Posts Tagged ‘literary critics just love run on sentences I guess’

In Response to “Contradicting Contradictions”

Tuesday, April 30th, 2013

Where was this passion all semester?! I feel as if spoken-word should be performed exactly the way each author performs it. I’m almost afraid to label it a performance. Speaking a poem rather than having to type it in print opens the door for emotions to be free. When I read Sylvia Plath and Amiri Baraka poetry I can see their passion in their words and punctuation on the page and attempt to read each piece as active as they may read it if they had the opportunity to let their emotions be wild and free on stage. I don’t think I know about the Staceyann Chin performance that you are talking about. To say that Staceyann is  “acting” like an angry black women is to judge and marginalize her performance, to remove Staceyann Chin from her piece, and to throw her into an archetype of an “angry black woman”: this is where I find the issue. I would say that Stacey Chin is being an angry Stacey Chin. The closed mindedness is when to categorize and lable wild free emotions to help you understand it. You basically put the wild free emotion back in a cage when you use “acting like an angry black woman” as a description of art.  I wanted to talk about the saxophone player that most likely looked forward to having the honor of playing along with Amiri Baraka.  However, I do feel that Amiri chose to have a white saxophonist to add to the message of the poem. The poem that we watch by Amiri Baraka broke the allowance of white people, in this country, to always be free from guilt. While they blame the colored people that live in this country (not just black people).  The class fell right back into what Amiri Baraka was trying to break.  The white man became the victim and Amiri Baraka was laughed at.  I wasn’t surprised. Consider Kanye West’s video with the white ballerinas (do u think those ballerina were unfortunate too) and the black people as civilized having dinner(Kanye west took it a step past black and white because even the black people wouldnt accept the women he brought to dinner because she was different and wanted to lable her as weird and strange because of their closed mindeness.) The same point was trying to be made by Amiri I would guess to have the white people do the work and perform for black people for once.  But if we go as far as to say that it was strategic by Amiri Baraka we already begin to criminalize him because we are saying that it was premeditated.  So Molly I must say that I do have a problem with you “nearly ripping your hair out when Amiri hooed like an owl.”  You did not understand the symbolic significance of the owl within the context of the poem so your closed mind could only laugh to set you free from your mental prison as Amiri Baraka successfully got under your skin and aggravated you. I’m sure there are more unfortunate saxophone players out there.  I was very disappointed how the class responded to Amiri Baraka’s poem how we weren’t as open minded as we act. Now look at Kanye West’s Video After we saw Amiri Baraka where will your brain take you.

Brooks essay

Friday, March 1st, 2013

Prompt posted.  Due date moved back to March 15.

“A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon.”

Monday, February 25th, 2013

“The irony of the romantic role of damsel being applied to a beleaguered housewife, that of hero to an insecure and immature man, and that of villain to a defenseless boy reveals not only the meaninglessness of using the myth as an excuse to commit violence, but also the absurdity of the myth as a fantasy in the first place. Brooks’s apparent sympathy for the white woman as the pawn of domineering white men is subverted as she deconstructs the romance within the woman’s mind and thereby holds the woman responsible for her
complicity in the myth, and consequently, in the murder.”
-Molly Littlewood McKibbin in “Southern Patriarchy and the Figure of the White Woman in Gwendolyn Brooks’s ‘A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon'”

“Till resurfaces as his own kind of Dark Villain. Instead of one who achieves his villainy because he threatens white womanhood, as the narrative demands of the ballad would have him be, Till achieves his villainy in the poem because, as Brooks would have him be, he refuses to yield to such a role and returns as one who disrupts the peace of those who would find comfort in the injustices perpetuated by such false narratives.”
-Christopher Metress in “No Justice, No Peace”: The Figure of Emmett Till in African American Literature

Although I hate to put Brooks and Lil Wayne in the same blog post (cringe cringe cringe), just in case anyone wanted a reminder that Emmett Till’s story (not to mention legacy) is far from irrelevant today…

Thoughts on this poem??