Dutchman & The Slave by Amiri BarakaGoodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again.
Jazz & the Blues - Amiri Baraka
Selected Plays and Prose
Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Selected Plays and Prose. Other editions. Error rating book.
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Amiri Baraka, who has died aged 79, was an African-American writer who chose separation rather than integration. In , James Baldwin, the most prominent black author of the period, had asked, "Do I really want to be integrated into a burning house? By then a successful poet and playwright, with Beat generation affinities, Jones left his white wife and their two daughters, changed his name he gave the meaning of Amiri Baraka as "blessed prince" , and moved from the downtown bohemian hangout of Greenwich Village to Harlem. There, he helped found the Black Arts repertory theatre on th Street no whites allowed , which staged his own plays as well as work by those who, like him, believed in "a blacker art". As Jones, he had had success as both a poet and a playwright; as Baraka, his work became increasingly didactic and the activist in him took over from the writer. His first theatrical publication under his new name was Four Black Revolutionary Plays
This book is a good introduction to the great Baraka. It should be accompanied by Selected Poems. If you want to better understand the American experience.
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Baraka's career spanned nearly 50 years, and his themes range from black liberation to white racism. Some poems that are always associated with him are "The Music: Reflection on Jazz and Blues", "The Book of Monk", and "New Music, New Poetry", works that draw on topics from the worlds of society, music, and literature. In the African-American community, some compare Baraka to James Baldwin and recognize him as one of the most respected and most widely published black writers of his generation. His father Colt Leverette Jones worked as a postal supervisor and lift operator. He wanted to be just like Miles Davis. That gorgeous chilling sweet sound.
I n , when the play Dutchman by LeRoi Jones premiered at the Cherry Lane Theatre in Greenwich Village, terms such as "black nationalism", "black aesthetic" and "the black criterion" were seldom uttered by writers and artists. Three years later, by which time Jones had transformed himself into Amiri Baraka, or "Blessed Prince", the labels and concepts they had introduced were impossible to ignore. Jones's "drastic personal shift would affect almost every contemporary black writer of the slightest importance, as well as the entire [younger] generation", wrote Arnold Rampersad, the biographer of Langston Hughes. Jones's change of identity had been coming for some time, but only when Malcolm X was assassinated in did he take the "drastic" step of evicting himself from his Greenwich Village base, his white wife and bohemian friends, and moving uptown to Harlem. There he founded the Black Arts Repertory Theatre, with the express intention of "producing art to try to bring black people to revolutionary positions". The downtown Beat poet and avant-garde publisher of, among others, Jack Kerouac and Frank O'Hara became a black-nationalist organiser and "cultural worker". BangClash" - are at once statements of future intent and mocking jeers over the shoulder at what is left behind.