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Wednesday, December 17, 2014

Reading 2015

READING 2015, PART ONE


Having abandoned the bad faith of making New Year’s Resolutions, I am determined in 2015 to pursue three priorities:

CHINA

CULTURAL WORK IN NEW ORLEANS

RESEARCH, THINKING AND WRITING

The trio demands specialized kinds of reading.  2014 produced increased awareness of Cosmic Evil, of the international insanity that Cosmic Evil makes its primary work, and of the domestic insanity in European genocide, rape, and dispersal of indigenous peoples that is the origin of what is now called the United States of America. Using the bodies of Africans as objects of commerce is a nasty feature of American history; nastier still is the complicity of certain Africans, educated by an Arab slave trade, in supporting demeaning trafficking with human lives. The vulgar outcome is that Americans in 2014 are enslaved by custom, rancid ideologies, criminal passions, Darwinian penchants, and law.

 America’s history is stamped SNAFU.  Its contemporary chapters are written by people of no-color.  They are fully aware that theirs is a dying race in the global scheme of things.  Inspired by Cosmic Evil, they work feverishly to lay the groundwork of World War III and the near-total end of human and animal life on this planet and the dawn of post-whatever everything.  People of no-color may indeed succeed with generous help from a minority of Islamic demons and other beings who dance the militarized police foxtrot and procreate with Satan. One must be prepared for anything.

I have not abandoned hope that the story can end differently, but I have profound reservations about the efficacy of hope as an abstraction.  Some narcotics are not worth ingesting.

The reading plan for the first months of 2015 includes rereading W. Keorapetse Kgositsile’s essay “I Know My Name” [The Black Position, No. 3 (1973): 60-69], Paulo Freire’s Pedagogy of the Oppressed, Henry Giroux’s Border Crossings: Cultural Workers and the Politics of Education,  Shakespeare’s Titus Andronicus, Antony Easthope’s Literary Into Cultural Studies,  Friedrich Nietzsche’s The Birth of Tragedy, Richard Wright’s The Color Curtain, Lucien Goldmann’s The Human Sciences and Philosophy, Origins of Terrorism, edited by Walter Reich,  Karl R. Popper’s The Open Society and Its Enemies, Aimé Césaire’s Return to My Native Land, and Floyd W. Hayes’s “The Paradox of the Ethical Criminal in Richard Wright’s Novel The Outsider: A Philosophical Investigation,” Black Renaissance Noire 13.1 (2013): 162-171.

Such revisiting, as it were, of old friends will strengthen me to grapple with such works as the Dao De Jing,  In the Wake of Hurricane Katrina: New Paradigms and Social Visions (2010), edited by Clyde Woods,  Thomas Brothers’s Louis Armstrong’s New Orleans (2006) and Black Gold: An Anthology of Black Poetry (2014), edited by Ja A. Jahannes.   All of this is reading to inform my writing of READING RACE READING AMERICA: SOCIAL AND LITERARY ESSAYS, a book I may finish and publish before my burial.  Wish me luck.

