Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0099
Keisha-Gaye Anderson
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Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0001
Kameelah L. Martin
This foreword is a personal essay in which I reflect on the other ways of knowing and the African spiritual cosmologies that were first introduced to me through Ntozake Shange’s novel Sassafrass, Cypress, & Indigo (1982). I walk readers through the quarter-century love affair I have had with black women writers and Shange, in particular. I share memories of my only meeting with the author and discuss the profound impact her novel has had on both my professional and spiritual journeys. The article engages in black narrative practices of multivocality, culture bearing, vernacular language, and conjuring moments. The testimony herein involves a powerful Ifá priestess who moonlights as an English professor, a creole-speaking ancestral spirit, and the deep cultural legacy of indigo (and Indigo). It is a story told in celebration and honor of Ntozake Shange’s creative, conjuring genius.
{"title":"“A Consort of the Spirits” or How to Cultivate Indigo, Conjured by Herself","authors":"Kameelah L. Martin","doi":"10.5325/langhughrevi.28.1.0001","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0001","url":null,"abstract":"\u0000 This foreword is a personal essay in which I reflect on the other ways of knowing and the African spiritual cosmologies that were first introduced to me through Ntozake Shange’s novel Sassafrass, Cypress, & Indigo (1982). I walk readers through the quarter-century love affair I have had with black women writers and Shange, in particular. I share memories of my only meeting with the author and discuss the profound impact her novel has had on both my professional and spiritual journeys. The article engages in black narrative practices of multivocality, culture bearing, vernacular language, and conjuring moments. The testimony herein involves a powerful Ifá priestess who moonlights as an English professor, a creole-speaking ancestral spirit, and the deep cultural legacy of indigo (and Indigo). It is a story told in celebration and honor of Ntozake Shange’s creative, conjuring genius.","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44256951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0071
D. Davenport
This article is a poetic tribute to Ntozake Shange as well as an appreciative, celebratory analysis (or presentation) of some major aspects of her poetry.
这篇文章是对恩托扎克的诗歌致敬，也是对她诗歌的一些主要方面的欣赏和庆祝分析(或呈现)。
{"title":"Dear ’Zake: In Appreciation","authors":"D. Davenport","doi":"10.5325/langhughrevi.28.1.0071","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0071","url":null,"abstract":"\u0000 This article is a poetic tribute to Ntozake Shange as well as an appreciative, celebratory analysis (or presentation) of some major aspects of her poetry.","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41955683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0102
Shawn R. Jones
{"title":"Listening to Donna Summer Reminds Me of My Father","authors":"Shawn R. Jones","doi":"10.5325/langhughrevi.28.1.0102","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0102","url":null,"abstract":"","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47599800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0025
Sarah RudeWalker
Ntozake Shange had a notably complex relationship with her inheritance of the Black Arts project. While she was clearly influenced by the politics of Black nationalism and the aesthetic innovations of the movement in claiming Black language practices as powerful tools of poetic expression, she also struggled to feel accepted and represented within Black nationalist camps. However, this conflict in fact puts her in the company of women writers of the Black Arts Movement, who themselves had been working for years within the movement to move the needle on problematic conceptions of gender and sexuality. In her unpublished early poems written between 1970 and 1972, Shange’s use of Black linguistic and rhetorical resources aligns with the contemporaneous work of other Black Arts women poets and successfully demonstrates the most generative elements of the Black Arts project. But by the beginning of her public career in the mid-1970s, Shange importantly moves independently beyond the Black Arts project to insist on a necessary reckoning with the barriers, within and outside of the Black community, to Black women’s liberation. This article draws upon archival research to reveal the ways Shange’s early work demonstrates both her inheritance and her innovation of the rhetorical and poetic strategies that Black Arts women writers used to make their case that Black women should be central to and vocal within Black nationalist movements.
