Furious Flowering offers students, scholars, readers, and writers of African-American poetry a chance to take part in an unprecedented discussion of a complex literary culture.

AFRICAN-AMERICAN POETRY, with its wellsprings in jazz and vernacular culture and its inescapable political dimension, stands among the most important bodies of literary work of the twentieth century. This collection of essays and six lively interviews with practicing poets, arising from the now-famous Furious Flower Conference of 1994, provides a mosaic of the major critical and aesthetic issues emerging from the poetry and its literary milieu. African-American poets writing in the last fifty years have raised their voices in the struggle against racism, sexism, political and economic exploitation, violence, and injustice. Gwendolyn Brooks, Rita Dove, Haki Madhubuti, Sonia Sanchez, Amiri Baraka (aka LeRoi Jones), Joyce Ann Joyce, Sherley Anne Williams, Michael S. Harper, Margaret Walker and many others have created lyrical beauty in their exploration of public and private concerns. Unlike any previous scholarship, The Furious Flowering of African American Poetry draws readers into a dialogue with leading poets and critics of African-American literature and culture. The interviews and critical essays address the adequacy and appropriateness of theoretical models for assessing the work of black poets, the construction of a literary framework in which to place the poets and their work, and the art and purpose of the poets themselves. Furious Flowering offers students, scholars, readers, and writers of African-American poetry a chance to take part in an unprecedented discussion of a complex literary culture.

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.

In the 1930s African Americans faced three distinct historical crises that impacted the lives of African Americans directly--the Great Depression, the existential-identity crisis, and the Italo-Ethiopian War, with its threat of a race war. A sizeable body of black poetry was produced in this decade, which captured the new modes of autonomy through which black Americans resisted these social calamities. Much of it, however, including the most influential protest poems, was dismissed as "romantic" by major, leftist critics and anthologists. Anthems, Sonnets, and Chants: Recovering the African American Poetry of the 1930s, by Jon Woodson, uses social philology to unveil social discourse, self fashioning, and debates in poems gathered from anthologies, magazines, newspapers, and individual collections. The first chapter examines three long poems, finding overarching jeremiadic discourse that inaugurated a militant, politically aware agent. Chapter two examines self-fashioning in the numerous sonnets that responded to the new media of radio, newsreels, movies, and photo-magazines. The third chapter shows how new subjectivities were generated by poetry addressed to the threat of race war in which the white race was exterminated. The black intellectuals who dominated the interpretative discourses of the 1930s fostered exteriority, while black culture as a whole plunged into interiority. Anthems, Sonnets, and Chants delineates the struggle between these inner and outer worlds, a study made difficult by a contemporary intellectual culture which recoils from a belief in a consistent, integrated self.

"Published in the USA by New Issues Poetry and Prose"--Title page verso.

Furious Flower: African-American Poetry from the Black Arts Movement to the Present Edited by Joanne V. Gabbin The Furious Flower Conference of 1994 represented the largest gathering of African American writers at one event in nearly thirty years. In that crucial span of time, African American poetry had evolved into an art less overtly political and more introspective; it had also shown dramatic growth—both in the number of its readers and its practitioners. As a second Furious Flower Conference prepares to convene, Joanne Gabbin has assembled a remarkable selection of works by the Furious Flower participants. The forty-three poets cover three generations, ranging from such established voices as Michael Harper, Nikki Giovanni, and the late Gwendolyn Brooks, in whose honor the conference was organized, to a host of rising young writers who are reimagining America in the language of a hip-hop nation. Furious Flower provides a fascinating collective portrait of African American poetry at the close of the twentieth century—as well as an indication of where it may be headed as we enter the twenty-first. The book includes biographies of the contributors and a dynamic collection of performance photographs by C. B. Claiborne featuring many of the Furious Flower participants as they appeared at the original 1994 conference. Contributors Gwendolyn Brooks * Samuel Allen * Adam David Miller * Pinkie Gordon Lane * Naomi Long Madgett * Dolores Kendrick * Garrett McDowell * Raymond R. Patterson * Alvin Aubert * Amiri Baraka * Sonia Sanchez * Lucille Clifton * Jayne Cortez * Eugene B. Redmond * Michael S. Harper * Askia M. Touré * Sterling D. Plumpp * Toi Derricotte * Everett Hoagland * Haki R. Madhubuti * Bernice Johnson Reagon * Nikki Giovanni * Jerry W. Ward Jr. * Lorenzo Thomas * Yusef Komunyakaa * Kalamu ya Salaam * Dorothy Marie Rice * Lamont B. Steptoe * Quo Vadis Gex-Breaux * E. Ethelbert Miller * Mona Lisa Saloy * Afaa Michael Weaver * Rita Dove * Opal Moore * Cornelius Eady * Carole B. Weatherford * Lenard D. Moore * Sharan Strange * Adisa Vera Beatty * Elizabeth Alexander * Jabari Asim * Joel Dias-Porter (DJ Renegade) * Thomas Sayers Ellis * John Keene * Natasha Trethewey * Major Jackson * Kevin Young * Garrett McDowell Published in association with the Center for American Places

