Monday, October 7, 2013

LeRoi Jones/1963


LeRoi Jones /1963

 

It seems to be an innocent use of time when we celebrate memory at intervals of fifty years.  The ghosts of things past, however, can become rowdy.  Things can get out of hand.

Reflection on then and now, dignity, and solemnity could have marked celebration of the historic March on Washington. The March was not about Dr. King and a good Baptist sermon about dreaming.  The trek to the nation’s capital in 1963 was about the sacrifices made by thousands for social justice.  The ghosts of the past and the media gave scant attention to original intent. The cameras focused on bickering among heirs of history and the seduction of self-advertisement.

Time does not bow to desire for neat patterns.  James Weldon Johnson published Fifty Years and Other Poems in 1917 not 1913.  We have no opportunity to say he celebrated the Emancipation Proclamation (1863) fifty years later.  We could alter history and say LeRoi Jones’s publishing Blues People, a landmark work in vernacular cultural theory, in 1963 was a special salute to Johnson’s admonition “to find a form that will express the racial spirit by symbols from within rather than by symbols from without.”  Without resorting to the ahistorical, we can say LeRoi Jones did salute Johnson.  He theorized that the music of the enslaved, the blues, and jazz was a better manifestation of racial spirit than what could be found in “Negro literature.”  In this way, Jones acknowledged Johnson’s insights about the ineluctable connections of music, poetry and spirit.  We celebrate Jones [Amiri Baraka] and Blues People fifty years later by asking what the book tells us about 2013.

The lines

Who killed Malcolm, Kennedy & his Brother

Who killed Dr. King, Who would want such a thing?

 

                  Are they linked to the murder of Lincoln?

 

from Baraka’s long poem “Somebody Blew Up America”  (2001) is a dense warning that we may want to be careful in remembering November 22, 1963 and the assassination of President John F. Kennedy.  We do well to interpret Baraka’s questions in the context of political murder in the United States of American, a context saturated with awareness that terrorism is ferocious, amoral, and vengeful.  We benefit from remembering that for fifty years Jones/Baraka has sandpapered our minds with light.

 

Jerry W. Ward, Jr.           October 7, 2013    

 

Monday, September 30, 2013

Answer to a Chinese Colleague


Wang: Besides “Race” or “Racial issues” in the study of African American literary criticism, “Gender issues,” or “Gender equality” has been foregrounded at least since the 1970s. What do you think of different approaches/aspects in black feminism and their possible tendencies in the new century?

 

 

Ward:  Any thinking I do in this area of cultural study is centered on womanism not feminism, because Alice Walker’s making a distinction between the womanist and feminist perspectives was a key moment in intellectual history.[1] Her distinction is a warrant for investigating gender as a thread of concern interwoven with other threads we call class, biology, race, and ethnicity, of seeing the fabric through the lens of American history. Inspecting the 19th century fabric and texture enables us to find similar patterns in the literary criticism that has been manufactured since the 1970s.

Discussions of gender in the North were apparent in abolitionist debates about the evils of enslaving Africans and African Americans, and those debates were enlarged by proposals from the Woman’s Rights Convention of 1848. In the antebellum South, black women inscribed their gender issues in the narratives they wrote or dictated, in oral traditions, in successful flights to freedom.  After the American Civil War, African American women wrote what Claudia Tate aptly named “domestic allegories of political desire,” were exceptionally active in promoting literary and education, and in disputing with white feminists that women’s rights pertained to women as a class; in these quarrels we discern how race and economic status made gender equality problematic. Leap to 1920.  American women finally got the right to vote, but that political gesture left many gender and racial issues unresolved.  Just as abolitionist efforts in the 19th century provided models for women’s assertive actions, so too did the long struggle of African American women (notably Ida B. Wells, Fannie Lou Hamer, and Ella Baker ) and men for civil rights provide a template for political and literary actions among women, the upsurge of Women’s Liberation and feminist theorizing which smashed against the every-present wall of  race, ethnic, and class interests and the immense capability of globalization to reinforce abuses of women. 

