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#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.

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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: 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.

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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.

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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.

 

 

Haiti, 5 Years Later: “Tout moun se moun, men tout moun pa menm.”

January 12, 2015, marks the fifth anniversary of the catastrophic magnitude 7.0 earthquake that struck Haiti. The epicenter was near Léogane, approximately 16 miles west of the capital city, Port-au-Prince. By the January 24, 2010, at least 52 aftershocks measuring 4.5 or greater had been recorded. The death toll has been estimated at between 200,000 and 300,000 individuals lost. Hundreds of thousands of homes and commercial buildings were destroyed. In short, Haiti was devastated. Haiti—a country already in a precarious position given its centuries-long history of national debt, unfair trade policies imposed by outside nations, and the other, often unhelpful, foreign interventions.

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READ AN EXCERPT HERE.

Wesleyan University Press will release Why Haiti Needs New Narratives: A Post-Quake Chronicle in May of this year. The author, Haitian-American anthropologist Gina Athena Ulysse, makes sense of the discussions surrounding her homeland in the wake of the tragedy of the earthquake and its aftermath, including the battle against cholera, the mistreatment of Haitian women and children, and the nation’s ongoing political turmoil. As Robin D.G. Kelley points out in his foreword to the book, “Ulysse wants to know how we arrived at this point, when Haiti is treated much like the random bodies of homeless people, whose deaths we’ve come to expect but not mourn?” You can read an excerpt from Ulysse’s work here, a piece titled “Haiti’s Future: A Requiem for the Dying,” dated February 4, 2010.

As Ulysse makes clear, in order to have a meaningful discussion on the state of Haiti today, one must look to the past. On January 1, 1804, Jean-Jacques Dessalines declared Haitian independence—the outcome of a successful slave revolt. Although Haiti would now be free, France and other European powers forced the island nation to pay 150 million francs in reparations for the loss of “property” in slaves and land. Western powers refused to trade with Haiti, hoping to choke the life out of a black free state. Today, unfair trade practices continue to plague Haiti and its workforce—not to mention the long history of oppressive and genocidal acts committed against Haitians by the government of its neighbor, The Dominican Republic.

Ulysse also looks at the treatment of Haiti in both the press and popular media. Haiti is often, mistakenly, seen as a dark “other.” Voudou, the prominent earth-based religion of Haiti, is often mis-interpreted, mis-appropriated, and maligned as “Voodoo,” seen by European-Americans as a dark and dangerous power. While Haiti remains the poorest nation in the Western Hemisphere, to restrict the nation to dystopian narratives of desperation obscures the complexity of the republic and comes dangerously close to dehumanizing Haitians.

Why Haiti Needs New Narratives is largely a reaction to mainstream news coverage of the catastrophic quake of 2010. Ulysse observed that much coverage reproduced longstanding narratives of Haiti and stereotypes of Haitians. In response, she embarked on a writing spree that lasted over two years, and a resulted in a large body of dispatches, op-eds and articles on post-quake Haiti. As an ethnographer and a member of the diaspora, Ulysse delivered critical cultural analysis of geopolitics and daily life in Haiti, with the aim of making sense of how the nation and its subjects continue to negotiate sovereignty in a world where, according to a Haitian saying, tout moun se moun, men tout moun pa menm (All people are human, but all humans are not the same). Why Haiti Needs New Narratives contains thirty pieces, most of which were previously published in and on Haitian TimesHuffington PostMs MagazineMs BlogNACLA, and other print and online venues. The book is trilingual (English, Kreyòl, and French) and includes a foreword by award-winning author and historian Robin D.G. Kelley. It will be published on May 25, 2015.

Today, Haiti continues to be rocked by political turmoil in the form of protests over the delay of elections. Read more about the protests, calling for the resignation of President Michel Martelly, here. The need for better infrastructure and health care continues. You can view recent photographs from Haiti, here, provided by Susan Schulman for The Guardian newspaper.

