Carolyn Marie Rodgers Passes

Carolyn Marie Rodgers Passes


ChickenBones: A Journal

for Literary & Artistic African-American Themes



My mother, religiously girdled in / her god, slipped on some love, and laid on my bell like a truck, / blew through my door warm wind from the south concern making her gruff and tight-lipped / and scared that her “baby” was starving. she, having learned, that disconnection results from non-payment of bill (s).



The Passing of Poet

Carolyn Marie Rodgers 

(December 14, 1940—April 2, 2010)

Carolyn Marie Rodgers, poet, playwright and author of ten collections of poetry and short fiction, died April 2, 2010. She will be missed by her family and many friends. A memorial service is being planned for May 4, 2010 in Chicago, IL.— Legacy

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Rodgers was a founding member and a major writer of the Organization of Black American Culture (OBAC) and had her own publishing company, Eden Press. Besides being the author of nine books including How I got Ovah and The Heart as Ever Green, Carolyn was one of the founders of Third World Press along with Jewel Latimore, and Haki R. Madhubuti. Her off Broadway play Love was directed and produced by Woodie King and Ron Milner in 1982 at the New Federal Theater in New York City.—FuneralDigest

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Carolyn Rodgers, a Chicago poet . . . was distinctive as a new black woman poet in the late 1960s, when she published her first two books, for her vehement adherence to the Black Arts program.—Karen Ford

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attended the University of Illinois in 1960, but transferred to Chicago’s Roosevelt University one year later and received her BA in 1965. She began writing as a college freshman. In 1980, she earned a master’s degree in English from the University of Chicago. She achieved a national reputation as a writer whose works largely relate to her concern with feminist issues and a particular concern for Black women. Her poems include “Paper Soul” (1968) and “Songs of a Blackbird” (1969) which hold a strong thematic connection to the ideologies of Black revolutionary thought. Her works also include comments on the roles of women, female identity, and the relationships between mother and daughter. Following the publication and success of Paper Soul, Rodgers was presented with the first Conrad Kent Rivers Memorial Fund Award (1968). After the publication of Songs of a Blackbird, Rodgers received the Poet Laureate Award from the Society of Midland Authors in 1970. Rodgers also received an award from the National Endowment of the Arts. Two other volumes of her poetry, The Heart As Ever Green (1978) and how I got ovah (1975) also shed light on these and other feminist issues.—Voices From the Gaps, Department of English, University of Minnesota  

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 This organization [OBAC], . . . was guided principally by the late Hoyt W. Fuller, Jr., then editor of Black World, and served, if only temporarily, to arrest the psychological frailty of Carolyn Rodgers, who was “slim and straight, and as subtly feminine as a virgin’s blush.” Fuller recalled that when he first met her at an OBAC social function, she was “skinny and scared,” verbalized an interest in writing, and telegraphed a need to be stroked. Being the unhealthy flower she was, Carolyn Rodgers responded naturally to his quiet mood and healing voice. (. . .) The format of the OBAC workshops helped cushion Rodgers’ insecurities; its members provided a strong support system for each other. It was as a member of this literary coterie, this small in-group of novice writers and intellectuals, that she made her initial impact.

In introducing her first volume of poetry, Paper Soul, Fuller prepared us for what was to come: “Carolyn Rodgers will be heard. She has the artist’s gift and the artist’s beautiful country.” This first period of her writing includes her first three volumes, Paper Soul, 2 Love Raps, and Song of a Black Bird. It is characterized by a potpourri of themes and demonstrates her impudence, through the use of her wit, obscenities, the argumentation in her love and revolution poems, and the pain and presence of her mother. She questions the relevance of the Vietnam War, declares war on the cities, laments Malcolm X, and criticizes the contradictory life-style of Blacks. And she glances at God. These are the years that she whipped with the lean switch, often bringing down her wrath with stinging, sharp, and sometimes excruciating pain.—Bettye J. Parker-Smith, “Running Wild in Her Soul: The Poetry of Carolyn Rodgers,” Black Women Writers (1950-1980): A Critical Evaluation, ed. Mari Evans (New York: Anchor Press/Doubleday, 1984), pp. 395-97

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Carolyn Rodgers’ poetry has received more than mild critical interest for some time. It was considered special well before 1976, when her collection, how I got ovah, was a National Book Award nominee. Yet since that time, Rodgers’ reputation has spread considerably. Her poetry is tightly crafted free verse that unpretentiously combines the black American vernacular and the straightforward American style. It is absent of fashionably extreme attitudes, and achieves a distinct presence by cementing private poetic vision with grim but poignant understanding. In The Heart as Ever Green , this fusion of poetic vision and spiritual compassion is extremely pronounced, producing a kind of contemporary black American poetry that is warmly honest, immediately direct, and clearly accessible. . . .

