This is an inquiry into the blues and the mind, a study of the blues as thought. The subconscious power of the blues is examined from a poetic and psychological perspective, illuminating the blues' deepest creative sources and exploring its far-reaching influence and appeal. Like Surrealist poetry in particular, blues communicate through highly charged symbols of aggression and desire--eros, crime, magic, night, and drugs, among others. An analysis of classic blues lyrics, along with source material from Freud and James Frazer, to Breton and Marcuse, conveys the blues' major poetic function of spiritual revolt against repression.
While much has been written about the sociological significance of the blues, this is a unique inquiry into the blues and the mind, a study of the blues as thought. Here, the subconscious power of the blues is examined from a poetic and psychological perspective, illuminating the blues' deepest creative sources and exploring its far-reaching influence and appeal. Like Surrealist poetry in particular, blues communicate through highly charged symbols of aggression and desire-eros, crime, magic, night, and drugs, among others. A close analysis of classic blues lyrics, along with a wealth of source material from Freud and James Frazer, to Breton and Marcuse, conveys the blues' major poetic function of spiritual revolt against repression. First published in 1975, Blues and the Poetic Spirit is a blues literature classic. This long-awaited new edition assesses developments in the blues since that time and outlines the social and political forces that continue to shape its evolution.
Born in African American work songs, field hollers, and the powerful legacy of the spirituals, the blues traveled the country from the Mississippi delta to “Sweet Home Chicago,” forming the backbone of American music. In this anthology–the first devoted exclusively to blues poems–a wide array of poets pay tribute to the form and offer testimony to its lasting power. The blues have left an indelible mark on the work of a diverse range of poets: from “The Weary Blues” by Langston Hughes and “Funeral Blues” by W. H. Auden, to “Blues on Yellow” by Marilyn Chin and “Reservation Blues” by Sherman Alexie. Here are blues-influenced and blues-inflected poems from, among others, Gwendolyn Brooks, Allen Ginsberg, June Jordan, Richard Wright, Nikki Giovanni, Charles Wright, Yusef Komunyakaa, and Cornelius Eady. And here, too, are classic song lyrics–poems in their own right–from Bessie Smith, Robert Johnson, Ma Rainey, and Muddy Waters. The rich emotional palette of the blues is fully represented here in verse that pays tribute to the heart and humor of the music, and in poems that swing with its history and hard-bitten hope.
This collection of ten critical essays is the first scholarly criticism of haiku by Sonia Sanchez, who has exemplified herself for six decades as a major figure in the Black Arts Movement, a central activist in civil rights and women’s movements, and an internationally-known writer in American literature. Sanchez’s haiku, as an integral and prominent part of contemporary African American poetry, have expressed not only her ideas of nature, beauty, and harmony but also her aesthetic experience of music, culture, and love. Aesthetically, this experience reflects a poetic mind which has helped the poet to shape or reimage her poetic spirit.
National bestseller An ALA Notable Book Three-term poet laureate Joy Harjo offers a vivid, lyrical, and inspiring call for love and justice in this contemplation of her trailblazing life. Joy Harjo, the first Native American to serve as U.S. poet laureate, invites us to travel along the heartaches, losses, and humble realizations of her "poet-warrior" road. A musical, kaleidoscopic, and wise follow-up to Crazy Brave, Poet Warrior reveals how Harjo came to write poetry of compassion and healing, poetry with the power to unearth the truth and demand justice. Harjo listens to stories of ancestors and family, the poetry and music that she first encountered as a child, and the messengers of a changing earth—owls heralding grief, resilient desert plants, and a smooth green snake curled up in surprise. She celebrates the influences that shaped her poetry, among them Audre Lorde, N. Scott Momaday, Walt Whitman, Muscogee stomp dance call-and-response, Navajo horse songs, rain, and sunrise. In absorbing, incantatory prose, Harjo grieves at the loss of her mother, reckons with the theft of her ancestral homeland, and sheds light on the rituals that nourish her as an artist, mother, wife, and community member. Moving fluidly between prose, song, and poetry, Harjo recounts a luminous journey of becoming, a spiritual map that will help us all find home. Poet Warrior sings with the jazz, blues, tenderness, and bravery that we know as distinctly Joy Harjo.
A romantic noir novel, in verse, set in present-day Rome. Gangsters and conmen, Hollywood moviemaking, an unforgettable femme fatale, sex and scheming, constant surprises, and the ever-present spirit of John Keats.
