nothing to lose
* * *
without you, I would be just
a self of my former shadow

Evie Shockley is an associate professor of English at Rutgers University and the author of a half-red sea, the chapbook The Gorgon Goddess, and Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry.

#tbt: Joseph Ceravolo’s “Night Wanderer”

Today’s Throwback Thursday poem is Joseph Ceravolo’s “Night Wanderer” from Collected Poems.

In his lifetime, Ceravolo published six books. The publication of Collected Poems made these six books available again, and also includes a substantial amount of work that has never been in print. Collected Poems offers the first full portrait of Ceravolo’s aesthetic trajectory, bringing to light his highly original voice that often operated at a remove from his contemporaries.

Ceravolo’s poem, “Hidden Bird,” also found in Collected Poems, was selected for the anthology The Best American Poetry, 2014. The paperback edition of Collected Poems is due out in April, 2015.

 

 Ceravolo Blog Post

Night Wander

Eyes without light,

night without eyes,

scum of the earth, primordial skin.

A black, a beautiful universe.

Skin and eyes and fever

travels within itself

into the other.

Do not be afraid.

 

Recline with your hopes

on this resplendent day.

Birds cry out to the morning,

the ground calls me brother.

I crawl to you

wiped out,

stains on the heart.

O you who from our eyes is hid

with one odor

one note

and no explosion at all.

 

JOSEPH CERAVOLO (1934–1988) was a poet and civil engineer who was born in Astoria, Queens, and lived in New Jersey. He was the author of six books of poetry and won the first Frank O’Hara Award.

Ceravolo was not the only Wesleyan poet to be honored for a stand-out poem. Rae Armantrout’s “Control,” from Just Sayingwas also included in The Best American Poetry, 2014

 

 

#tbt: Martin Luther King in Connecticut

January 19th will mark the annual celebration of the life and work of Dr. Martin Luther King, Jr. This week’s Throwback Thursday post is dedicated to Dr. King, his time spent in Connecticut (both as an unknown student and as a national leader), and the reaction of Hartford residents to his tragic assassination.

 MLK-1966

Dr. Martin Luther King, Jr. addresses Wesleyan students in 1963. Courtesy of Wesleyan University.
Read one student’s memory of the visit here.

This first passage is from an essay by Connecticut historian Stacey Close, “Rev. Dr. Martin Luther King, Jr., Connecticut, and Non-Violent Protest.” The essay, found in African American Connecticut Explored, explains the impact of Dr. King on African Americans in Connecticut and, in turn, the influence of Connecticut residents on the Civil Rights movement. It begins with the story of King’s first trip to Connecticut.

As a teenager in 1944 Martin Luther King, Jr. became part of a long tradition of southern students venturing to Connecticut to spend the summer working in the state’s tobacco fields. The teenager joined a group of students from Atlanta, Georgia’s Morehouse College at work on a Simsbury, Connecticut, farm. In My Life with Martin Luther King, Jr., Coretta Scott King recalled that her eventual husband experienced an incredible sense of “freedom” while in Connecticut. Unlike in the South, King and other southern youth ate in restaurants and visited local theaters without having to deal with the horror of legalized segregation. Coretta Scott King argued that the opportunity to lead devotional services with other students that summer started Martin on the road to becoming a minister. This visit to Connecticut had a major impact on the teenage King, but his relationship with Connecticut did not stop there. Later efforts by Connecticans would make important contributions to the non-violent civil rights movement he led in the South. People from Connecticut would frequently travel south to bolster the civil rights movement, and Dr. King’s visits to Connecticut would helped to support and transform African American communities in urban areas here.

In addition to Close’s essay, and other essays dealing with Civil Rights era Connecticut, we find historian Cynthia Reik’s moving essay, “What Would Dr. King Want You to Do?” Her essay deals with King’s tragic assassination and the reaction of school children in Hartford.

  uccello1968

Hartford mayor Ann Uccello with students, 1968. Hartford History Collection, Hartford History Center, Hartford Public Library

On Thursday evening, April 4, 1968, Dr. Martin Luther King, Jr. was assassinated at the Lorraine Motel in Memphis, Tennessee. In response, riots erupted in Hartford’s North End. People were angry about the lack of progress on King’s dream: integrated education, housing, a fair judicial system, and jobs. Republican Mayor Ann Uccello, the first woman elected mayor of a Connecticut municipality and the first woman in the U.S. elected mayor of a capital city, went into the rioting area in a police cruiser on Thursday evening against the advice of most of her administration, carrying but not wearing a riot helmet. The Hartford Times reported that she toured the public housing complexes, “mingling with the people, trying to let them know the city cared.”

The police cordoned off the North End and used massive doses of tear gas to quiet the rioters. Residents in the city’s West End reported that the tear gas was so heavy that it drifted to Elizabeth Park. Showing the extent to which the city was divided, one Fox Scholar graduate of Hartford Public High School, Tom Smith, then attending college nearby, drove to join his family in the North End to share their sorrow but was turned away by police.

Friday morning, after extensive rioting, when Hartford Public High School (where I was a teacher) opened at 7:30 a.m., John Gale (Hartford Public High School class of 1969) recalled that many students remained outdoors, uncertain as to whether it was appropriate to enter the school. The student body was then about 50 percent African American, 15 percent Latino, and the rest white. The principal of Hartford Public High, Dr. Duncan Yetman, came outside to address the reluctant students, asking the question, “What would Dr. King want you to do?” Most students came inside and went to their homerooms for attendance. Over the P.A. system, Dr. Yetman gave students the option of remaining for a regular day or coming down to the office to phone home for parental permission to leave school. For two hours students tied up the office phones, making arrangements to leave.

Instead of going directly home, however, four hundred or more students walked down Farmington Avenue to St. Joseph Cathedral and asked the rector, Monsignor Father John S. Kennedy, to hold a memorial service for Dr. King. Msgr. Kennedy agreed. During this impromptu service, The Hartford Courant’s David Rhinelander reported, Kennedy said, “the Rev. Dr. King was a great black man. He was ‘perhaps the greatest man of his generation.’”

Visit the book page to learn more about African American Connecticut Explored, which covers the state’s African American history from the Colonial era through the Civil Rights era. A full list of topics covered is found at the book page.