Lenard D. Moore and African American Haiku: Merging Traditions identifies Moore as a primary figure in the American Haiku Movement as well as a significant contributor to the field of African American haiku. Ce Rosenow analyzes the ways in which Moore combines haiku with a variety of other traditions: African American storytelling, jazz poetry, ekphrasis, and elegies. An examination of Moore’s haibun, a Japanese form combining prose and haiku, reveals the further development of the African American aesthetic created in his individual poems. Ultimately, the author argues that Moore’s decades-long engagement with haiku and his prolific publication history solidify haiku as an established form in African American poetry.
Known internationally for his Japanese-style poetry, Lenard D. Moore (b. 1958) has published eight poetry collections over the course of his career. Moore has distinguished himself especially in such forms as jazz poetry, haiku, tanka, renga, sequence, and haibun, expressing moments of aesthetic delight as well as a voice enriched with African American culture. Conversations with Lenard D. Moore is a fundamental collection of sixteen interviews with the esteemed writer and former president of the Haiku Society of America. To Moore, jazz is a joyful celebration of American life and culture. The impacts of such great jazz musicians as Max Roach, John Coltrane, Thelonious Monk, Duke Ellington, and Ray Charles are clear in his poetry. The conversations collected here lead the reader into Moore’s creative mind, demonstrating his fusion of African American music, culture, and history into poetry, especially his jazz poetry, jazzku, and bluesku. In interviews that range from 1995 to 2023, Moore reveals his capabilities and responsibilities as a contemporary poet, professor, mentor, editor, and organizer. This volume serves as an indispensable source for writers and readers of poetry and African American literature.
A poetry collection by internationally acclaimed poet Lenard D. Moore focusing on jazz music as an experience and an inspiration. In The Geography of Jazz, Moore celebrates jazz music and jazz musicians. Some of the poems address specific events. Others honor individual artists. Many do both. While the poems may not initially signal the rhythms of jazz in their presentation on the page, they convey jazz rhythms through Moore's deft handling of the poetic line and his use of formal techniques including but not limited to assonance, onomatopoeia, and repetition. This collection also includes a new poetic form, jazzku, an innovation that recalls Japanese haiku and tanka.
Black Nature is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated. Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry--anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild. Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements. Black Nature brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole. A Friends Fund Publication.
Set deep in the Appalachian wilderness between the years of 1779 and 1784, The Land Breakers is a saga like the Norse sagas or the book of Genesis, a story of first and last things, of the violence of birth and death, of inescapable sacrifice and the faltering emergence of community. Mooney and Imy Wright, twenty-one, former indentured servants, long habituated to backbreaking work but not long married, are traveling west. They arrive in a no-account settlement in North Carolina and, on impulse, part with all their savings to acquire a patch of land high in the mountains. With a little livestock and a handful of crude tools, they enter the mountain world—one of transcendent beauty and cruel necessity—and begin to make a world of their own. Mooney and Imy are the first to confront an unsettled country that is sometimes paradise and sometimes hell. They will soon be followed by others. John Ehle is a master of the American language. He has an ear for dialogue and an eye for nature and a grasp of character that have established The Land Breakers as one of the great fictional reckonings with the making of America.
American Haiku: New Readings explores the history and development of haiku by American writers, examining individual writers. In the late nineteenth century, Japanese poetry influenced through translation the French Symbolist poets, from whom British and American Imagist poets, Amy Lowell, Ezra Pound, T. E. Hulme, and John Gould Fletcher, received stimulus. Since the first English-language hokku (haiku) written by Yone Noguchi in 1903, one of the Imagist poet Ezra Pound’s well-known haiku-like poem, “In A Station of the Metro,” published in 1913, is most influential on other Imagist and later American haiku poets. Since the end of World War II many Americans and Canadians tried their hands at writing haiku. Among them, Richard Wright wrote over four thousand haiku in the final eighteen months of his life in exile in France. His Haiku: This Other World, ed. Yoshinobu Hakutani and Robert L. Tener (1998), is a posthumous collection of 817 haiku Wright himself had selected. Jack Kerouac, a well-known American novelist like Richard Wright, also wrote numerous haiku. Kerouac’s Book of Haikus, ed. Regina Weinreich (Penguin, 2003), collects 667 haiku. In recent decades, many other American writers have written haiku: Lenard Moore, Sonia Sanchez, James A. Emanuel, Burnell Lippy, and Cid Corman. Sonia Sanchez has two collections of haiku: Like the Singing Coming off the Drums (Boston: Beacon Press, 1998) and Morning Haiku (Boston: Beacon Press, 2010). James A. Emanuel’s Jazz from the Haiku King (Broadside Press, 1999) is also a unique collection of haiku. Lenard Moore, author of his haiku collections The Open Eye (1985), has been writing and publishing haiku for over 20 years and became the first African American to be elected as President of the Haiku Society of America. Burnell Lippy’s haiku appears in the major American haiku journals, Where the River Goes: The Nature Tradition in English-Language Haiku (2013).Cid Corman is well-known not only as a haiku poet but a translator of Japanese ancient and modern haiku poets: Santoka, Walking into the Wind (Cadmus Editions, 1994).
The overwhelming power of the erotic imagination is brought to full flower in this masterful collection of African-American writings. With pieces from more than seventy writers, Dark Eros explores the erotic possibilities as imagined and reported by authors both well-known and emerging. Using the literary to trace the range of the erotic impulse, this collection of writers and writings---poetry, fiction, and essays---covers the length and breadth of styles and emotions in contemporary African-American writing. As editor Reginald Martin notes, "The pieces collected in this volume throb with the tempo and tenor of writers who have defined the erotic verve of our urban times. Los Angeles, New York City, Miami, New Orleans-every place there is a bus line or dance club has produced African-American eroticism..." The result is a volume that is both compelling and necessary---an exploration of the African-American through the erotic.