The Heart as Ever Green  is a poetic statement on the condition, attitude, and determination of black people. Carolyn Rodgers has given us a strong, dignified, and beautiful book of poems. At the core of this work is a sensibility that is framed in the notion that black suffering will be alleviated in time. That may be an accurate, perceptive, and honorable belief, but is nonetheless one that not all black contemporary poets would agree with.—Walter Sublette, “Poetic Voices of Hope and Rage,” Chicago Tribune Book World, 19 November 1978,  p. 10.

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Works by the Author

Morning Glory: Poems (1989)

Finite Forms (1985)

Eden and Other Poems (1983)

The Heart as Ever Green (1978)

how I got ovah: New and Selected Poems (1975)

2 Love Raps (1969)

Songs of a Blackbird (1969)

A Statistic, Trying to Make it Home (1969)

Paper Soul (1968)

Blackbird in a Cage (1967)

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Works about the Author

Antar Sudan Katara Mberi. “Reaching for Unity and Harmony,” Freedomways. First Quarter, 1980.

Evans, Marie, ed. Black Women Writers. Garden City: Anchor Doubleday, 1984.

Henderson, Stephen. Understanding New Black Poetry. New York: William Morrow, 1973.

Lee, Don L. Dynamic Voices: Black Poets of the 1960’s. Detroit: Broadside Press, 1971.

Randall, Dudley. The Black Poets. New York: Bantam, 1971.

Rushing, Andrea Benton. “Images of Black Women in Afro-American Poetry. ” Black World, XXIV (September 1975), 18-30.

Ward, Jr., Jerry. Trouble the Water: 250 Years of African-American Poetry. New York: Signet, 1997.

Source: Voices

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 Black Women Writers

Edited by Marie Evans

This unique volume provides each writers reflection on her work, an evaluation of that writer by two perceptive critics, and detailed biographical and bibliographical data. Included are Maya Angelou, Toni Cade Bambara, Nikki Giovanni, Toni Morrison, Alice Walker, and ten other outstanding writers.

This unique volume provides each writers reflection on her work, an evaluation of that writer by two perceptive critics, and detailed biographical and bibliographical data. Included are Maya Angelou, Toni Cade Bambara, Nikki Giovanni, Toni Morrison, Alice Walker, and ten other outstanding writers.

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         By Carolyn M. Rodgers


in the august of your life

you come barefoot to me

the blisters of events

having worn through to the

soles of your shoes.


it is not the time

this is not the time


there is no such time

to tell you

that some pains ease away

on the ebb & toll of


there is no such dream that

can not fail, nor is hope our

only conquest.

we can stand boldly in burdening places (like earth here)

in our blunderings, our bloomings

our palms, flattened upward or pressed,

an unyielding down.


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East of New Haven

                  By Carolyn M. Rodgers


             you see so many

                 graveyards around

             these little towns—

                out in the open

                    spaces & places.


                          i guess big cities

                    have not enough space for the


                             let alone the dead.


there is so much

water here

and back home in

chicago we would call

them rocks, lying all on the ground(s)

lots of rocks around/but

you would call them

stones here.

see how much smoother

the world is.


the farther east we


             the more frequent

are the stops at rich small

quaint towns and the more frequent

are the admonitions to “watch one’s

ticket on the rack above the seat

or to be very sure to take it with

you if you leave your seat!”


                      the very wealthy,


as i ride the train

watching the many white students

eating out of brown paper

sacks, saving their now

money so that they can

be the very wealthy later

oon, also.

Carolyn M. Rodgers, “East of New Haven” from The Heart As Ever Green (Garden City: Anchor Press/Doubleday, 1978).