Jerry W. Ward, Jr.                            December 18, 2014


Monday, December 15, 2014

Bob Kaufman's Necessary Poem

Bob Kaufman’s Necessary Poem

Like Countee Cullen, you must doubt not that God is good, well-meaning, and kind.  Omnipotent in mercy, God is eternally watching and listening. If you are a hard-shell, titanium-plated Christian, you believe. Period.
Nevertheless, you ought not wear out your welcome with incessant knocking on heaven’s door and 24/7 requests that the Lord should resolve a problem that you can manage with help from poems by Bob Kaufman, Wanda Coleman, Walt Whitman, Amiri Baraka, Howard Nemerov,  Langston Hughes, Sonia Sanchez,  Lucille Clifton and a thousand other American poets.   Chinese philosophy, empirical evidence paid for with your tax dollars, and Einstein’s general and specific theories of relativity can also be of some assistance.  No, poems do not solve problems.  Poems put you in a state of mind to think about solutions. This is not a claim that poetry is innately more effective than prose, only that some readers are more stimulated by poetry.
The Old Testament prophet was right: there is a time for everything.  There is a time for torture and terror.  There is a time for beatitude There is a time for violence (racial and non-racial), for post-global insanity, for civility and tolerance, and for revenge. There is a time to be as brutal and dumb as war, and a time to be as still and wise as peace. There is a time for paradox.
 If the atomic clock is accurate, late 2014 is a time for interrogating Kaufman’s beautiful lyric “I Have Folded My Sorrows.” [See Solitudes Crowded with Loneliness. New York: New Directions, 1965.]
When you need the common words to deal with the surreal in 2014, you find them easily in televised Democratic, Independent, Republican and politically unidentifiable noises, in the clamor of those Kaufman identified as “addled keepers of yesterday’s disasters.”  Some of the speakers do employ poetic devices in their speech, but they usually intend to establish the shock of difference.
In reporting or commenting on “the news,” many journalists and pundits seem have a remarkable poverty of understanding that cheap reification of the threadbare “black and white binary” lacks credibility in a world that has many colors. If you want words that have a better claim on being “true” and worthy of communicating serious news rather than slimy distractions,  you have to risk getting them from combat zones created by morally compromised hackers. A safer alternative is to depend on common sense and instructive poetry.
Kaufman’s “I Have Folded My Sorrows” is designed to enlighten.  He begins the poem with a conceit of fictive truth:
I have folded my sorrows into the mantle of summer night,
Assigning each brief storm its allotted space in time,
Quietly pursuing catastrophic histories buried in my eyes.
Six lines later, Kaufman asserts “Blues come dressed like introspective echoes of a journey,” thereby establishing that an essentially American music can sponsor rational thought. The next three lines, marked by the anaphoric “And yes, I,” speak of searching “the rooms of the moon,” of refighting “unfinished encounters” although they “remain unfinished,” of wishing to be “something different.”
The poem ends with a poignant couplet:
The tragedies are sung nightly at the funeral of the poet;
The revisited soul is wrapped in the aura of familiarity.

Does the initial “I” refer to Kaufman the poet, to a persona he constructed as a supreme authority, or to you the reader?  If you allow the lines to activate full affect, you can identify your existence in 21st century “catastrophic histories.”  It is a mark of your intelligence to refuse to have your identity named by others, even by others who are said to look like you. Your intellectual soul can select its own society.
As you wrestle with Kaufman’s form and content, do memories of then link up with your ongoing awareness of now? Does a critical unification occur? Can the spatial and temporal patterns of a problem (or many problems) begin to give you greater focus and agency?  If you can honestly say “Yes” to each question, you have begun the work of determining what individual and collective solutions will be. Kaufman’s necessary poem has helped you to elect your destiny. Even if you absolutely reject theological narratives, you will have made a crucial choice in folding your sorrows.

Jerry W. Ward, Jr.                            December 15, 2014




On a novel by Caryl Phillips

On a Novel by Caryl Phillips


Phillips, Caryl. Cambridge. London: Bloomsbury Publishing Ltd., 1991; London: Vintage, 2008.

Toni Morrison’s Beloved deftly exposes the psychology of enslavement in North America, but it is Dessa Rose by Sherley Anne Williams that succeeds best in exposing the narratological features of a female slave’s “story,” namely the verbal strategies she uses to retard the extent to which her story (herstory vs. history) can be stolen.  Caryl Phillips, however, ought to be valued as much as Williams and Morrison from the angle of post-colonial witnessing.  In his novel Cambridge, he “films” the tragic irony of the metanarrative of the enslaver and the enslaved, bringing to fiction what Hegel brought to philosophy.

Morrison, Williams, and Phillips inscribe the space of slavery in the so-called New World.  That space, or actually what is a remembered space-time continuum, also includes time-management in Margaret Walker’s Jubilee and Gayl Jones’s Corregidora.  Walker and Jones sharpen views of how novels on slavery overflow generic boundaries and conventions; their novels are glosses on the phenomenology of slavery in human histories.  The spectacle of shared responsibility regarding the multi-layered “Other” in the production of identity riddles, paradoxes, and dilemmas. We gaze on the “Other” as an ancient entity that has newly migrated from Chaos to Reality. And our gaze establishes proof that we are looking at nothing.

