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Imamu Amiri Baraka

Baraka, Amiri


Amiri Baraka (amērē bərä´kə), 1934–, American poet, playwright, and political activist, b. Newark, N.J., as LeRoi Jones, studied at Rutgers Univ., Howard Univ. (B.A., 1954). He gained notoriety in 1964 when four of his plays—Dutchman,The Toilet,The Baptism, and The Slave—were produced Off-Broadway in New York City. A provocative political analyst, he has written many works that express a strident anger toward the racism of mainstream white American society. His volumes of poems include Preface to a Twenty Volume Suicide Note (1961), Selected Poetry (1979), Transbluesency: The Selected Poems of Amiri Baraka/LeRoi Jones, 1961–1995 (1995), and Eulogies (1996); among his many plays are The Motion of History and Other Plays (1978) and Election-Machine Warehouse (1996); his volumes of essays include Blues People: Negro Music in White America (1963, repr. 1980) and Daggers and Javelins (1984). With his second wife, Amina Baraka, he edited Confirmation: An Anthology of African-American Women (1983). His collected fiction was published in 2000.

Baraka has been intensely involved with the African-American community. He founded Harlem's Black Arts Repertory Theatre in 1965, three years later establishing the Black Community Development and Defense Organization, and starting the Black National Political Convention in 1972. He has also taught at a number of colleges and universities. In 2002 Baraka was named New Jersey's third poet laureate. However, one of his poems suggested Israel had foreknowledge of the 2001 terrorist attack on the World Trade Center and led to furious controversy in the state. Demands for Baraka's resignation failed, as did attempts to fire him, but in 2003 the state legislature removed him by eliminating the poet laureate post.



See his memoirs, The Autobiography of Amiri Baraka/LeRoi Jones (1984, rev. ed. 1997); C. Reilly, ed., Conversations with Amiri Baraka (1994); studies by T. R. Hudson (1973), W. Sollors (1978), W. J. Harris (1987), K. Woodard (1999), and J. G. Watts (2001).

The Columbia Encyclopedia, 6th ed. Copyright© 2012, The Columbia University Press.

Selected full-text books and articles on this topic at Questia

Blues People: Negro Music in White America
LeRoi Jones. William Morrow, 1963
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The Moderns: An Anthology of New Writing in America
Leroi Jones; Imamu Amiri Baraka. Corinth Books, 1963
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Preface to a Twenty Volume Suicide Note
Le Roi Jones; Le Roi Jones; Le Roi Jones. Totem Press; Corinth Books, 1961
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The Trembling Lamb
Antonin Artaud; Carl Solomon; Bernard Fretchman; Leroi Jones; John Fles. Phoenix Bookshop, 1959
Librarian’s tip: "The System of Dante's Inferno" by LeRoi Jones begins on p. 29
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African American Autobiographers: A Sourcebook
Emmanuel S. Nelson. Greenwood Press, 2002
Librarian’s tip: "Amiri Baraka (Leroi Jones)" begins on p. 37
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Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities in African, African-American, and Caribbean Drama
Tejumola Olaniyan. Oxford University Press, 1995
Librarian’s tip: Chap. 4 "Leroi Jones/Amiri Baraka: The Motion of History"
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The Paradox of Experience: Black Art and Black Idiom in the Work of Amiri Baraka
Roney, Patrick. African American Review, Vol. 37, No. 2-3, Summer-Fall 2003
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Modern Black American Poets and Dramatists
Harold Bloom. Chelsea House, 1995
Librarian’s tip: "Imamu Amiri Baraka" begins on p. 15
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Uptown Conversation: The New Jazz Studies
Robert G. O'Meally; Brent Hayes Edwards; Farah Jasmine Griffin. Columbia University Press, 2004
Librarian’s tip: "'How You Sound??' Amiri Baraka Writes Free Jazz" begins on p. 312
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Amiri Baraka Analyzes How He Writes
Salaam, Kalamu ya. African American Review, Vol. 37, No. 2-3, Summer-Fall 2003
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Realism and the American Dramatic Tradition
William W. Demastes. University of Alabama Press, 1996
Librarian’s tip: Chap. Fourteen "The Limits of African-American Political Realism: Baraka's Dutchman and Wilson's Ma Rainey's Black Bottom"
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In the Tradition: Amiri Baraka, Black Liberation, and Avant-Garde Praxis in the U.S
Kim, Daniel Won-gu. African American Review, Vol. 37, No. 2-3, Summer-Fall 2003
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