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                By Carolyn M. Rodgers

I’ve had tangled feelings lately About ev’rything Bout writing poetry, and otha forms Bout talkin and dreamin with a Special man (who says he needs me) Uh huh And my mouth has been open Most of the time but I ain’t been saying nothin but Thinking about ev’rything And the partial pain has been How do I put my self on paper The way I want to be or am and be Not like any one else in this Black world but me

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It Is Deep (don’t never forget the bridge that you crossed over on)                   By Carolyn M. Rodgers

Having tried to use the witch cord that erases the stretch of thirty-three blocks and tuning in the voice which woodenly stated that the talk box was “disconnected” My mother, religiously girdled in her god, slipped on some love, and laid on my bell like a truck, blew through my door warm wind from the south concern making her gruff and tight-lipped and scared that her “baby” was starving. she, having learned, that disconnection results from non-payment of bill (s). She did not recognize the poster of the grand le-roi (al) cat on the wall had never even seen the books of Black poems that I have written thinks that I am under the influence of **communists** when I talk about Black as anything other than something ugly to kill it befo it grows in any impression she would not be considered “relevant” or “Black” but there she was, standing in my room not loudly condemning that day and not remembering that I grew hearing her curse the factory where she “cut uh slave” and the cheap j-boss wouldn’t allow a union, not remembering that I heard the tears when  they told her a high school diploma was not enough, and here now, not able to understand, what she had been forced to deny, still– she pushed into my kitchen so she could open my refrigerator to see what I had to eat, and pressed fifty bills in my hand saying “pay the talk bill and buy some food; you got folks who care about you . . .” My mother, religious-negro, proud of having waded through a storm, is very obviously, a sturdy Black bridge that I crossed over, on.

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“What made her important was her unique use of language and her descriptions of our community,” said Haki Madhubuti, a poet and the founder of Third World Press, which published two early books by Ms. Rodgers, Paper Soul‚ and Songs of a Blackbird‚ “When she read, people would sit up and take notice. Men gravitated toward her like she was a Corvette.”

By the late ’60s she had begun to modify her thinking, shifting from a collective black perspective to an individual one. In the poem “Breakthrough” she addressed her own poetic evolution in progress . . .

Her best-known book, How I Got Ovah: New and Selected Poems, a finalist for the National Book Award in 1976, described her rejection of the revolutionary she once was and the blanket fury that accompanied much of the black power rhetoric of the ’60s. In its place was an embrace of churchliness and spirituality, though not without a vivid sensuousness, as though she had found in Christianity the acceptance of her womanhood that the movement denied. “I think sometimes/when i write/God has his hand on me,” she wrote in the poem “Living Water”‚ “i am his little black slim ink pen.” NYTimes

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I do pray that God will grant us the strength to accept the passage of Carolyn Rodgers into a new life. Jerry

Carolyn Rodgers’s warm and generous nature touched me when I met her back in the early 1970’s. May her spirit continue to bless us. Jeannette

Oh my, i was just watching her read “Affirmations,” what a beautiful, sweet sound, such tremendous gifts!, may peace be upon her and all those who so deeply loved her! Sis Marpessa

Oh no! I am so sorry to hear this! But spirits don’t die! Her soul is still here and God willing, will be provided another body to follow on her mission. Nicole ‘Iguehi’ Oribhabor

Love and lessons can never be lost.. even when lives are. The message and power of her words will guide us future poets through the dark. Our African Sky just got back a star or better yet an angel . . . Ashley Rose

Yes, we remember Carolyn fondly as a great sister and poet of the Chicago Black Arts Movement. She was there when I came through underground from Toronto, Canada as a draft resister. She was an integral part OBAC, along with Haki Madhubuti, Gwen Brooks, Hoyt Fuller and others. We will remember you, Carolyn, peace and love, Marvin X

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Books by Sam Greenlee

The Spook Who Sat By the Door  / Ammunition! Poetry and Other Raps

Baghdad Blues: A Novel  / Blues for an African Princess

“Be-bop man/be-bop woman” 1968-1993: Poetry and other raps

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Blues for Carolyn Rodgers

By Sam Greenlee


I sit there listening and you shuffle the papers, clear your throat and the poetry comes out of your well-shaped, thick lips set in your angular, ebony-chiseled black face, the ear rings dangling along side the long black neck, a pulse beating at the base of your black throat and I dig what you’re saying and it is put together very hip and someone says, let’s see how it looks on the page and it looks good, the black typewriting sprinkled across the white page like black, hungry, angry African ants on Tarzan’s white ass with no Jane with no insecticide around.

