Emily Rutter Contested Lineages

Contested Lineages: Fred Moten, Terrance Hayes, and the Legacy of Amiri Baraka Emily Ruth Rutter African American Review, Volume 49, Number 4, Winter 2016, pp. 329-342 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/afa.2016.0050 For additional information about this article https://muse.jhu.edu/article/642821 Access provided by Ball State University (27 Dec 2016 19:12 GMT) Emily Ruth Rutter Contested Lineages: Fred Moten, Terrance Hayes, and the Legacy of Amiri Baraka N everonetoshyawayfromthepolemical,AmiriBarakapublishedascathing reviewof Angles of Ascent: A Norton Anthology of Contemporary African American Poetry (2013)lessthanayearbeforehispassingonJanuary9,2014. Inthe review“APost-RacialAnthology?,”BarakacriticizeseditorCharlesH.Rowellfor whatheperceivestobeRowell’slingeringhostilitytowardtheBlackArts Movement:“Rowell’sattempttoanalyzeandevencompartmentalizeAfroAmericanpoetryisflawedfromthejump.”Barakagoesontodescribeadebatethat hehadwithRowellatFiskUniversityin1966abouttheaimsof theMovement: We said the art we wanted to create should be identifiably, culturally Black—like Duke Ellington’sorBillieHoliday’s.Wewantedittobeamassart,nothiddenawayonuniversity campuses. We wanted an art that could function in the ghettos where we lived. And we wanted an art that would help liberate Black people. I remember that was really a hot debate,andprobablyhelpedputanideologicalchiponRowell’sshoulder.(“Post-Racial”) Despitebeingonopposingsidesinthisdebate,Rowell’sIntroductiontothe anthology,“WritingSelf,WritingCommunity,”tacitlyaffirmsthepolitical/apolitical binarythatBarakaasserts.“Withoutthefettersof narrowpoliticalandsocial demandsthathavenothingtodowiththeproductionof artistictexts,”Rowell writes,“blackAmericanpoets,sincetheCivilRightsMovementandtheBlackArts Movement,havecreatedanextraordinarynumberof aestheticallydeftpoemsthat bothchallengetheconceptof ‘theAmericanpoem’andextendthedimensionsof Americanpoetry”(xlvii).Humorouslycallingthisparticularclaim“poppycockatits poppiestandcockiest,”Baraka’svehementoppositiontoRowell’scriticalstance suggeststhattheideologicallinestheydrewduringthe1960sremainedintact— lines,thisessayargues,thatcontemporarypoetsblurfarmorethantheIntroduction toAngles of Ascent suggests. Of course,allanthologistsmustmakedifficultchoices,anditgoeswithoutsayingthattheirselectionsandomissionswillneversatisfyallreaders.Angles of Ascent is notjustanyanthology,however;thegenealogyRowelladvancesinhisIntroduction carriesconsiderableweight.Indeed,Angles of Ascent standspoisedtobecomea centraltextusedtoclassifyandcodifycontemporaryAfricanAmericanpoetry: itismorecomprehensivethancompetingvolumes;1 itispublishedbyNorton, anesteemedpublisherwithwidedistribution;anditsrelativeaffordability(thepaperbacksellsfor$24.95)meansthatitwillnodoubtappearonmanyuniversityreading lists.Ihavealreadyusedthistextashaveseveralof mycolleagues,if fornoother reason(andtherearemany)thanitsscope.Finally,Angles of Ascent’sauthoritystems inpartfromRowellhimself,atoweringfigureinAfricanAmericanliterature,not leastbecauseof hisdecades-longtenureaseditorof thejournalCallaloo.Infact, Rowellhaspublishedandinterviewednearlyallof thecontemporarypoetsincluded inthisanthology,indicatinghisseminalrole(andvestedinterest)inshapingcurrent understandingsof thepoeticlandscape.Especiallygiventhepotentialcriticaland pedagogicalimpactof Angles of Ascent,wemustfurtherexaminethelinesof descent thatRowelloutlines,specificallyhiselisionof Baraka’sinfluenceoncontemporary AfricanAmericanpoetry. African American Review 49.4 (Winter 2016): 329-342 © 2016 Saint Louis University and Johns Hopkins University Press 329 Tothisend,thisessayconsiderstheworkof FredMotenandTerranceHayes, twoof