#tbt: “To come to rest; strike bottom; land…”

Today’s Throwback Thursday poem is Amy Newman’s “To come to rest; strike bottom; land: The world first fell from the firmament,” from the book Fall. In this collection of poems, Newman draws upon 72 definitions of the word “fall,” each definition serving as a poem’s title.

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To come to rest; strike bottom; land:

The world first fell from the firmament.

 

In the beginning. Out of the most original begins the world,

its wish of industry, the main idea,

this first weather, a breeze across God’s face,

new craft swifting, moored, in the unharbored sky.

 

While we were in effort dreamed—a wordless dream of evers,

the still un-world buzzing in a magnet’s pull,

humming our eyes swift under their translucence, images

in slow motion—while we were dreamed, the world solid shape

 

pulled its mathematical issue from the density of sky,

the filaments of matter in their depth, dirt, color.

And out of this we must have arrived, without luggage.

What would be our eventual.

A sweet primary shift to be the ordered world.

 

When I lean in, I feel a fibrous answer,

the burden of the heart hanging in its chest, a little fruit,

and it hurts with its tiny weight, the logarithm

of the pre-made world—the pre-world

firmament, soft, inviting, into which—

 

by invitation, or uninvited—we

spread ourselves among the Eden. Raised

to its first power. Into that temperate, unforced place,

entwined as promise beneath the trees, we arrived, the fallible human material.

 

AMY NEWMAN is Associate Professor of English at Northern Illinois University and author of Order, or Disorder (1995), which received the Cleveland State University Poetry Center Prize, and Camera Lyrica (1999), which received the Beatrice Hawley Award.

 

Gerald Vizenor visits Minneapolis and the White Earth Nation

Gerald Vizenor read at the Bockley Gallery, in Minneapolis, on November 14th, where Louise Erdrich introduced him.

Vizenor then headed northwest, approximately 225 miles, to visit the White Earth Nation. On November 19th, he was a co-signer of the Constitution of the White Earth Nation. At this time, Dr. Vizenor was honored with a golden eagle feather for his service as a delegate and principal writer of the Constitution.

His latest literary works are Blue Ravens and Favor of Crows: New and Collected Haiku. Attendees of AWP 2015, in Minneapolis, can enjoy a Wesleyan sponsored panel (event F214), a “Tribute to Gerald Vizenor.” Panelists, including Heid Erdrich, Gerald Vizenor, Kimberly Blaeser, Gordon Henry, and Margaret Noodin, will discuss Dr. 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. The panel is on Friday, April 10th, 1:30pm – 2:45pm. Attendees can meet with Gerald at Wesleyan booth #907, after the panel, where he will sign copies of his books until 4:30pm. Favor of Crows: New and Collected Haiku will be available in paperback for the first time.

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Erma Vizenor, Chief of the White Earth Nation, honors Gerald Vizenor with a golden eagle feather for service as a delegate and principal writer of the Constitution of the White Earth Nation.

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Gerald Vizenor signing the official documents as a delegate and principal writer of the Constitution of the White Earth Nation. The Constitution Signing was held at the White Earth Nation on November 19, 2014.

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Louise Erdrich introduces Gerald Vizenor at a reading of Blue Ravens at the Bockley Gallery in Minneapolis, November 14, 2014. This event was co-sponsored by Birchbark Books, a store operated by a spirited collection of people who believe in the power of good writing, the beauty of handmade art, the strength of Native culture, and the importance of small and intimate bookstores. Photograph, copyright John Ratzloff, 2014.

 

#tbt: Mel Brooks’ dancing alien, from “Spaceballs”

This week’s throwback Thursday post is dedicated to director Mel Brooks! He is one of many directors interviewed in The Director Within: Storytellers of Stage and Screen by Rose Eichenbaum. The photograph of Brooks, below, is one of many images from the book.

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To honor Brooks and his ongoing ability to make us laugh long and hard, we picked a clip from his movie Spaceballs (1987).