{"title":"“a thunderin/lightenin poet-talkin / female / is a sign of things to come”","authors":"Sarah RudeWalker","doi":"10.5325/langhughrevi.28.1.0025","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0025","url":null,"abstract":"\u0000 Ntozake Shange had a notably complex relationship with her inheritance of the Black Arts project. While she was clearly influenced by the politics of Black nationalism and the aesthetic innovations of the movement in claiming Black language practices as powerful tools of poetic expression, she also struggled to feel accepted and represented within Black nationalist camps. However, this conflict in fact puts her in the company of women writers of the Black Arts Movement, who themselves had been working for years within the movement to move the needle on problematic conceptions of gender and sexuality. In her unpublished early poems written between 1970 and 1972, Shange’s use of Black linguistic and rhetorical resources aligns with the contemporaneous work of other Black Arts women poets and successfully demonstrates the most generative elements of the Black Arts project. But by the beginning of her public career in the mid-1970s, Shange importantly moves independently beyond the Black Arts project to insist on a necessary reckoning with the barriers, within and outside of the Black community, to Black women’s liberation. This article draws upon archival research to reveal the ways Shange’s early work demonstrates both her inheritance and her innovation of the rhetorical and poetic strategies that Black Arts women writers used to make their case that Black women should be central to and vocal within Black nationalist movements.","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46440858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0103
Shawn R. Jones
{"title":"One Reason She Keeps a Switchblade in Her Pocket","authors":"Shawn R. Jones","doi":"10.5325/langhughrevi.28.1.0103","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0103","url":null,"abstract":"","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43483983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0049
C. A. Varlack
Throughout their literary careers, Langston Hughes and Ntozake Shange used poetry as a vehicle to address the prevalent social ills that affected the African American community during their time. In particular, they were concerned with the threat of the recolonization of Black spaces (minds, bodies, and/or physical territories) by white leaders in Jim Crow society. Tracing the ways in which their poetry not only archives the oppression of the Jim Crow era but resists it enables us to understand the resounding impact that Hughes and Shange alike have had on transforming the image of Black Americans in the US cultural imagination even today. This article therefore probes key works by these two literary lights in order to trace the thread of progressive activism in their works, their response to the threat of recolonization, and their representation of the beauty of Blackness as both a social and political act.
{"title":"“this is my space / I am not movin”","authors":"C. A. Varlack","doi":"10.5325/langhughrevi.28.1.0049","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0049","url":null,"abstract":"\u0000 Throughout their literary careers, Langston Hughes and Ntozake Shange used poetry as a vehicle to address the prevalent social ills that affected the African American community during their time. In particular, they were concerned with the threat of the recolonization of Black spaces (minds, bodies, and/or physical territories) by white leaders in Jim Crow society. Tracing the ways in which their poetry not only archives the oppression of the Jim Crow era but resists it enables us to understand the resounding impact that Hughes and Shange alike have had on transforming the image of Black Americans in the US cultural imagination even today. This article therefore probes key works by these two literary lights in order to trace the thread of progressive activism in their works, their response to the threat of recolonization, and their representation of the beauty of Blackness as both a social and political act.","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48319016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.5325/langhughrevi.28.1.0010
L. Stallings
Building upon Mecca Jamilah Sullivan’s theory of the choreopoem as a queer form emphasizing a poetics of difference, as well as Omi Osun Jones’s concept of theatrical jazz, this article reassesses Ntozake Shange’s boogie woogie landscapes to argue that the choreopoem serves as an embodied futurist solution for resolving cisgender bias, as well as femme phobia and transphobia in theater, film, and television casting and performance training.
{"title":"“Dontcha Wanna Boogie Woogie”","authors":"L. Stallings","doi":"10.5325/langhughrevi.28.1.0010","DOIUrl":"https://doi.org/10.5325/langhughrevi.28.1.0010","url":null,"abstract":"\u0000 Building upon Mecca Jamilah Sullivan’s theory of the choreopoem as a queer form emphasizing a poetics of difference, as well as Omi Osun Jones’s concept of theatrical jazz, this article reassesses Ntozake Shange’s boogie woogie landscapes to argue that the choreopoem serves as an embodied futurist solution for resolving cisgender bias, as well as femme phobia and transphobia in theater, film, and television casting and performance training.","PeriodicalId":29877,"journal":{"name":"Langston Hughes Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45750534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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