Phillips’s special contribution to the mimesis of the absurdly absent is his excellence in dealing with dialogic imagination.  He enables language to penetrate slavery’s dark shadows.

Phillips is meticulous in recovering 19th century British English in several registers throughout the linked parts of Cambridge: 1) Emily Cartwright’s journal of her visit to her father’s West Indian plantation is a travelogue that doubles as both a treatise  on animal nature and as a “blind” confessional memoir regarding abolitionist yearnings; 2) the slave Cambridge’s autobiographical justification of revenge, so resonant of Equiano’s narrative and Nat Turner’s disputed confession; 3) the feature story by an unnamed journalist which details Cambridge’s murder of “a person by the name of Brown.” Brown, the overseer of the estate which belonged to Emily’s father is, one must guess, the father of the bastard to which the very proper Emily gives birth.  Thus, the newspaper story is a public deposition for the enlightenment of colonial slave-owners.  The narrator’s Prologue and Epilogue frame the white female and black and white male gendering of story.  Phillips uses his excellent mimetic skills to reveal the twisted psychology and ethics of the always already fallen world made by the enslaved and the enslavers.  Cambridge is one of the finest examples of the purpose post-colonial fictions serve.


Jerry W. Ward, Jr.            December 15, 2014

Saturday, December 13, 2014

Literary Crime and Punishment

I believe you do remember a scene from the 1971 film of Anthony Burgess's dystopian novel A Clockwork Orange, the scene where the young criminal Alex is strapped in a chair and forced to watch hours and hours of violent, graphic films. What a lovely bit of British black humor, of an objective correlative of the Old Testament, of violent salvation.  Let us dream a political scene of American white humor: all of our senators and representatives are forced to endure aversion therapy. Strapped in hard Puritan chairs, they wear headgear that does not allow their eyes to blink.  They are forced to watch Pier Paola Pasolini's film Salo, or the 120 Days of Sodom.  They are forced to watch the film twice before they are released. The film is a pornographic monstrosity, a very Italian bit of red humor.  The film is, as Francesco W. M. Palmieri noted inLiberazione, October 2005, "the erotic spasm of a diabolical angel."

I remember that when I discussed Pasolini and Salo very briefly with James Baldwin many years ago that we agreed that Pasolini had crossed a moral line of no return, a soul-murdering line.  In the Age of Cosmic Evil, it would be a fine gesture of post-human justice to compel our politicians to watch themselves and regurgitate "the pleasure of corruption."  They might emerge from the experience as paragons of patriotic justice.  As our nation goosesteps into Armageddon, we should dream. 

Jerry W. Ward, Jr. 
December 13, 2014

Wednesday, December 10, 2014

The C.I.A. Report

Affairs of the State
Bullets lust for flesh
As testy water
Seeks a level to
Torture barley
Into tea.  And things just be
Whenever
Courtly
Intelligence
Ages
Into tea.  And things just be
 Plagiarizing peanuts
Changing
Into
Air
So fine, so free, so fair
As iconic pain
Bleeds blue to bleed,
The ink of treason’s trust.
Bullets’ lust for flesh,
Torment time
Into  tea. And things just be.



Jerry W. Ward, Jr.    December 10, 2014

Monday, December 8, 2014

THE RAPED WOMEN

Tonight I listened to six women who alleged on CNN that  they had been raped by Bill Cosby.

As I listened to them, I heard the voices of six women who gave birth to proof that they had been raped on slave ships and plantations by Bill ABCXYZ.

What is to be learned from such uncanny experience?


J. W. Ward, Jr.
Decemember 8, 2014 

Sunday, December 7, 2014

December 7, 1941-2014

Ferguson/Fear/Fury

“If any are anxious to ascertain who I am, know the world, that I am one of the oppressed, degraded and wretched sons of Africa, rendered so by the avaricious and unmerciful, among the whites.”