Cultural critics should use the discipline of history to study the fragmentation and bifurcation of feminism and womanism. We should learn from such twentieth-century writers, scholars and critics as Trudier Harris, Carolyn Fowler, Farah Frances Smith Foster, Gloria T. Hull, Audre Lorde, Jacqueline Jones Royster, Deborah McDowell, Darlene Clark Hine, Elizabeth McHenry, Claudia Tate, Nell Irvin Painter, Andree Nicola McLaughlin, Nellie McKay, Joanne V.  Gabbin, Brenda Marie Osbey, Sherley Anne Williams, Margaret Walker, Octavia Butler, Toni Cade Bambara, Thadious M. Davis, Hortense Spillers, Maryemma Graham, Barbara Christian and dozens of other women ----all of whom worked assiduously to build foundations for twenty-first- century work.

In a near future, the tendency in African American literary criticism may lean toward androgyny, more exploration of gender’s bending and blending without minimizing the need to use literary knowledge in substantive critiques of material conditions perpetuated by the gendered rhetorics of public policy, sex traffic and religious bondage, of the gap between wealth and poverty in the African Diaspora and everywhere else, and of  the now permanent threat of amoral terrorism. I would hope that significantly more attention would be given to excellent qualities in women’s minds and their contributions to science, sports, statespersonship, and life-affirming literature and culture and less to shameless praise of women’s bodies in the transnational neo-slave auctions of “beauty pageants.”  This new century offers many opportunities to spend our enormous intellectual capital wisely, particularly in efforts to minimize the cruelties human beings inflict upon human beings.  Many of our colleagues would argue rigorously that such is not the responsibility of scholars.  If they are right and I am wrong, I shall hold fast to my heresy and transgressions.

 

 



[1] See Alice Walker. In Search of Our Mothers’ Gardens. New York: Harcourt Brace Jovanovich, 1983.

Tuesday, September 24, 2013

Eugene Redmond and Enlightenment


Eugene B. Redmond and Enlightenment

 

Responding to my comments on Angela Jackson’s Where I Must Go as a luminous web, Eugene B. Redmond raised the stakes.  Might we not need “a theo-religo-soular corollary,” namely a reconsideration of Howard Thurman’s The Luminous Darkness (1965)? The answer: Yes. In thunder.

Just as the literary discourse of Nathan A. Scott, Jr. drew my attention to presence within the text, Howard Thurman’s Christian writings quicken my noticing that theological and religious allusions in the novel’s text bespeak absence or yearning in the act of reading the text.  The critical absence pertains to subtle morality that makes the act of reading an existential act.  Once again, Redmond has done a bit of “re-w (rap) ping.”  Thurman’s meditation on what happens to the human spirit and neighborliness after the walls of segregation have tumbled down is explicit in the plot of Where I Must Go.  By way of making an intertextual connection, Redmond gave me an onus that exceeds any finitude I might assume exists in the aesthetics of reading.  Using the wisdom of racialized oral tradition, Redmond sends me back to roots.

I react to Redmond’s onus of memory much as I react to Curtis Mayfield’s Roots album, recorded at Chicago’s RCA Studios and released October 1971. Listen to the tracks “Underground” and “Keep On Keeping On.” Redmond has sponsored a shock of enlightenment, a shock of recognition.  Behind all the veils of spectacular theory and well-wrought criticism the obligation to examine one’s soul remains permanent. Nature abhors a vacuum.  The soul abhors absence.

Never underestimate the power of real poet/critics and righteous singers and philosopher/theologians in African/African American traditions to make a reader ponder how the souls of black folk got over the bridge of black writing.

 

Jerry W. Ward, Jr.                                                   

September 24, 2013

Monday, September 23, 2013

Angela Jackson: The Novel as Luminous Web


Angela Jackson: The Novel as Luminous Web

 

It is not uncommon for writers to use many genres to provoke thought about historical time.  It is unusual, however, to consider that the interplay of genres shapes our larger visions of time and life.

 

Reading a stanza from Angela Jackson’s poem “The Spider Tells Her Horror Stories”

 

Even I

have no sufficient howl.

Not enough thunder

in the cups of my eyes

To slit irises, let out

the barren spaces, the

besieged lives.