"Abide in me," Jesus tells us, "and you will bear much fruit." Yet too often we forget that fruit needs different seasons in order to grow. We measure our spiritual maturity by how much we do rather than how we are responding to our current spiritual season. In Spiritual Rhythm, Mark Buchanan replaces our spirituality of busyness with a spirituality of abiding. Sometimes we are busy, sometimes still, sometimes pushing with all we've got, sometimes waiting. This model of the spiritual life measures and produces growth by asking: Are we living in rhythm with the season we are in? With the lyrical writing for which he is known, Mark invites us to respond to every season of the heart, whether we are flourishing and fruitful, stark and dismal, or cool and windy. In comparing spiritual rhythms to the seasons of the year, he shows us what to expect from each season and how embracing the seasons causes our spiritual lives to prosper. As he draws on the powerful words of Scripture, Mark explores what activities are suitable or necessary in each season--and what activities are useless or even harmful in that season. Throughout the book, Mark weaves together stories of young and old, men and women, families, couples, and individuals who are in or have been through a particular season of the heart. As Mark writes, "I pray that this book meets you in whatever season you're in, and prepares you for whatever seasons await. I pray that it helps you find your voice, your stride, your rhythm, in season or out. Mostly, I pray that you, with or without my help, find Christ wherever you are. And that, even more, you discover that wherever you are, he's found you."
Black Music, Black Poetry offers readers a fuller appreciation of the diversity of approaches to reading black American poetry. It does so by linking a diverse body of poetry to musical genres that range from the spirituals to contemporary jazz. The poetry of familiar figures such as Paul Laurence Dunbar and Langston Hughes and less well-known poets like Harryette Mullen or the lyricist to Pharaoh Sanders, Amos Leon Thomas, is scrutinized in relation to a musical tradition contemporaneous with the lifetime of each poet. Black music is considered the strongest representation of black American communal consciousness; and black poetry, by drawing upon such a musical legacy, lays claim to a powerful and enduring black aesthetic. The contributors to this volume take on issues of black cultural authenticity, of musical imitation, and of poetic performance as displayed in the work of Paul Laurence Dunbar, Langston Hughes, Sterling Brown, Amiri Baraka, Michael Harper, Nathaniel Mackey, Jayne Cortez, Harryette Mullen, and Amos Leon Thomas. Taken together, these essays offer a rich examination of the breath of black poetry and the ties it has to the rhythms and forms of black music and the influence of black music on black poetic practice.
All of the published poetry of James Baldwin, including six significant poems previously only available in a limited edition During his lifetime (1924–1987), James Baldwin authored seven novels, as well as several plays and essay collections, which were published to wide-spread praise. These books, among them Notes of a Native Son, The Fire Next Time, Giovanni’s Room, and Go Tell It on the Mountain, brought him well-deserved acclaim as a public intellectual and admiration as a writer. However, Baldwin’s earliest writing was in poetic form, and Baldwin considered himself a poet throughout his lifetime. Nonetheless, his single book of poetry, Jimmy’s Blues, never achieved the popularity of his novels and nonfiction, and is the one and only book to fall out of print. This new collection presents James Baldwin the poet, including all nineteen poems from Jimmy’s Blues, as well as all the poems from a limited-edition volume called Gypsy, of which only 325 copies were ever printed and which was in production at the time of his death. Known for his relentless honesty and startlingly prophetic insights on issues of race, gender, class, and poverty, Baldwin is just as enlightening and bold in his poetry as in his famous novels and essays. The poems range from the extended dramatic narratives of “Staggerlee wonders” and “Gypsy” to the lyrical beauty of “Some days,” which has been set to music and interpreted by such acclaimed artists as Audra McDonald. Nikky Finney’s introductory essay reveals the importance, relevance, and rich rewards of these little-known works. Baldwin’s many devotees will find much to celebrate in these pages. From the Trade Paperback edition.
NEW YORK TIMES BESTSELLER "[A] scorching treatise on toxic masculinity. Joseph’s critiques of “the patriarchy... both overt and ingrained” are razor-sharp, but it’s the clear-eyed reckoning of his own place within it that tethers the soul of his book." —Publishers Weekly "Joseph has learned a great deal from bell hooks here, and I think she would be proud because Patriarchy Blues is such a moving, inspiring, rigorous vision for living.” —Robert Jones, Jr., New York Times bestselling author of The Prophets In this personal and poignant collection, the author of the New York Times bestseller The Black Friend examines the culture of masculinity through the lens of a Black man. What does it mean to be a man today? How does the pervasive yet elusive idea of “toxic masculinity” actually reflect men’s experiences—particularly those of color—and how they navigate the world? In this thought-provoking collection of essays, poems, and short reflections, Frederick Joseph contemplates these questions and more as he explores issues of masculinity and patriarchy from both a personal and cultural standpoint. From fatherhood, and “manning up” to abuse and therapy, he fearlessly and thoughtfully tackles the complex realities of men’s lives today and their significance for society, lending his insights as a Black man. Written in Joseph’s unique voice, with an intelligence and raw honesty that demonstrates both his vulnerability and compassion, Patriarchy Blues forces us to consider the joys, pains, and destructive nature of manhood and the stereotypes it engenders.