themostacclaimedpoetsincludedinAngles of Ascent.2 Atfirstglance,Moten andHayesrepresentdissimilarartisticoutlooks:whereMoten’sisanexperimental, paratacticpoetryfullof obscureallusions,Hayesoftenwritesnarrative,syntactically logical,andattimesautobiographicalpoems.Theirdistinctpoeticsnotwithstanding, theybothciteBarakaasanartisticforebearevenastheyembraceculturalhybridity andrefusetocleavetotheraciallyandpoliticallysegregatedlinesthatcharacterize muchof Baraka’sœuvre.IntheaforementionedIntroduction,however,Rowell writesthatthesepoetsandthegenerationsthathavefollowedthem“arenotdirect aestheticandideationaldescendantsof thepoetsof theBlackArtsMovement;they aremoreakintoRobertHaydenandthepoetscontemporarytotheMovement whowroteoutsidetheBlackAesthetic”(xl).RowellsituatesMotenandHayesas heirstothe“FirstWave,Post-1960s,”aheterogeneousgroupthatincludesRita Dove,Yusef Komunyakaa,NathanielMackey,andHarryetteMullen,amongseveral others.3 RowellthenclassifiesHayesin“thesecondwave”of contemporarypoets andMotenin“thethirdwave,”althoughtheirfirstcollectionswerepublishedwithin oneyearof eachother—Hayes’sMuscular Music in1999andMoten’sArkansas in 2000. Moten,Hayes,andmanyof theircounterpartsareundoubtedlyinfluencedby theseesteemed“post-BlackArtspoets”aswellasHaydenandotherswhoopposed themovement,butthedefinitivebreakwithBlackArtsfigures,namelyBaraka,isnot nearlyasclear-cutasAngles of Ascent wouldhaveitsreadersbelieve.AsIarguehere, BarakaprovidesacrucialtouchstonebywhichMotenandHayesconveytheireclectic musicalinfluencesand,perhapsmoreimportant,theconnectionsbetweentheir aestheticandsociopoliticalcommitments.IlluminatingMoten’sandHayes’sdistinct engagementswithBaraka—particularlytheinextricablerelationshiphemaps betweenblackmusic,poetry,andsociopoliticalchange—thisessayaimstoboth complicatethegenealogyRowellsetsforthinAngles of Ascent andattendmorefullyto Baraka’slastingsignificanceforMoten,Hayes,and,byextension,abroadspectrum of twenty-first-centuryAfricanAmericanwriters. Baraka’s Poetic-Musical-Political Homages B eforeturningtoMoten’sandHayes’sengagementwithBaraka,Iwillbriefly surveytheconnectionsBarakaforgedbetweenblackmusicandsociopolitical empowermentoverhislongcareeraspoet,critic,andactivist.InBlues People: Negro Music in White America (1963)—Baraka’sseminalbook-lengthhistoryof theblues, thefirstbyanAfricanAmerican—hearticulatesanunderstandingof thebluesthat arguablyguidedhisoutlookfortherestof hislife: Theideaofawhitebluessingerseemsanevenmoreviolentcontradictionoftermsthanthe idea of a middle-class blues singer. The materials of blues were not available to the white American, even though some strange circumstances might prompt him to look for them. Itwasasifthesematerialsweresecretandobscure,andbluesakindofethno-historicriteas basicasblood.(148) BarakainsiststhatonlyAfricanAmericans(specifically,thoseintheworkingclass) canauthenticallyrenderthebluesbecausetheycarrywiththemtheoppressive historyof enslavementandJimCrowthatinspiredthismusicinthefirstplace.Inhis essay“TheChangingSame(R&BandNewBlackMusic)”(1966),Barakaextendshis claimsabouttheauthenticallyAfricanAmericanandintrinsicallypoliticalcharacter of thebluestoincludejazzandotherblackmusicaltraditions:“Theprotestisnot 330 AFRICAN AMERICAN REVIEW new.Blackpeople’ssongshavecarriedthefireandstruggleof theirlivessincethey firstopenedtheirmouthsinthispartof theworld”(207).Twodecadeslater, in“Blues,Poetry,andtheNewMusic”(1987),Barakareiteratedthispoint:“Jazz incorporatesblues,notjustasaspecificform,butasaculturalinsistence,afeelingmatrix,atonalmemory.Bluesisthenationalconsciousnessof jazz—itstruthfulness inalieworld,itsinsistencethatitisitself,itsidentificationasthelifeexpressionsof aspecificpeople,theAfricanAmericannation”(263).Inspiteof