 

[[Dark Legs and Silk Kisses: The Beatitudes of the Spinners (Evanston, IL: Triquarterly Books, 1993), pp. 38-39]]

against, or in tandem with, her novel Where I Must Go (Evanston, IL: Triquarterly Books/Northwestern University Press, 2009), brings into being what Nathan A. Scott, Jr. described wonderfully in Visions of Presence in Modern American Poetry (Baltimore: The Johns Hopkins University Press, 1993).  Echoing H. D. Lewis, Scott argued that the end toward which poetic art is devoted is the apprehension and disclosure of “the character of particular things in the starkness and strangeness of their being what they are” (2).  Along with the recognition that it is quintessentially “poetic,” Where I Must Go brings the mystery of presence into our line of vision. Jackson’s novel is a luminous web.  Once you enter the poetic architectonics of the web, you are caught in remembering the seductive discord between the popular culture in the 1960s and the life-serious activities of the Civil Rights Movement and integration in higher education, of the rise of Black Studies and Black Power and Afrocentricity, and of Time’s sweeping of us all into modes of the post-whatever.  The quality of remembering, need it be said, is directly dependent on whether you were there in the 1960s or only born into consciousness in the late 1990s.

 

The first-person narration Jackson uses in constructing a story about events at Eden University (substitute Northwestern University in your acts of discerning referentiality) obligates you to pay attention to the work of language in occasioning aesthetic experiences and in sponsoring perplexity about what you thought you understood about American and African American life in the last century. Jackson dislocates racially-marked certainty about the texture of urban experiences, education, and the properties of womanist thinking that has been baptized by Roman Catholic ideologies.  Jackson is a poet and novelist who demands much of her readers.  That fact may explain, in part, why Where I Must Go has not been anointed with rivers of praise and has received scant notice from those who canonize African American novels. Habitation in a luminous web requires labor and love.

 

Jerry W. Ward, Jr.                                                           PHBW BLOG

September 23, 2013

Sunday, September 22, 2013

Upon Hearing That Kofi Awoonor Is Dead

Death, thou art derelict--

your flavor,
your edgeless sting,
your timeless amnesia


explain


your habit of arriving
after we are dead
of dying
after we are dead


Jerry W. Ward, Jr.
September 22, 2013

Friday, September 20, 2013

The sound of an egg instructing an adult crane on how to fly

Troubling Case of Yeliang Xia
September 19, 2013, 12:23 pm
The following is a guest post by Thomas Cushman, a professor of sociology at Wellesley College.
————————————————————————————————

