Aldon Lynn Nielsen – författare

Just prior to the Second World War, and even more explosively in the 1950s and 1960s, a far-reaching revolution in aesthetics and prosody by black poets ensued, some working independently and others in organized groups. Little of this new work was reflected in the anthologies and syllabi of college English courses of the period. Even during the 1970s, when African American literature began to receive substantial critical attention, the work of many experimental black poets continued to be neglected. ""Every Goodbye Ain't Gone"" presents the groundbreaking work of many of these poets who carried on the innovative legacies of Melvin Tolson, Gwendolyn Brooks, and Robert Hayden. Whereas poetry by key figures such as Amirt Baraka, Tolson, Jayne Cortez, Clarence Major, and June Jordan is represented, this anthology also elevates into view the work of less studied poets such as Russell Atkins, Jodi Braxton, David Henderson, Bob Kaufman, Stephen Jonas, and Elouise Loftin. Many of the poems collected in the volume are currently unavailable and some will appear in print here for the first time. Coeditors Aldon Lynn Nielsen and Lauri Ramey provide a critical introduction that situates the poems historically and highlights the ways such poetry has been obscured from view by recent critical and academic practices. The result is a record of experimentation, instigation, and innovation that links contemporary African American poetry to its black modernist roots and extends the terms of modern poetics into the future.

What I Say is an anthology of formally experimental and innovative poetry by black writers in America from 1977 to the present that al­lows readers to map the independent routes by which various poets reached their particular modes of aesthetic experimentation.What I Say: Innovative Poetry by Black Writers in America is the second book in a landmark two-volume anthology that explodes narrow definitions of African American poetry by examining experimental poems often excluded from previous scholarship. The first volume, Every Goodbye Ain’t Gone, covers the period from the end of World War II to the mid-1970s. In What I Say, editors Aldon Lynn Nielsen and Lauri Ramey have assembled a comprehensive and dynamic collection that brings this pivotal work up to the present day.The elder poets in this collection, such as Nathaniel Mackey, C. S. Giscombe, Will Alexander, and Ron Allen, came of age during and were powerfully influenced by the Black Arts Movement, and What I Say grounds the collection in its black modernist roots. In tracing the fasci­nating and unexpected paths of experimentation these poets explored, however, Nielsen and Ramey reveal the tight delineations of African American poetry that omitted non-canonical forms. This invigorating panoply of work, when restored, brings into focus the creatively elastic frontiers and multifaceted expressions of contemporary black poetry.Several of the poets discussed in What I Say forged relationships with members of the L=A=N=G=U=A=G=E poetry movement and partici­pated in the broader community of innovative poetry that emerged in the late 1970s and early 1980s and continues to exert a powerful influence today.Each volume can stand on its own, and reading them in tandem will provide a clear vision of how innovative African American poetries have evolved across the twentieth century and into the twenty-first. What I Say is infinitely teachable, compelling, and rewarding. It will ap­peal to a broad readership of poets, poetics teachers, poetics scholars, students of African American literature in non-narrative forms, Afro-futurism, and what lies between the modern and the contemporary in global and localized writing practices.

Reading Race examines the work of twentieth-century white American poets from Carl Sandburg to Adrienne Rich, from Ezra Pound to Allen Ginsberg, revealing within their poetry and casual writings a body of literature that transmits racism, even as it sometimes speaks against it.Tracing the persistence of racial discourse, Aldon Nielsen argues that white Americans, throughout their history, have used a language of their own primacy, a language that treats blacks as an abstract other—an aggregate nonwhite—to be acted upon and determined by whites. White discourse drapes over blacks an intricate veil of images and understandings—assertions of inferiority; metaphors of exoticism; similes of animals; tropes of fertility, nothingness, and death—through which whites read race and beneath which blacks remain imprisoned."Words," Nielsen writes, "create and maintain relationships of power as surely as do prisons and arms." Speaking of the discourse of race in America, Nielsen identifies "dead metaphors"—words, images, ideas—that operate in much the same way as the "charged detail" of Pound or the "objective correlative" of T.S. Eliot. Embedded in the language, they are instantly recognizable to the native speaker. Poets, when they draw upon these metaphors, demand racist thinking in order to be understood.

This study of C. L. R. James's writings is the first to look at them as literature and not as theory. This sustained analysis of his major published works places them in the context of his less well-known writings and offers an encompassing critique of one of the African diaspora's most significant thinkers and writers.Here the author of Black Jacobins, World Revolution, A History of Pan-African Revolt, , Beyond a Boundary, and the lyric novel Minty Alley is seen not only as among the great political philosophers but also as the literary artist that he remained, from his first writings in his native Trinidad through his underground years in America, to his final essays and speeches in London.The writings of James have inspired revolutionaries on three continents. They have altered the course of historiography, shown that way toward independent black political struggles, and established a base for much of today's study of culture. This study evaluates them as powerful works of literature.

The Inside Songs of Amiri Baraka examines the full length of Baraka’s discography as a poet recording with musicians as well as his contributions to jazz and R & B, beginning with his earliest studio recordings in 1965 and continuing to the last year of his life, 2014. This recorded history traces his evolution from the era of Beat poetry and “projective verse,” through the period of the Black Arts Movement and cultural nationalism, and on to his commitments to “third world Marxism,” which characterized the last decades of his life. The music enfolding Baraka’s recitations ranges from traditional African drumming, to doo wop, rhythm and blues, soul and the avant garde jazz that was his great love and the subject of so much of his writing, and includes both in-studio sessions and live concert performances. This body of work offers a rare opportunity to think about not only jazz/poetry, but the poet in the recording studio and the relations of text to score.