hisinvestment inThirdWorldMarxismduringtheinterveningyears,4 “Blues,Poetry,andthe NewMusic”demonstratesthatBarakacontinuedtoextolblackmusicaltraditions astheforemostexpressionof culturalconsciousnessandresistancetowhitepower structures. Wefindaresonantexampleof thisideologicalcontinuityinBaraka’s “AM/TRAK”(1979),apoemthatpaystributetoJohnColtraneandcelebrateshis groundbreakingworkonthesaxophoneasthesoundof blackempowerment. “Therethencamedownintheuglystreetsof us,”Barakawritesof Coltrane,a “black blower of the now /Thevectorsfromallsources—slavery,renaissance/bop charlieparker”(201).5 BarakapositionsColtraneasamusicalspokespersonforthe blackcommunityandlimnshisoftenecstaticsolosas“Convulsivemultiorgasmic” expressionsof “Art/Protest”againstwhitehegemony(201).Coltrane’sriffsareso powerfulinfactthattheyarecapableof galvanizinglisteners,includingBaraka— “&evencheckme[Trane]”(201)—towardself-determination.Thisinterconnectedness betweenblackpoliticalstruggles,bluesandjazz,andBaraka’spoetryrecursafew yearslaterin“IntheTradition”(1982),alongpoeminwhichBarakaincludeslists of AfricanAmericanmusicians,writers,andAfro-diasporicpoliticalleadersand affirmsthat“thetraditionsaysplainlytousfightplainlytous/fight,that’sinit, clearly,wearenotmeanttobeslaves”(217).Heconcludesthepoemwithahortatorychant: Sing! Fight! Sing! Fight!&c.&c. Boosheeedooooodoodoooodee doooo doooooooooo! DEATHTOTHEKLAN!(218) Positingaunifying“tradition”of AfricanAmericanachievementandstruggles forliberation,BarakaunderscorestheinseparablelinkbetweenAfricanAmerican poetry,music,andfreedomfromoppression,asthepoemendstriumphantlyby declaringthatitwilltakebotharmedandmusicalresistancetoendtheKuKlux Klan’sracialterrorism.Notably,theculturalandpoliticalhistorythatBarakadelineatesrestsontheconceptof aunifiedblackexperience:thereisan“us”(andby extensiona“them”)and,asthearticleinthepoem’stitleindicates,thereisone “tradition”fromwhichAfro-diasporicpeoplecangainstrength.MotenandHayes, Iargue,owemuchtoBaraka’sconceptof traditionaswellastheinspiringconnectionsbetweenbluesandjazz,poetry,andsociopoliticalchangethatheconveys. Yettheytroublethesegregatedlinesof culturaldescentthatBarakaadumbrates and,intheprocess,generatenuancedversionsof Baraka’spoetic-musical-political homages.RatherthansettingthemselvesapartfromBarakaandtheBAMlegacy, asRowellimpliesinAngles of Ascent,theyexpandontheformidableprecedentthat Barakaset. CoNtEStEd LINEAgES: FREd MotEN, tERRANCE HAyES, ANd tHE LEgACy oF AMIRI BARAkA 331 “the other way / is how we sound” “B arakaisnotonlytheconditionof possibilityof mywriting,”Motentold Rowellinaninterview,“butalsoalmostalwaysanticipatesmycritiques of himeventhoughthecritiquesremainnecessary”(qtd.inRowell,“Words”111). Further,Motenasserts,“FormetheBlackArtsMovementiscrucialandindispensable.Andthisisnotonlybecauseof therangeanddepthof itsaddress—however complicatedandproblematic—of fundamentalquestionsbutalsobecauseitwas underthatmovement’sprotocolsandemphasesthatIwasintroducedtoart”(110).6 WhileRowell’saforementionedIntroductionidentifiesMotenasheirtothepoets whoopposedandcameafterBlackArts,Motenhimself identifiesBarakaandthe BlackArtsMovementasfoundational,bothpersonallyandartistically,evenashe distinguisheshisownpoetic(andcritical)voicefrommanyof theideologicalpreceptsadvancedundertheBAMrubric.Inthisregard,Moten’scollectionB Jenkins (2010)includesaseriesof whatIterm“dualhomage”poemsthatpairabroad spectrumof artistsandintellectuals:“billieholiday/rolandbarthes,”“johnnycash/ rosettatharp”[sic],“tonyoxley/frederickdouglass,”“elizabethcotten/nahum chandler,”“michaelhanchard/woodyguthrie,”amongothers.Thesepairingsinvoke andthenunsettletheintraracialculturalbinariesthathavetraditionallyseparated