Books by Yusef Komunyakaa
I Apologize for the Eyes in My Head
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Dien Cai Dau
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Magic City /
Neon Vernacular
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Toys
in a Field
Thieves of Paradise /
Talking Dirty to
the Gods / Pleasure
Dome /
Jazz Poetry Anthology /
The Second Set /
Taboo: The Wishbone Trilogy
Blue Notes: Essays, Interviews, and
Commentaries
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Mingus CDs
Mingus Ah Um (CD 1990)
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Pithecanthropus Erectus (1956,1990) /
The Black Saint & The Sinner Lady (1963, 1995)
Blues and Roots
(1959,
1990) /
Charles Mingus Presents Charles Mingus (1960, 2000) /
Mingus Mingus Mingus Mingus Mingus (1963, 1995)
Mingus Dynasty (1959,
1999) /
Let My Children Hear Music
(1971, 1992) /
Epitaph (1990)
Cumbia & Jazz Fusion
(1976, 1994) /
The Clown (1957, 1999)
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Tijuana Moods (2001)
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Copacetic Mingus
"'Mingus One, Two and Three.
Which is the image you want the world to
see?'"
--Charles Mingus,
Beneath the Underdog
By Yusef Komunyakaa Heartstring. Blessed wood
& every moment the thing's made of:
ball of fatback
licked by fingers of fire.
Hard love, it's hard love.
Running big hands down
the upright's wide hips,
rocking his moon-eyed mistress
with gold in her teeth.
Art & life bleed
into each other
as he works the bow.
But tonight we're both a long ways
from the Mile High City,
1973. Here in New Orleans
years below sea level,
I listen to Pithecanthropus
Erectus: Up & down, under
& over, every which way--
thump, thump, dada--ah, yes.
Wood heavy with tenderness,
Mingus fingers the loom
gone on Segovia,
dogging the raw strings
unwaxed with rosin.
Hyperbolic bass line. Oh, no!
Hard love, it's had love. |
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Conversations with Yusef Komunyakaa
Edited by
Shirley A. James Hanshaw
Conversations with Yusef Komunyakaa
brings together over two decades of
interviews and profiles with one of
America's most prolific and acclaimed
contemporary poets. Yusef Komunyakaa (b.
1947) describes his work alternately as
"word paintings" and as "music," and his
affinity with the visual and aural arts is
amply displayed in these conversations. The
volume also addresses the diversity and
magnitude of Komunyakaa's literary output.
His collaborations with artists in a variety
of genres, including music, dance, drama,
opera, and painting have produced
groundbreaking performance pieces.
Throughout the collection, Komunyakaa's
interest in finding and creating poetry
across the artistic spectrum is made
manifest. |
For his collection
Neon Vernacular: New and Selected Poems,
1977-1989, Komunyakaa became the first African American
male to win the Pulitzer Prize for poetry. Through his
work he provides keen insight into life's mysteries from
seemingly inconsequential and insignificant life forms
("Ode to the Maggot") to some of the most compelling
historical and life-altering events of our time, such as
the Vietnam War ("Facing It"). Influenced strongly by
jazz, blues, and folklore, as well as the classical
poetic tradition, his poetry comprises a riveting
chronicle of the African American experience.
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Sister Citizen: Shame, Stereotypes, and Black Women in
America
By Melissa V.
Harris-Perry
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.
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Sex at the Margins
Migration, Labour Markets and the Rescue Industry
By Laura María Agustín
This book explodes several myths: that selling sex is completely different from any other kind of work, that migrants who sell sex are passive victims and that the multitude of people out to save them are without self-interest. Laura Agustín makes a passionate case against these stereotypes, arguing that the label 'trafficked' does not accurately describe migrants' lives and that the 'rescue industry' serves to disempower them. Based on extensive research amongst both migrants who sell sex and social helpers, Sex at the Margins provides a radically different analysis. Frequently, says Agustin, migrants make rational choices to travel and work in the sex industry, and although they are treated like a marginalised group they form part of the dynamic global economy. Both powerful and controversial, this book is essential reading for all those who want to understand the increasingly important relationship between sex markets, migration and the desire for social justice. "Sex at the Margins rips apart distinctions between migrants, service work and sexual labour and reveals the utter complexity of the contemporary sex industry. This book is set to be a trailblazer in the study of sexuality."—Lisa Adkins, University of London |
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updated 3 April
2010
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