The Autobiography Of Leroi Jones | Book, Essay

The Autobiography Of Leroi Jones
Book details:
Rating: 3.93

Original Title THE AUTOBIOGRAPHY OF LEROI JONES

ISBN 0881910228 (ISBN13: 9780881910223 )

Genres:
Nonfiction :: History :: Poetry :: Biography :: Race

Book description:

First published in 1984, this is a revised edition of The Autobiography of Leroi Jones, which includes the original text (restored by the author) as well as a new introduction. Born Leroi Jones in 1934--he became Amiri Baraka in the mid-1960s---he is one of the seminal figures of contemporary black writing, a poet, playwright, novelist, critic, and political activist. Even more than those labels indicate, however, Baraka has been at the heart of literary and ideological ferment since the 1950s. Early in his career, he was strongly influenced by the Beats. During the cultural upheaval of the Black Arts Movement of the 1960s, he moved uptown to Harlem, changed his name, and embraced a religion that was a hybrid of Islam and traditional African principles. And then, in the 1970s, Baraka turned his back on Black Nationalism and embraced Marxist Leninism. The autobiography, written in Baraka's inimitable style, one that we might call word-jazz, ends there.




Book Authors:

Amiri Baraka

Baraka was born Everett LeRoy Jones in Newark, New Jersey, where he attended Barringer High School. His male parent, Coyt Leverette Jones, worked as a postal supervisor and lift operator. His female parent, Anna Lois ( née Russ ) , was a societal worker. In 1967 he adopted the African name Imamu Amear Baraka, which he subsequently changed to Amiri Baraka.The Universities where he studied were Rutgers, Columbia, and Howard Universities, go forthing without a grade, and the New School for Social Research. He won a scholarship to Rutgers University in 1951, but a go oning sense of cultural disruption prompted him to reassign in 1952 to Howard University. His major Fieldss of survey were doctrine and faith. Baraka besides served three old ages in the U.S. Air Force as a artilleryman. Baraka continued his surveies of comparative literature at Columbia University. After an anon. missive to his commanding officer impeaching him of being a Communist led to the find of Soviet Hagiographas, Baraka was put on gardening responsibility and given a dishonourable discharge for misdemeanor of his curse of duty.The same twelvemonth, he moved to Greenwich Village working ab initio in a warehouse for music records. His involvement in wind began in this period. At the same clip he came into contact with Beat, Black Mountain College and New York School poets. In 1958 he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg.Baraka visited Cuba in July 1960 with a Fair Play for Cuba Committee deputation and reported his feelings in his essay Cuba libre. He had begun to be a politically active creative person. In 1961 a first book of verse forms, Preface to a Twenty Volume Suicide Note, was published, followed in 1963 by Bluess Peoples: Negro Music in White America—to this twenty-four hours one of the most influential volumes of wind unfavorable judgment, particularly in respect to the so get downing Free Jazz motion. His acclaimed controversial drama Dutchman premiered in 1964 and received an Obie Award the same year.After the blackwash of Malcolm X ( 1965 ) , Baraka left his married woman and their two kids and moved to Harlem. His radical and now anti-semitic poesy became controversial.In 1966, Baraka married his 2nd married woman, Sylvia Robinson, who subsequently adopted the name Amina Baraka. In 1967 he lectured at San Francisco State University In 1968, he was arrested in Newark for allegedly transporting an illegal arm and defying apprehension during the 1967 Newark public violences, and was later sentenced to three old ages in prison ; shortly afterward an entreaties tribunal reversed the sentence based on his defence by lawyer, Raymond A. Brown. That same twelvemonth his 2nd book of wind unfavorable judgment, Black Music, came out, a aggregation of antecedently published music news media, including the seminal Apple Cores columns from Down Beat magazine. In the late sixtiess and early 1970s, Baraka courted contention by writing some strongly anti-Jewish verse forms and articles, similar to the stance at that clip of the Nation of Islam.Around 1974, Baraka distanced himself from Black patriotism and became a Marxist and a protagonist of third-world release motions. In 1979 he became a lector SUNY-Stony Brook 's Africana Studies Department. In 1980 he denounced his former antisemitic vocalizations, declaring himself an anti-zionist.In 1984 Baraka became a full professor at Rutgers University, but was later denied tenure.In 1989 he won an American Book Award for his plant every bit good as a Langston Hughes Award. In 1990 he co-authored the autobiography of Quincy Jones, and 1998 was a back uping histrion in Warren Beatty 's movie Bulworth. In 1996, Baraka contributed to the AIDS benefit album Upbeat: A Red Hot Soundtrip produced by the Red Hot Organization.In 2002, scholar Molefi Kete Asante listed Amiri Baraka on his list of 100 Greatest African Americans.
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The Autobiography Of Leroi Jones Essay




Everything you 've of all time wanted to cognize about Amiri Baraka but were afraid to inquire. I liked the first half of the book, since it was more personal and said a batch about what was traveling on inside and outside of LeRoi Jones. I would decidedly prefer to read the same sort of history about his yearss in black motions. Here it looks more like a list of names hurriedly collected than a narrative of one adult male 's development. likely my favourite autobiography of all clip. I read this about 20 old ages ago and still vividly retrieve how he wrote about the Newark Eagles and traveling to baseball games with his male parent... genuinely lyrical. Wow, this adult male 's narrative is really interesting and animating when you learn about all the things he did and how great of a author he became. He has an amazing sense of wit as good. I love everything Jones/Baraka wrote in his younger yearss. He was the most intense, superb, fearless of the black authors of the '60s. His dramas -- The Toilet, J-E-L-L-O, Slave Ship -- were eviscerating, and his essays -- Home -- had a skewering deepness that cipher else reached. But like the remainder of us, he got older, and though he did n't precisely lose his border, by the clip of the autobio ( 1984 ) he 'd lost the coherence that made his authorship unique. I can read 3 or 4 pages of this at a clip, but it 's wash uping without being edifying. I 'm trusting that if I give it to a thrift store, person in these really white hills will pick it up, but I doubt that. Amiri Baraka is an of import figure in US literary and piolitical history, but i read this book chiefly because of his connexion to the metropolis of Newark. In his extremely personal manner, he describes his life up to the seventiess, from his childhood in Newark to the clip he spent in the armed forces, to his beginnings in the NY literary scene, and eventually to his function in the black release battle. A coming to where one is narrative ; declaration of the trouble of taking the right manner to move in the midst of a minute and besides a testament to the traveling back through afterwards to larn the ground ( s ) it was you did move the manner you acted. Self-reflective and cognizant with minimum efforts to do him look like the good cat, get downing with an presentation about Amina, his married woman, and their split politically, because of the jingoism Amina experienced and detested within the nationalist CAP. How they both have become Communists and how of class love trumps political differences is a topic for another book. It 's cool to read as a manual for political organizing through the humanistic disciplines, and he outlines many of the errors made while building the Black Arts Movement in Harlem and so the Spirit House Movers in hometown New Ark. So I 'm into it and can surely delve his love of the humanistic disciplines and music, the powers he attributes to craft. Blues is the grandaddy for African American civilization and Jass, one time it became Jazz, became the articulation of the whole musical and cultural experience of African, Black, Brown and even a small Yellow and White experience, a historical and philosophical and surely assumptive progeny of which grandaddy/granny blues would be proud. It 's reviewing to read person American who believes art and political relations to be intertwined, and this was a good debut to his work.
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