blacktheoristssuchasNahumChandlerfromfolkmusicianssuchasElizabeth CottenaswellastheinterracialbinariesseparatingAfricanAmericansingerssuch asBillieHolidayfromFrenchtheoristssuchasRolandBarthes.Implicitlythen, Motenbroadensthepoetic-musical-politicalconstellationthatBarakaconstructs— aconstellationpredicatedonthecleardemarcationof political(andoftenracial) alliesandenemies. Forexample,in“johnnycash/rosettatharp,”oneof thepoemsincludedin Angles of Ascent,Motenjuxtaposespersonalmemoriesabouthismother’shometown of Kingsland,Arkansas(atownwhereMotenspenthislasttwoyearsof highschool), JohnnyCash’sautobiographicalaccountof hisupbringinginDyess,Arkansas,and thelegacyof SisterRosettaTharpe,agospelandbluesmusicianwhowasraisedin thenearbycommunityof CottonPlant.7 Stitchingtheirhistoriestogether,Moten situatesthesefiguresinabluescontextandimaginestheisolationof therural, hardscrabbleexperiencestheyallshared: firstdieselcamethroughcuba longpossiblehardstreamtomemphis gravelontheedgeofthatblackwater whiteflowerstillthatriverblackmotel. likemakinggroceriesatdrake’sonsaturday butnonewlectronicsofthesun.gottagethometo thatlightbyblind,slipthroughcottonplant atnightbetweenthetrackandtheriver(ll.1-8) Throughtheimageof thetrainthatcutsacrossthelandscape(“firstdieselcame throughcuba”),MotenalludestowhatHoustonA.Baker,Jr.referstoasthe“durativeandkinetic”impulsesthatunderliethebluestradition(8),therebyanchoring Cash,Tharpe,andMoten’sfamilyinthisruralArkansassetting,whereonlythe “longpossiblehardstreamtomemphis”connectsthemtothecommercialmusic industryinwhichTharpeandespeciallyCashwouldeventuallygainfame.Moten’s allusivepoeticssimilarlygesturetowardthecodedlanguageof theblues,andhe thusjoinsalonglineof AfricanAmericanmusiciansandotherblues-inspired writerswhoselyricsconveymultifacetedmeanings. 332 AFRICAN AMERICAN REVIEW Yet,whereasBarakaascribesadistinctivelyAfricanAmericanidentitytothis culturalhistory(whatheterms“thetradition”),Motensuggeststheblurrinessof thelinesthathistoricallyseparatedTharpeandCash.Forexample,theboundaries thatthepoemsetsforth,suchasthe“gravelontheedgeof thatblackwater”and the“whiteflowerstillthatriverblackhotel,”aretenuousandeasilytransgressed, aswhensomeone“slip[s]throughcottonplant/atnightbetweenthetrackandthe river.”Moreover,althoughfewwouldassociateCashandTharpewiththesame musicalheritage,andTharperemainsvirtually“unknowntothestaunchestgospel andjazzfanstoday”(Darden197),whenCashdiedhisdaughterRosanne“confirmedthatRosettawaslikelyherfather’sfavoriteartist”(Wald70).Tharpewasalso knownforherinnovativeguitarriffsandvocalstylethat,asPaigeA.McGinley observes,hadan“outsizedinfluenceonrockandroll”(145). Asisoftennoted,thehistoryof Americanmusic,especiallyrockandroll, teemswithexamplesof whiteappropriationof blackmusicalstyles.And,asErich Nunnpointsout,thehistoricalcodingof countrymusicaswhiteevincesaconcerted efforttomaintaina“racialsoundbarrier”(7),elidingthefactthatthecountry musicforwhichJohnnyCashandothersgainedfamewas“steepedinAfrican Americantraditions”(45).In“johnnycash/rosettatharp,”Motenunsettlesthis soniccolorline,describingthesesubversiveintentionsinhisaforementionedinterviewwithRowell:“Iwantedtoimagineinanewwaythecommercebetweenmusics thatemergefromunderground,experimental,stolencollectives,andIwantedto approachitinapoemthatwaspreciselytryingtoworkthroughthiskindof complicatedbeingtogether”(qtd.inRowell,“Words”102).InvokingCashandTharpe intandem,Motenelucidatestheculturalandmusicalcommonalitiesbetweenthem, perhapsapparenttotheircontemporaneousSouthernaudiencesbutobscuredover timethroughthecontinuousracializationof musicalgenres.Thus,whileTharpeand otherseminalAfricanAmericanmusiciansplaythesamevitalroleinMoten’swork asBaraka’s,theyarenolongercastassymbolsof