Yeilang Xia, an economics professor at Peking U (left), with Thomas Cushman,  Thmas Cushman,
Yeliang Xia, an economics professor at Peking U. (left), with Thomas Cushman, a professor of sociology at Wellesley College
Earlier this month, faculty members at Wellesley College took an unusual step to protect academic freedom in China: 136 of us signed a public letter addressed to officers of Peking University. The letter expressed grave concern over the fate of Yeliang Xia, a distinguished faculty member in the School of Economics, who says he is being threatened with expulsion from the university. The reason? Arguing for freedom of expression, constitutional democracy, and the rule of law.
Xia is a longtime advocate for human rights and democracy in China, perhaps best known for writing a blog post in 2009 that attacked the rigid censorship policies of Liu Yunshan, who was at the time the head of China’s Ministry of Propaganda. He says professors at the economics school may hold a vote soon to decide whether he is dismissed. Administrators at the university have been silent about the reason for this, but there’s little doubt that his political views are behind the move and that Communist Party officials are pressuring the university to fire him.
So, why did so many Wellesley faculty members—notably from all ranks and disciplines—sign this letter to support Xia? It is rare, and rightly so, for American faculty to get involved so directly in the internal affairs of a foreign university. In this case, however, the situation was different.
In June the president of Wellesley College signed an agreement with the president of Peking University, one of China’s most prestigious universities. It called for, among other things, student and faculty exchanges between the two institutions. Few faculty members had been involved in the planning of the partnership, and it was formed without any direct consent of the faculty as a whole through its Academic Council. In signing the deal, the college’s president entered the faculty of Wellesley College into a formal relationship with the faculty of Peking University, effectively making us all colleagues of Xia. (The faculty learned about Xia’s possible ouster after the agreement was signed.)
The letter restates the importance of academic freedom as the fundamental principle of liberal-arts education. This principle had not been mentioned in any of the public statements regarding the partnership. The Wellesley letter declared, unequivocally, that if Xia were to be terminated, the signatories would ask the college’s president to reconsider the partnership with Peking.
In most cases, when faculty are critical of their institutions’ Chinese partnerships, concerns are directed at their own administrators. But we went further and addressed our concerns to the administration of Peking University. Our intention was to speak to the Chinese authorities and ask them not to infringe on Xia’s academic freedom and his right of freedom of expression. For many of us, coming to his defense was no different a response than it would have been if it were one of our own colleagues at Wellesley. This is the first time, to our knowledge, that a faculty at any American college or university has “taken the fight” to a Chinese partner institution.
Our immediate concern is to save Xia from personal and professional destruction at the hands of the ideologues who continue to engage in “thought management” in Chinese universities. His particular case, however, also illustrates more general problems and paradoxes that arise as American liberal-arts institutions increasingly work in authoritarian countries. What are the rules of engagement when we enter into such partnerships? Have pragmatic considerations come to trump considerations of principle? If we are trying to foster freedom of inquiry and pluralism in our students, what lessons do they learn when we then tell them that considerations of conscience are to be suspended for the sake of engagement and realpolitik? To what extent do we, as liberal-arts institutions, lose our own dignity if we stand by while the dignity of our colleagues is effaced and degraded by our new authoritarian partners?
The best argument in favor of exchanges with China is that it gives our students experiences in a nation that will decisively shape world events over the course of their lives. It is hard to argue that this experience, even under the pall of a kind of polite self-censorship, is valuable for students. There is a strong argument to be made, and has been made by administrators, that our presence there might serve to influence more and more Chinese students on the path to freedom and democracy. And clearly, there are many valuable exchanges that can take place between faculty whose scholarship is on “permitted topics.” Yet these positive possibilities need to be weighed against some of the unintended undesirable consequences of working with China.
The leaders of China have courted American institutions as part of a soft-power strategy aimed at gaining legitimacy for the “Chinese Dream.” This dream is a propaganda construction concocted by Xi Jinping, the president of China, and promotes a sanitized vision of sustainable economic progress in China. But it masks the fundamentally repressive nature of the Communist Party. In their haste to engage with China, many leaders of American universities have fallen prey to these propaganda efforts and seem mostly oblivious to the continuing repression of freedom of speech in China and the lack of meaningful academic freedom in Chinese universities. It is hard to imagine that this is due to ignorance.
When Wellesley College representatives were in Beijing signing agreements with the Peking University, China had just issued a new diktat forbidding the discussion of seven “dangerous” topics in Chinese universities. These so-called speak-nots include: universal values, freedom of speech, civil society, and criticisms of the errors of the Communist Party. Under this new regime of thought control and overt hostility to core liberal ideas and values, one wonders how it is that higher-education partnerships aimed at fostering new ideas and understandings between our nations can be successful.
Xia is one of the original authors and signatories of Charter 08, the foundational document of the modern human-rights movement in China. Though there is some room for critical thinking in China as long as it is carefully managed and stays within the confines of small groups, Xia has been willing to take what most people actually think privately to the street and on social media, where his Weibo account is regularly hacked and censored. He says he has been harassed by police, put under surveillance, and maligned and slandered in the official news media. Because many of our academic leaders have remained consciously silent on the repressive nature of their new partners, it is all the more important that the defense of Xia by American academics be vigorous and unrelenting.
What is needed is a thorough examination of this new rush of American higher-education institutions to work with China. It appears that many of these exchanges are fueled by the political and economic interests of powerful alumni and trustees. Faculty members, in many cases, have been marginalized in the process.
It is not enough for faculties to orchestrate in-house campaigns expressing their discontent with administrative decisions. Instead, faculties have to organize, in opposition to their administrations if need be, to tell our new partners in China—through forms of direct action—that we wholeheartedly desire to have exchanges, but that we will stand for fundamental values of freedom of speech and expression. If they harass, intimidate, and repress our new colleagues, if they subject them to the whimsical vicissitudes of ideological repression, we will find it impossible to work with them. Chinese universities and the regime that controls them have much to lose from persecuting intellectuals such as Xia. If more American academics take a stand against such persecution, it might be possible to invest these partnerships with our fundamental principles and some degree of authenticity rather than have them stand as charades that work against the values and principles of the liberal arts.

