Hettie Jones -

audience Poets House Gala, 26 Bridge Street
all photos by Patricia Spears Jones

On Monday evening I was able to join many poets and poetry enthusiasts for the annual Poets House Gala that follows the Bridgewalk. I was one of the featured poets in the late 1990s so I feel as if I am part of a very special group of poets to have read work on the Brooklyn Bridge. Lee Bricetti and her staff (Stephen Motika, Jane Preston, Reginald Harris, Krista Manrique, and several others) make what I know is a massive endeavor look very easy. Got there just as Mark Doty launched into “Crossing Brooklyn Ferry”, Whitman’s poem that Galway Kinnell read each year until he could no longer join the proceedings–he is missed of course and I know he was sending good vibes to the audience and to Mark. The high point of the evening was the winner of the Poetry Out loud National Recitation Contest Anita Norman’s recitation of a Stanley Kunitz poem. She worked that poem in front of an audience that a) knew the poem well and b) knew Stanley. The ovation she received was well deserved. But this is when things gets strange–Norman. I went over to speak with her and her father and found that he is the son of one of my former classmates and his grandfather was my elementary school principal. Poets are connected in all kinds of ways. Thom Lux and Vijay Seshadri also read well and Naomi Shahib Nye’s acceptance speech for the Elizabeth Kray award was tender and full of humor. Great to Laureanne Bosselaar, Ira Silverberg, Dave Johnson, Kevin Young, Cornelius Eady and Sarah Micklem, Hettie Jones-I could go and on. Poets House is important to poetry, to New York City, indeed to the globe. www.poetshouse.org.

This past Sunday, Pentecostal Sunday, I left church and got on the subway from Brooklyn to Harlem to meet with Holly Hughes BFA students who are getting an immersion into NYC arts. It is always interesting to meet students of the arts. They ask interesting questions. They see things differently or they walk lockstep w/ whatever trends there are. It is always tricky to look at, critique and create culture. So they were there to see Carrie Mae Weems Museum Series, a group of large scale photographs there were not hung at the Guggenheim during her retrospective. They should have been at the Guggenheim.

But also there is a terrific show When the Stars Began to Fall http://www.studiomuseum.org/exhibition/when-the-stars-begin-fall-imagination-and-the-american-south which is up until the end of June. As a Southerner who has lived Up North for decades, I am also pleased when Black artists from the South or artists interested in the South are exhibited. I really enjoyed the David Hammons piece which consists of several bottles in which he has created pieces representing his take on the Delta-here it is lightning in the bottle. Lightning bolts are common –given the quick and harrowing thunderstorms that arise in the Delta so to see them is in a bottle (contained, yet powerful) makes me smile.

detail David Hammons assemblage

And while the Weems display is very powerful as her black clad figure stands in front of museums from the Pergamon in Berlin to Project Row House in Houston–that one is odd as it is modest,new and in a part of Houston that remains stubbornly proudly Black, I was also pleased to see the work of Beverly Buchanan. Ms. Buchanan has been creating sculptures that mimic, deconstruct, examine Southern vernacular architecture. Her father was a Agri agent and she used to join him on his rounds and so saw many farm houses throughout North Carolina. Years ago, I saw her work and was inspired to write “Shack with Vines” one of the poems in “Why I Left the Country” suite. There was something about the shack’s fragility and its necessity that she was able to convey. Her more recent works are more deconstructed, but they are made of materials that are fragile. She continues to explore how for many shelter is makeshift, modest and can at any moment be blown away or burned down. At any moment.

detail from Beverly Buchanan installation

photograph by Patricia Spears Jones

The Poetry Project and Cave Canem did a great job of paying homage to Amiri Baraka/Leroi Jones poetic roots and branches this afternoon. Poets and musicians performed Baraka’s works and/or paid tribute in poems to him. Quincy Troupe’s “Avalanche” had us thinking of Baraka’s welcome to that “unknown country” that he has now gone to. Julie Patton deconstructed his name melody collaborating with a bassist. David Henderson read his work/a Baraka poem and also a fine poem from Diane DiPrima. Cornelius Eady and Rough Music (Poetry’s house band) did a gorgeous multi-vocal arrangementl. I was also moved by Tracie Morris and Vijay Iyer’s deconstruction of “My Favorite Things”.
Bob Holman’s exegesis on Baraka’s most famous poem, you know the one about 9-11, the one that got the New Jersey legislature to remove the Poet Laureate position, which as Bob pointed out leads Baraka to be New Jersey Poet Laureate in perpetuity. It was a masterful critique of the poem, poet and situation. Thank you Bob Holman.
Steve Dalachinsky almost matched his wonderful performance at Jayne Cortez’ memorial last year w/ a wonderful piece in collaboration Matthew Shipp. Greg Tate brought some of Baraka’s prose from Black Music (me thinks “The Changing Same” is one of the great essays of the 20th century, just saying) reading a short riff on Wayne Shorter. And Martha and Basil King who met “Leroi” in the 1950s, Latasha Diggs, Toi Dericotte and James Brandon Lewis added to a generous and diverse group of poetic and musical voices in the tribute.
I almost left and then I realized I had to stay for Anne Waldman, who along with Henderson, Troupe, the Kings was a long time friend of Baraka and so her perspective had to be heard. She read a lovely elegy from Hettie Jones, Baraka’s first wife. Anne also discussed Baraka’s connection to Naropa. and the she and her band Ambrose Bye, Steven Taylor, and Devin Waldman served the material well. Because Anne did a fiery version of “BLACK DADA NIHILISMUS from “The Dead Lecturer”. I remembered how fascinated I am by the readings of poems across genders and Baraka was very much the enraged hetero male and Anne brought out her masculine side and worked those words. And then she ended with a kind of blessing on Baraka’s spirit and for all of us from her own summoning of female power.

I agree with Ammiel Alcalay who remarked that there are more works to unearth from Amiri Baraka and that he was extremely generous to the scholars and poets at CUNY Grad Center. Baraka, indeed all of the poets, Black and White who created the downtown literary scene deserve more scrutiny, to be read, wrestled with. They were not all Beats or Buddhists. They were as diverse as the neighborhood they lived and worked in. I am a huge O’Hara fan as many of my friends know, but I am also glad to have been part of the downtown scene in it’s third iteration in the 1970s w/ Anne and Lewis Warsh and Bernadette Mayer and Ted Greenwald and dear dear Lorenzo Thomas as my mentors, teachers, friends. It is good to see Bernadette and Ted begin to get their due and Lewis is now carving out more poets at LIU. As Steve Cannon told me, “Roi” always came back”. In many ways Baraka went back to Newark but Leroi/Amiri came to New York for friends, fun, the chance to wear his boogie shoes. And finally, Oliver Lake’s solo was extraordinary and his tribute poem a thing of great joy and admiration. Plus, he wore the most beautiful garment-truly a shirt of many colors. Where ever Baraka is he was tapping his feet.
I thank all the poets/ musicians and all the great people who made their way to the Sanctuary to pay tribute.

photograph by Patricia Spears Jones

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Poets connect in ways unexpected.

Tribute to Amiri Baraka, April 5, St. Mark’s Church, Manhattan