IN SEARCH OF COLOR EVERYWHERE
A Collection Of African-American Poetry
Edited by E. Ethelbert Miller
256 pages, Stewart, Tabori & Chang, $24.95
I HEAR A SYMPHONY
African Americans Celebrate Love
Edited by Paula L. Woods & Feliz H. Liddell
334 pages, Anchor/Doubleday, $30
WITH "In Search Of Color Everywhere," E. Ethelbert Miller has
attempted to compile what he describes as "a poetic chronicle of
the African-American experience and the making of America." In
large part, he has succeeded. Miller has eschewed a chronological
approach and organized instead around seven thematic categories:
"Freedoms"; "Celebration of Blackness"; "Love Poems"; Family
Gatherings"; "Healing Poems"; "Rituals: Music, Dance & Sports"; and
"American Journal."
At 44, Miller is ideally positioned to compile such a project.
He is old enough to know the work of elder poets such as Margaret
Walker and Samuel Allen, and young enough to appreciate the efforts
of emerging writers such as Natasha Tarpley and Kevin Young. The
result is a rich mix of approaches and generational viewpoints.
Many former St. Louisans are included here, from the well-known
- Maya Angelou, Ntozake Shange, Quincy Troupe - and the lesser
known: Ruth Garnett, Naomi Long Madgett, Colleen J. McElroy. Eugene
B. Redmond, poet laureate of East St. Louis, Ill., is generously
and gloriously represented. Redmond's presence is indication of the
widespread attention he has begun to achieve, recognition that is
long overdue. Redmond's mastery of divergent techniques is
evidenced in the funky songification of "Dance Bodies #1" and in
the somber "Poetic Reflections. . ." inspired by the death of Henry
Dumas. Four passengers in the fourth car,
Divided by a generation of
intellect,
But feeling a common pain,
A mutual bewilderment:
Four grit faces of the oppressed. The book contains a great
deal of politically oriented poems, many of which were influenced
by the nationalistic fervor of the '60s and early'70s. Yet, as
Miller points out in his Introduction, none of them is anti-white.
I found the absence of biographical entries frustrating. I'm
always curious about poets whose work intrigues me, especially
those with whom I'm unfamiliar. Also, the editor could have devoted
an extra page or two to his Introduction. It is well-written but
teasingly brief. I know Miller to be capable of sharp analysis; I
would have liked to have seen more of it here.
His decision to include lyrics from significant songs seems
prudent. Thomas A. Dorsey's "Take My Hand, Precious Lord," and
James Brown's "Say It Loud - I'm Black And I'm Proud" are logical
descendants of the slave spirituals. The inclusion of Public
Enemy's "Party For Your Right To Fight," however, seems a too-hasty
nod to the younger generation. Minus its musical accompaniment,
this "poem" appears to express its sentiments in language that
rarely rises above cliches. …