Thursday, September 19, 2013

Critical Talk


FUTURE REVOLUTION IN CRITICAL TALK

 

Lu Xun (Zhou Shuren 1881-1936), one of modern China’s most important writers, understood the danger of premature celebrations.  “The first thing is not to become intoxicated by victory,” he wrote in an essay on success in Nanjing and Shanghai,” and not to boast; the second thing is to consolidate the victory; the third is to give the enemy the finishing stroke, for he has been beaten, but is by no means crushed.”  Xun understood that intoxication blurs awareness that victory is always provisional not permanent.  Consider the “victory” of Ralph Ellison’s Invisible Man.  The Randolph County Board of Education in North Carolina wants to ban it. Or the “victory” of being a Nobel Laureate.  Recently, Toni Morrison had to speak out regarding the banning of The Bluest Eye in her native State of Ohio. And Richard Wright has suffered many a year from censorship by exceptional American patriots. International acclaim and respect from some Americans does not preclude one’s being thrown under the bus by other Americans.  Such is the nature of American peoplekind, the universal nature of human beings.

While we celebrate the prizes and more than 15 seconds of fame earned and deserved by some African American writers, artists, and thinkers [[especially those poets who, according to Charles Henry Rowell, “are the first African Americans to be free of outside political and social dicta from blacks and whites commanding them on what and how to write” (Angles of Ascent, xl)]], we still smart from Helen Vendler’s Zimmerman-like dismissal of Rita Dove’s critical judgment.  Gwendolyn Brooks reinforced Xun’s insight when she enjoined us to fight before we fiddle.

Unfortunately, the gravity of 2013 (year of remembering the fifty years between us and the murder of Medgar Evers; the March on Washington; the publication of John A. Williams’s Sissie, LeRoi Jones’s Blues People,   James Baldwin’s The Fire Next Time, John Hope Franklin’s The Emancipation Proclamation, John Oliver Killens’s  And Then We Heard the Thunder; the off-Broadway opening of Langston Hughes’s Tamborines to Glory and William Hairston’s Walk in Darkness;  the murder of four little girls in Birmingham, and the assassination of President John F. Kennedy)—the gravity of this year seems lost on our critics who blithely disconnect their aesthetic  tropes of combative opposition from how the world turned and continues to turn.  We are given so many subliminal smokescreens regarding binary opposition within the colorblinded veil ---- W. E. B. DuBois and Booker T. Washington, Malcolm X and Martin Luther King, Jr., Robert Hayden and Melvin B. Tolson, Richard Wright and James Baldwin, Zora Neale Hurston and Richard Wright, Anita Hill and Clarence Thomas, Langston Hughes and Countee Cullen, Amiri Baraka and J. Saunders Redding, Sarah Webster Fabio and Melvin B. Tolson. It is obvious even to the blind that victory is not consolidated.  Thin as a strand of hair is the line between love and hate.

DuBois’s quite valuable but exhausted idea about “double consciousness” ought to be supplemented by what Chen Xu calls “triple consciousness.”  Victory will not be consolidated until people of no-color behold their faces in their pre- and post-colonial mirrors and truly see what condition their inadequate condition is in.  We can strengthen the integrity of critical talk by allowing them the pleasure of worshipping the Golden Calf and the Signifying Monkey.

Meanwhile, those of us who are not ashamed of being pre-future humanists can take Lawrence P. Jackson’s superb Indignant Generation (2011) and Ira Katznelson’s challenging Fear Itself (2013) as models of genuine, responsible scholarship for our investigations during 2014 (Dudley Randall /Romare Bearden/Ralph Waldo Ellison /Owen Dodson Centennials) and 2015 (Margaret Walker/Willie Dixon/Billie Holiday/John Hope Franklin Centennials). For 2015, Birth of a Nation shall flicker in the background.

There is little to celebrate about the fragile state of independent African American publishing ---newspapers, magazines, or books.  We are still obligated to deal with drone attacks from ice-white caves on the meaning and legacy of the Black Arts Movement.  In our acknowledgement of Margaret Walker’s legacy to the world, we ought to study

A Poetic Equation: Conversations between Nikki Giovanni and Margaret Walker.  Washington: Howard University Press, 1974.

Give special attention to Giovanni’s “Postscript: Emotional Outlaws: Poetic Equations.”  It reveals much about why oppositions are at once combative and complementary.  To be sure, I prefer to align my thinking with Lu Xun as I respect from a distance Gao Xinjian’s  proposal that “literature is helped by people’s life experiences, but its insights far surpass all prognostications” (Aesthetics and Creation, 235).

 

 

Jerry W. Ward, Jr.

September 19, 2013