And then you start talking about it and I think, damn, baby!  Why don’t you write the way you talk, talking that South Side Black street talk with the vowels spread like a woman’s welcoming thighs; the consonants cool; recalling  the hot black dirt of the Mississippi delta and New Orleans shrimp gumbo, corn bread and collard greens; up through Memphis and St. Louis on the A freedom train north to Chicago on the I. C. railroad; sittin’ up front in the Negro car behind the engine to catch the grit and shit in the fried chicken and Cole slaw in a paper sack. Store front churches on South State Street before the Dan Ryan sat dying there like a big sick snake; old Comiskey Park and the Negro League All-Star game and Satchel Paige kicking his long foot high; the Regal, Rhumboogie, Grand Terrace, and the De Lisa and Earl Hines with Bird and Jug and Klook and Billie Eckstine and Sarah at the El Grotto cabaret in the basement of the Pershing Hotel and my mother, Desoree, the headliner!.  A whole South-Side history in the way you talk, so why write that history in prose as stiff as White folks dancing?

Then one night you shuffle the papers and clear your throat and you singin’, baby, singin’ in that South Side rhythm I ain’t found no place else and I been around the world!  Singin’, baby, a South Side blues and just so I don’t think it’s a mistake; you sing another one, a store front church gospel song; the Black words leaping off the white page and through you and it has all come together for you, the words and rhythms as Black as your ideas; yes, you singing, baby and don’t never stop!  Baby, what you say!

Monday, August 23, 2010 at 12:06pm

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Sam Greenlee—novelist, poet, screenwriter, journalist, teacher and talk show host—was born 13 July 1930 in Chicago. He attended Chicago public schools. At age fifteen,  Greenlee participated in his first sit-in and walked his first picked line. His social activism continues.  In 1952, Greenlee received his B.S. in political science from the University of Wisconsin and the following year attended law school. He transferred to the University of Chicago to study international relations from 1954 to 1957. In 1957, he began a seven-year career with the U.S. Information Agency as a foreign services officer, serving in Iraq, Bangladesh, Indonesia and Greece, and in 1958 he was awarded the Meritorious Service Award for bravery during the Baghdad revolution. Greenlee’s novel The Spook Who Sat By the Door, was published in 1968. Prize-winning its fictionalization of an urban-based war for African American liberation became an underground favorite. Greenlee co-wrote a screenplay adaptation of the novel, and in 1973 The Spook Who Sat by the Door was released on film. The film was an overnight success when it was released but was unexpectedly taken out of distribution. Greenlee has written numerous novels, stage plays, screenplays and poems. He moved back to Chicago after several years of voluntary exile in Spain and West Africa and is hosted a radio talk show program. He is presently working on his autobiography.

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Trouble the Water

Review, Introduction, Table of Contents

*   *   *   *   *’s 25 Best Selling Books



#1 – Justify My Thug by Wahida Clark #2 – Flyy Girl by Omar Tyree #3 – Head Bangers: An APF Sexcapade by Zane #4 – Life Is Short But Wide by J. California Cooper #5 – Stackin’ Paper 2 Genesis’ Payback by Joy King #6 – Thug Lovin’ (Thug 4) by Wahida Clark #7 – When I Get Where I’m Going by Cheryl Robinson #8 – Casting the First Stone by Kimberla Lawson Roby #9 – The Sex Chronicles: Shattering the Myth by Zane

#10 – Covenant: A Thriller  by Brandon Massey

#11 – Diary Of A Street Diva  by Ashley and JaQuavis

#12 – Don’t Ever Tell  by Brandon Massey

#13 – For colored girls who have considered suicide  by Ntozake Shange

#14 – For the Love of Money : A Novel by Omar Tyree

#15 – Homemade Loves  by J. California Cooper

#16 – The Future Has a Past: Stories by J. California Cooper

#17 – Player Haters by Carl Weber

#18 – Purple Panties: An Anthology by Sidney Molare

#19 – Stackin’ Paper by Joy King

#20 – Children of the Street: An Inspector Darko Dawson Mystery by Kwei Quartey

#21 – The Upper Room by Mary Monroe

#22 – Thug Matrimony  by Wahida Clark

#23 – Thugs And The Women Who Love Them by Wahida Clark

#24 – Married Men by Carl Weber

#25 – I Dreamt I Was in Heaven – The Rampage of the Rufus Buck Gang by Leonce Gaiter