Mel Brooks is a master of comedy. From film to theatrical productions, his work has earned him the highest honors bestowed on an entertainer: an Emmy, a Grammy, an Oscar, and a Tony Award—to name a few. As Brooks fans know, the filmmaker loves to spoof historic events, popular culture, books, and other films. Such parodies include Young Frankenstein, Dracula: Dead and Loving It, High Anxiety, and Spaceballs. 

When asked why he’s chosen to create so many parodies, Brooks responded:

“All I’m doing is reliving the movies I loved as a little boy. With Young Frankenstein I was reviving the gorgeous films by James Whale, Frankenstein (1931) and The Bride of Frankenstein (1935). High Anxiety is a tribute to Hitchcock. Spaceballs I made for my son, Max Brooks, who loved Star Trek and Star Wars. I dolled them up, of course, with a lot of different themes and feelings.”

Directors featured in the book The Director Within include:

• Michael Apted
• Robert Benton
• Peter Bogdanovich
• James L. Brooks
• Mel Brooks
• James Burrows
• John Carpenter
• Joseph Cedar
• Richard Donner
• Jonathan Frakes
• Lesli Linka Glatter
• Taylor Hackford
• Walter Hill
• Arthur Hiller
• Reginald Hudlin
• Doug Hughes
• Lawrence Kasdan
• John Landis
• Barry Levinson
• Rod Lurie
• Emily Mann
• Kathleen Marshall
• Rob Marshall
• Michael Mayer
• Paul Mazursky
• Mira Nair
• Hal Prince
• Brett Ratner
• Gary Ross
• Mark Rydell
• Jay Sandrich
• Susan Stroman
• Julie Taymor
• Robert Towne
• Tim Van Patten

Rose Eichenbaum will be signing copies of her books, The Director Within and The Dancer Within at Chavelier’s Books in Los Angeles this Saturday. She will be joined by performer-authors Zippora Karz and Victoria Tennant. Read more about the event and participants here.

#tbt: “Democracy” by prisoner Stephen Todd Booker, for his mother

Today’s Throwback Thursday poem is “Democracy,” from the book Tug, which was written by Stephen Todd Booker, a prisoner on Florida’s death row.

 

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DEMOCRACY

A dandelion seed of a woman,
She, the daughter hated by her own
Mother and sisters for having two sons—
Because perhaps too she wasn’t so alone
As to agree that black men were evil,
Each an agent of Satan, the devil;
Nor could she revel in the slaughter
Of her brothers, and became outspoken
In refusing to speak ill of anyone.
For that she was persona non grata,
And even mentioning her name was shunned.
It probably helped to kill my Mother,
Never being let back into the warmth
Of what should’ve been a familial sun.

Many another dandelion seed,
While buffeted by the four winds’ reprise,
Will invariably still crave the love
Of her own blood-kin, and suffer the need
To be needed by them—so what if lies.
And that is the way she gets dealt the card
Filling her cupboard with nothing but lard,
As her siblings maintain their faith in fate,
Their girths increasing along with their hate—
Prosperity telling them they have guts,
They telling themselves nigguhmen need nutts.
Across town, Sis will live by candlelight,
And chicken-delight, or take-out chinese.
She will teach her sons to pray on their knees.

Sometimes allmotherfuckinnight she prayed;
Or, she’d writhe in pain, unable to sleep,
Fighting a migraine she had had for days.
In the morning, she’d be a quantum leap
Ahead of her time, and again her long,
Go-getter legs would have her up, swinging—
She, the very embodiment of strong.
Once dead, you would have sworn by the keening
Of her sisters and Mother she was loved.
Once cremating her, that mission was scrubbed.
In the posthaste time, both sisters and Mother
Were squabbling over her meager estate.
One son claimed it his law; the other
Quietly watched them dicker and debate.

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You can read more about Booker’s work and his troubled life in the New York Times.

