African American Poetic Responses to Faulkner

2016 ◽  
Author(s):  
Chiyuma Elliott ◽  
Rachel Eliza Griffiths ◽  
Derrick Harriell ◽  
Randall Horton ◽  
Jamaal May ◽  
...  
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Black Writers ◽  
Verbal Art ◽  
Lucille Clifton ◽  
To Come ◽  
Twentieth Century America ◽  
White Southerner

This chapbook brings together five young writers, Chiyuma Elliott, Rachel Eliza Griffiths, Derrick Harriell, Randall Horton, and Jamaal May, in a chapbook of poems that employs an invigorating range of tonalities and moods to engage directly with Faulkner’s writings, characters, and verbal art, as well as with his historical example as a race-haunted white southerner who struggled, often unsuccessfully, with the changing racial landscape of twentieth-century America. A brief preface by Elliott and Harriell situates the group’s efforts in relation to those of precursors like Haki Madhubuti (Don L. Lee), who called on black writers to come to a fuller, firmer reckoning with Faulkner in their work. In the nineteen poems gathered here, Elliott, Griffiths, Harriell, Horton, and May take their place alongside the Komunyakaa of “Tobe’s Blues,” the Lucille Clifton of “My Friend Mary Stone from Oxford Mississippi,” and other black poets who have risen to Madhubuti’s challenge.

Recycling Fantasies: Whitman, Clifton, and the Dream of Compost

2020 ◽  
pp. 21-50
Author(s):  
Michelle C. Neely
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
African American ◽  
Leaves Of Grass ◽  
Human Waste ◽  
Material Recycling ◽  
Ecological Vision ◽  
Lucille Clifton ◽  
Antebellum Period ◽  
Common Practices

Chapter one takes up the paradigm of recycling in Walt Whitman’s first two editions of Leaves of Grass (1855 and 1856). While scarcity of materials meant scavenging and reuse were common practices in the nineteenth century, organic material recycling first emerged as a scientific principle during the antebellum period. Whitman’s documented journalistic and poetic interest in “compost” has led scholars to elevate the once-overlooked Whitman into the ecopoetic pantheon. Chapter one challenges this increasingly standard reading by placing Whitman’s interest in compost and organic recycling alongside his even more famous poetic investment in an indiscriminate, “omnivorous” consumption. Compost emerges as the twin of appetite in Whitman’s poetic environment, which reveals how recycling authorizes consumption without limits and yields a fundamentally static, and therefore nonegalitarian and anti-ecological vision of community. The last part of the chapter explores resistance to this paradigm in the poetry of Lucille Clifton, a twentieth-century African American poet self-consciously rewriting Whitman’s vision of democratic and environmental community. Ultimately, chapter one suggests that while Clifton resists the dream of cyclical, effortless material recycling and consequence-free consumption, it is nineteenth-century Whitman’s fantasy of the earth endlessly recycling and renewing human waste that remains more characteristic of contemporary U.S. life.

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