#1 – Malcolm X: A Life of Reinvention by Manning Marable #2 – Confessions of a Video Vixen by Karrine Steffans #3 – Dear G-Spot: Straight Talk About Sex and Love by Zane #4 – Letters to a Young Brother: MANifest Your Destiny by Hill Harper #5 – Peace from Broken Pieces: How to Get Through What You’re Going Through by Iyanla Vanzant #6 – Selected Writings and Speeches of Marcus Garvey by Marcus Garvey #7 – The Ebony Cookbook: A Date with a Dish by Freda DeKnight #8 – The Isis Papers: The Keys to the Colors by Frances Cress Welsing #9 – The Mis-Education of the Negro by Carter Godwin Woodson

#10 – John Henrik Clarke and the Power of Africana History  by Ahati N. N. Toure

#11 – Fail Up: 20 Lessons on Building Success from Failure by Tavis Smiley

#12 –The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander

#13 – The Black Male Handbook: A Blueprint for Life by Kevin Powell

#14 – The Other Wes Moore: One Name, Two Fates by Wes Moore

#15 – Why Men Fear Marriage: The Surprising Truth Behind Why So Many Men Can’t Commit  by RM Johnson

#16 – Black Titan: A.G. Gaston and the Making of a Black American Millionaire by Carol Jenkins

#17 – Brainwashed: Challenging the Myth of Black Inferiority by Tom Burrell

#18 – A New Earth: Awakening to Your Life’s Purpose by Eckhart Tolle

#19 – John Oliver Killens: A Life of Black Literary Activism by Keith Gilyard

#20 – Alain L. Locke: The Biography of a Philosopher by Leonard Harris

#21 – Age Ain’t Nothing but a Number: Black Women Explore Midlife by Carleen Brice

#22 – 2012 Guide to Literary Agents by Chuck Sambuchino #23 – Chicken Soup for the Prisoner’s Soul by Tom Lagana #24 – 101 Things Every Boy/Young Man of Color Should Know by LaMarr Darnell Shields

#25 – Beyond the Black Lady: Sexuality and the New African American Middle Class  by Lisa B. Thompson

*   *   *   *   *

Beyond Katrina

A Meditation on the Mississippi Gulf Coast

By Natasha Trethewey

Beyond Katrina is poet Natasha Trethewey’s very personal profile of the Mississippi Gulf Coast and of the people there whose lives were forever changed by hurricane Katrina. Trethewey spent her childhood in Gulfport, where much of her mother’s extended family, including her younger brother, still lives. As she worked to understand the devastation that followed the hurricane, Trethewey found inspiration in Robert Penn Warren’s book Segregation: The Inner Conflict in the South, in which he spoke with southerners about race in the wake of the Brown decision, capturing an event of wide impact from multiple points of view. Weaving her own memories with the experiences of family, friends, and neighbors, Trethewey traces the erosion of local culture and the rising economic dependence on tourism and casinos.

She chronicles decades of wetland development that exacerbated the destruction and portrays a Gulf Coast whose citizens—particularly African Americans—were on the margins of American life well before the storm hit. Most poignantly, Trethewey illustrates the destruction of the hurricane through the story of her brother’s efforts to recover what he lost and his subsequent incarceration.

Renowned for writing about the idea of home, Trethewey’s attempt to understand and document the damage to Gulfport started as a series of lectures at the University of Virginia that were subsequently published as essays in the Virginia Quarterly Review. For Beyond Katrina, Trethewey has expanded this work into a narrative that incorporates personal letters, poems, and photographs, offering a moving meditation on the love she holds for her childhood home.

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Karma’s Footsteps

By Mariahadessa Ekere Tallie

Somebody has to tell the truth sometime, whatever that truth may be. In this, her début full collection, Mariahadessa Ekere Tallie offers up a body of work that bears its scars proudly, firm in the knowledge that each is evidence of a wound survived. These are songs of life in all its violent difficulty and beauty; songs of fury, songs of love. ‘Karma’s Footsteps’ brims with things that must be said and turns the volume up, loud, giving silence its last rites. “Ekere Tallie’s new work ‘Karma’s Footsteps’ is as fierce with fight songs as it is with love songs. Searing with truths from the modern day world she is unafraid of the twelve foot waves that such honesties always manifest. A poet who “refuses to tiptoe” she enters and exits the page sometimes with short concise imagery, sometimes in the arms of delicate memoir. Her words pull the forgotten among us back into the lightning of our eyes.—Nikky Finney /  Ekere Tallie Table