This book sheds new light on the work of Robert Hayden (1913–80) in response to changing literary scholarship. While Hayden’s poetry often reflected aspects of the African American experience, he resisted attempts to categorize his poetry in racial terms. This fresh appreciation of Hayden’s work recontextualizes his achievements against the backdrop of the Black Arts Movement and traces his influence on contemporary African American poets. Placing Hayden at the heart of a history of African American poetry and culture spanning the Harlem Renaissance to the Hip-Hop era, the book explains why Hayden is now a canonical figure in 20th-century American literature. In deep readings that focus on Hayden’s religiousness, class consciousness, and historical vision, author Derik Smith inverts earlier scholarly accounts that figure Hayden as an outsider at odds with the militancy of the Black Arts movement. Robert Hayden in Verse offers detailed descriptions of the poet’s vigorous contributions to 1960s discourse about art, modernity, and blackness to show that the poet was, in fact, an earnest participant in Black Arts-era political and aesthetic debates.

A literary landmark: the biggest, most ambitious anthology of Black poetry ever published, gathering 250 poets from the colonial period to the present Across a turbulent history, from such vital centers as Harlem, Chicago, Washington, D.C., Los Angeles, and the Bay Area, Black poets created a rich and multifaceted tradition that has been both a reckoning with American realities and an imaginative response to them. Capturing the power and beauty of this diverse tradition in a single indispensable volume, African American Poetry reveals as never before its centrality and its challenge to American poetry and culture. One of the great American art forms, African American poetry encompasses many kinds of verse: formal, experimental, vernacular, lyric, and protest. The anthology opens with moving testaments to the power of poetry as a means of self-assertion, as enslaved people like Phillis Wheatley and George Moses Horton and activist Frances Ellen Watkins Harper voice their passionate resistance to slavery. Young’s fresh, revelatory presentation of the Harlem Renaissance reexamines the achievements of Langston Hughes and Countee Cullen alongside works by lesser-known poets such as Gwendolyn B. Bennett and Mae V. Cowdery. The later flowering of the still influential Black Arts Movement is represented here with breadth and originality, including many long out-of-print or hard-to-find poems. Here are all the significant movements and currents: the nineteenth-century Francophone poets known as Les Cenelles, the Chicago Renaissance that flourished around Gwendolyn Brooks, the early 1960s Umbra group, and the more recent work of writers affiliated with Cave Canem and the Dark Room Collective. Here too are poems of singular, hard-to-classify figures: the enslaved potter David Drake, the allusive modernist Melvin B. Tolson, the Cleveland-based experimentalist Russell Atkins. This Library of America volume also features biographies of each poet and notes that illuminate cultural references and allusions to historical events.

For poet Tiana Clark, trees will never be just trees. They will also and always be a row of gallows from which Black bodies once swung. This is an image that she cannot escape, but one that she has learned to lean into as she delves into personal and public histories, explicating memories and muses around race, elegy, family, and faith by making and breaking forms as well as probing mythology, literary history, her own ancestry, and, yes, even Rihanna. I Can’t Talk About the Trees without the Blood, because Tiana cannot engage with the physical and psychic landscape of the South without seeing the braided trauma of the broken past—she will always see blood on the leaves.

It’s become commonplace in contemporary culture for critics to proclaim the death of poetry. Poetry, they say, is no longer relevant to the modern world, mortally wounded by the emergence of new media technologies. In Poetry Unbound, Mike Chasar rebuts claims that poetry has become a marginal art form, exploring how it has played a vibrant and culturally significant role by adapting to and shaping new media technologies in complex, unexpected, and powerful ways. Beginning with the magic lantern and continuing through the dominance of the internet, Chasar follows poetry’s travels off the page into new media formats, including silent film, sound film, and television. Mass and nonprint media have not stolen poetry’s audience, he contends, but have instead given people even more ways to experience poetry. Examining the use of canonical as well as religious and popular verse forms in a variety of genres, Chasar also traces how poetry has helped negotiate and legitimize the cultural status of emergent media. Ranging from Citizen Kane to Leave It to Beaver to best-selling Instapoet Rupi Kaur, this book reveals poetry’s ability to find new audiences and meanings in media forms with which it has often been thought to be incompatible. Illuminating poetry’s surprising multimedia history, Poetry Unbound offers a new paradigm for understanding poetry’s still evolving place in American culture.