The first book on hip-hop sampling as a musical process—now with a new foreword and afterword

We are pleased to announce new edition of Making Beats: The Art of Sample-Based Hip-Hop, by Joseph G. Schloss with a new foreword by Jeff Chang.

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Based on ten years of research among hip-hop producers, Making Beats was the first work of scholarship to explore the goals, methods, and values of a surprisingly insular community. Focusing on a variety of subjects—from hip-hop artists’ pedagogical methods to the Afrodiasporic roots of the sampling process to the social significance of “digging” for rare records—Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values, and cultural realities. Making Beats won the International Association for the Study of Popular Music’s (IASPM) Book Award 2005, and is now looked upon as one of the foundational works of hip-hop scholarship. This second edition of the book includes a new foreword by Jeff Chang and a new afterword by the author.

For more details, click here.

Also available as an ebook—check with your favorite ebook retailer.

#tbt: Vicente Huidobro, from “Altazor”

Today’ Throwback Thursday selection is an excerpt from Vicente Huidobro’s avant-garde classic Altazor. Considered untranslatable until the appearance of Eliot Weinberger’s celebrated translation in 1988, Altazor appeared again in Wesleyan’s 2004 revised translation with an expanded introduction. In the introduction, Weinberger explains the origins of the work: “Alto, high; azor, hawk. Altazor, a poem in seven cantos, written by a Chilean living in Paris. Begun in 1919 and published in 1931, the poem spans those extraordinary optimistic years between global disasters. An age that thought itself post-apocalyptic: the war to end all wars was fought and over, and now there was a new world to create. A time when the West was, literally and figuratively, electrified; when the mass production of telephones, automobiles, movies, record players, toasters, radios, skyscrapers, airplanes, bridges, cameras, blimps, and subways, matched an aesthetic production obsessed with celebrating the new, and aesthetics that (in Margaret Bourke-White’s famous remark) found dynamos more beautiful than pearls.”

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The world enters through my eyes
Enters through my hands my feet
Enters through my mouth and goes out through my pores
As celestial insects as clouds of words
Silence the earth will give birth to a tree
My eyes in the grotto of hypnosis
Gnaw on the universe that runs through me like a tunnel
A bird shudder flutters my shoulders
A shudder of inner waves and wings
A ladder of wings and waves in my blood
The cables of my veins snap
And it leaps out from my flesh
Out through the doors of the earth
And past the startled doves

Inhabitant of your fate
Why do you want to abandon your fate?
Why do you want to break the chains of your star
And travel alone through space
Falling across your body from your heights to your depths?

I don’t want the bonds of star or wind
Moon bonds are fine for the sea and women
Give me my violins of rebellious vertigo
My freedom of escaped music
There’s no danger at the little crossroads of night
No mystery about the soul

 # # #

Interestingly, in the introduction, Weinberger notes a possible connection to Alastor (is Altazor and anagram for Alastor?), “Shelley’s long poem of ‘a youth of uncorrupted feelings and adventurous genius led forth by an imagination inflamed and purified through familiarity with all that is excellent and majestic, to the contemplation of the universe.’ Shelley’s Romantic poet-hero, first at peace with the ‘infinite and unmeasured,’ grows dissatisfied with eternity, and in the end is literally consumed, killed, by desire for the Other he has invented in his total solitude. In contrast, Huidobro’s Nietzschean anti-poet/hero abandons his Other (the beloved of Canto II) to reach satori in the pure energy of pure language.”

 

 

VICENTE HUIDOBRO (1893-1948), a politically engaged Chilean who lived mainly in Europe, was a trilingual poet, painter, war correspondent, founder of newspapers and literary magazines, Hollywood screenwriter, and candidate for president of Chile. ELIOT WEINBERGER’s recent books are Karmic Traces, 9/12 and The New Directions Anthology of Classical Chinese Poetry. His edition of Jorge Luis Borges’ Selected Non-Fictions received the National Book Critics Circle Award for criticism.