Her Voice   / Mother Nature: Thoughts on Nourishing Your Body, Mind, and Spirit During Pregnancy and Beyond  

*   *   *   *   *

Life on Mars

By Tracy K. Smith

Tracy K. Smith, author of Life on Mars has been selected as the winner of the 2012 Pulitzer Prize for Poetry. In its review of the book, Publishers Weekly noted the collection’s “lyric brilliance” and “political impulses [that] never falter.” A New York Times review stated, “Smith is quick to suggest that the important thing is not to discover whether or not we’re alone in the universe; it’s to accept—or at least endure—the universe’s mystery. . . . Religion, science, art: we turn to them for answers, but the questions persist, especially in times of grief. Smith’s pairing of the philosophically minded poems in the book’s first section with the long elegy for her father in the second is brilliant.” Life on Mars follows Smith’s 2007 collection, Duende, which won the James Laughlin Award from the Academy of American Poets, the only award for poetry in the United States given to support a poet’s second book, and the first Essence Literary Award for poetry, which recognizes the literary achievements of African Americans.

The Body’s Question (2003) was her first published collection. Smith said Life on Mars, published by small Minnesota press Graywolf, was inspired in part by her father, who was an engineer on the Hubble space telescope and died in 2008.

*   *   *   *   *

Salvage the Bones

A Novel by Jesmyn Ward

On one level, Salvage the Bones is a simple story about a poor black family that’s about to be trashed by one of the most deadly hurricanes in U.S. history. What makes the novel so powerful, though, is the way Ward winds private passions with that menace gathering force out in the Gulf of Mexico. Without a hint of pretension, in the simple lives of these poor people living among chickens and abandoned cars, she evokes the tenacious love and desperation of classical tragedy. The force that pushes back against Katrina’s inexorable winds is the voice of Ward’s narrator, a 14-year-old girl named Esch, the only daughter among four siblings. Precocious, passionate and sensitive, she speaks almost entirely in phrases soaked in her family’s raw land. Everything here is gritty, loamy and alive, as though the very soil were animated. Her brother’s “blood smells like wet hot earth after summer rain. . . . His scalp looks like fresh turned dirt.” Her father’s hands “are like gravel,” while her own hand “slides through his grip like a wet fish,” and a handsome boy’s “muscles jabbered like chickens.” Admittedly, Ward can push so hard on this simile-obsessed style that her paragraphs risk sounding like a compost heap, but this isn’t usually just metaphor for metaphor’s sake.

She conveys something fundamental about Esch’s fluid state of mind: her figurative sense of the world in which all things correspond and connect. She and her brothers live in a ramshackle house steeped in grief since their mother died giving birth to her last child. . . . What remains, what’s salvaged, is something indomitable in these tough siblings, the strength of their love, the permanence of their devotion.—


*   *   *   *   *

Ancient, Ancient: Short Fiction

By Kiini Ibura Salaam

Ancient, Ancient collects the short fiction by Kiini Ibura Salaam, of which acclaimed author and critic Nalo Hopkinson writes, ”Salaam treats words like the seductive weapons they are. She wields them to weave fierce, gorgeous stories that stroke your sensibilities, challenge your preconceptions, and leave you breathless with their beauty.” Indeed, Ms. Salaam’s stories are so permeated with sensuality that in her introduction to

Ancient, Ancient

, Nisi Shawl, author of the award-winning Filter House, writes, ”Sexuality-cum-sensuality is the experiential link between mind and matter, the vivid and eternal refutation of the alleged dichotomy between them. This understanding is the foundation of my 2004 pronouncement on the burgeoning sexuality implicit in sf’s Afro-diasporization. It is the core of many African-based philosophies. And it is the throbbing, glistening heart of Kiini’s body of work. This book is alive. Be not afraid.”

*   *   *   *   *

The White Masters of the World

From The World and Africa, 1965

By W. E. B. Du Bois

W. E. B. Du Bois’ Arraignment and Indictment of White Civilization (Fletcher)

*   *   *   *   *

Ancient African Nations

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The Death of Emmett Till by Bob Dylan  The Lonesome Death of Hattie Carroll  Only a Pawn in Their Game

Rev. Jesse Lee Peterson Thanks America for Slavery

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The Journal of Negro History issues at Project Gutenberg

The Haitian Declaration of Independence 1804  / January 1, 1804 — The Founding of Haiti 

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posted 12 April 2010



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