David Walker, Appeal, Article IV (1829)

40.  Verily the Day of Sorting Out is the time appointed for all of them.
41.  The Day when no protector can avail his client in anything, and no help can they receive,
42.  Except such as receive Allah’s Mercy: for He is Exalted in Might, Most Merciful.
43.  Verily the tree of Zaqqum
44.  Will be the food of the sinful,--

Qur’an, Surah 44


From the notebook of a visitor to Earth

August 16, 2014


Dreams of harmony and peace or absurd visions of the end of time are legitimate constructions of human imagination. If you are dealing with pure cinema, they are effective.  Such spectacles appear to confirm the implacable universality of violence, the murky origins of terrorism, and the marriage of reason with insanity. They are primary features of life on planet Earth. Women and men may satisfy their fantasies by speaking of amoral Nature in their own images. They are free to tamper with Nature in efforts to make a more living-friendly “world.”  They may succeed for brief periods of time. 

Ultimately, they fail. They manufacture abstract and material “worlds” that are mercurial, that speak back to them of their cosmic insignificance in visual and audible languages which negate interpretations.
Ultimately, they forfeit Cosmic Good.  They replace a greater god with a lesser one.  Ultimately, they worship Cosmic Evil. Planet Earth assumes a death-bound color.

All that happened in Ferguson, Missouri in 2014 is a bitter rerun of tribally-motivated antiquities. A frantic male of one tribe, believing himself to be authorized by the Holy Bible, the United States Constitution, a badge of office, and the laws of Charles Darwin, murders a male of a different tribe. People who identify themselves with the dead male react naturally.  They are shocked.  They grieve. They make counter-violence.   Unfortunately, the grief of injustice is paradoxically understood and misunderstood in a nanosecond by the American body politic.


December 7, 2014

Today is the 73rd anniversary of the Japanese attack on Pearl Harbor.

Violence obeys folklore and Holy Bible injunctions to increase and multiply.  American as well as foreign mass media take delight in spewing misinformation (or disinformation) about how violence procreates.  Mass media refuses to analyze the systemic nature of violence. Infotainment becomes impotent when it beholds what is actually systemic.


In the historical drama entitled “The United States of America, “the George Zimmermans, Darren Wilsons, Peter Liangs, and Daniel Pantaleos are proclaimed to be the stars of the show. They are the militants who keep democracy safe for those who are wealthy enough to buy it. It is most often the case that oddly instructed grand juries applaud them. The Michael Browns, Akai Gurleys, Eric Garners, Trayvon Martins and the thousands of unarmed dead who were the targets are treated as footnotes in the smallest print on the playbill. Do you dare to ask why many (but not all) African Americans are profoundly angry?  Do you dare to ask whether some (but not all) American police officers are clones of Rosemary’s Baby?


 In the sacred narratives of womankind and mankind, violence is proclaimed to be natural and universal.

 According to such logic ---

the American Nightmare that has replaced the American Dream;
the death-bound mission of Europe and international cartels;
the family squabbles between Palestinians and Israelis and diabolic plots in the Arab/Islamic winter of the Middle East;
the symbolic assassination of the President of the United States;
the neo-barbarism of ISIS and other agents of imperial terrorism;
the progress of environmental destruction in Asia and the Americas;
the rampant neo-colonialism and unique ethnic hatreds on the continent of Africa;
 a periodic outbreak of such health treats as Ebola, HIV-AIDS, and yearly variations of influenza;
the refusal to acknowledge the humanity of indigenous peoples everywhere;
 the wages of global climate change;
the open season that males of no-color have declared on males of color

-----according to such logic, all these things are normal on Earth. After all, this is the season of Advent and Christmas shall arrive despite the blessings of Cosmic Evil.

The growing number of murders of African American males should anger many Americans to the point of being totally irrational.  They should petition the United Nations to investigate whether the United States of America should be brought to the World Court for crimes against humanity, for the injustice of benign genocide. Unfortunately, the iron-clad logic of the absurd may stall such a request.  Many Americans confuse transparent criticism with treason. They want to believe that a meek savior will serve peace and harmony at a post-post-racial banquet.  They forget that the dessert at the feast will be the fruit of the tree of Zaqqum. The Day of Sorting Out has arrived.

Jerry W. Ward, Jr.