adistinctivelyblackexperience butviewedmoreexpansivelythroughotherpersonal,historical,andcrosscultural lenses. InMoten’smorerecentcollectionThe Feel Trio (2014),hestagesasimilarbut moreovertdialoguewithBaraka.Anuntitledpoemfromthesection“Block Chapel,”forinstance,riffsonBaraka’spoem“TheNewInvasionof Africa”(2011), acritiqueof BarackObama’s2011bombingof Libya.Baraka’spoemisshot throughwithoutrageoverwhatheperceivestobeObama’sabandonmentof his AfricanheritageandhisalliancewiththeEuropeancolonialpowersresponsiblefor theAfricandiaspora: Soitwdbethisway Thattheywdgetanegro Tobombhisownhome Tojoinwiththeactualcolonial Scum,Britain,France,addPoisonHillary WithIsraelandtheSauditomakecertain ThatrevolutioninAfricamusthaveastopper ..................................... Withthenegroyappingtomakeitseemright(farright) Butthat’showAfricagotenslavedbythewhite Anegrosellinghisownfolk,deliveringustoslavery(ll.1-7,11-13) CharacterizingObamaasanaïvefigurehead,dupedintojoiningforceswithhis Europeanalliesbecauseof hisowngreedandperhapsself-loathing,Barakademarcatesan“us”versus“them”reminiscentof hisearlierworkbutrecalibratedto accountforthenewpoliticallandscapeengenderedbythenation’sfirstAfrican Americanpresident.WhileBarakadoesnotplacetheblamesquarelyonObama andexpressesmoresympathytowardhimthanhedoestowardotherparties CoNtEStEd LINEAgES: FREd MotEN, tERRANCE HAyES, ANd tHE LEgACy oF AMIRI BARAkA 333 responsibleforthebombings—namelyHillaryClinton(“PoisonHillary”)—Baraka neverthelessoffersascathingrebukeof thepresident’sactions. Hethusconcludesthepoembyregisteringhisdisappointmentthat,inhisview, Obamaoptedforanalliancewithwhiteneocolonialistsratherthanpan-Africanists: Whenwillyoulearnpoet Andrememberitsoyouknowit Imperialismcanlooklikeanything Canbequietandintelligentandevenhave Aprettywife.Butintheend,itisinsatiable Andifitneedsto,itwilltakeyourlife.(ll.15-20) Self-reflexivelydrawingattentiontohisownculpability—Baraka’sbelief thatObama wouldstandforhis sociopoliticalinterestsandnotthoseof Westernpowers—he issuesthewarningthatnooneissafewhenimperialismreigns.Therefore,while Barakamovedawayfromastrictracialbinarythatvauntsblacknessanddenigrates whitenessinthisandotherlatepoems,hecontinuedtoinvestinraceasameansof demarcatingalliesandenemies.Weshould,inotherwords,expect“thewhite”to exploitandoppressAfrica,butObamaisatraitorbecausehedoesnotprivilegehis allegiancetoAfricaoverhispoliticalalliances. Mobilizingmanyof thelinesfrom“TheNewInvasionof Africa”intohis aforementionedpoeminThe Feel Trio,Motenextendsaspectsof Baraka’smessage butconveystheminmorefluidandcapaciousterms.WhereasBaraka’stitleinitself carriesapoliticalmessage,Moten’somissionof oneallowsforambiguity,andultimately,arangeof meanings.Hebeginsthepoemby“worrying”Baraka’slines8: “itwouldbethisway.soitwdbethisway.youwantittobeoneway.thattheywd get/anegro.look,anegro.wegotanegro.there’sadronethatlookslikewhatwe/ wantaprettywife,aprayerbookformypassport,blewup”(ll.1-3).Motenechoes Baraka’sconcernsaboutObama’sbeingusedasaproptoadvanceimperialistaims. Thepronounshere—“you”versus“they”—alsoestablishadichotomousrelationshipbetweenwhiteimperialistsandtheirpuppets(putativelyObama)andpeopleof Africandescent.Infact,Moten’sallusiontoFrantzFanon’sphrase“Look,aNegro!” (82)fromBlack Skin, White Masks (1952)suggeststhatthesameobjectificationthat hewroteaboutmorethanhalf acenturypriorstillexists,9 eventhoughablackman callstheWhiteHousehishome. Motenthenseguesintoanassociativeriff thatrecallsBaraka’semphasisonavantgardejazzasaformof resistancetowhitedominanceandcolonialoppression— àla “AM/TRAK”and“IntheTradition”—atthesametimethatheeschews Baraka’sprescriptiverenderingof whatpoliticalchangelookslike: meetingsinbloodymossesandsandyridge,infortdepositcanwecometodinner?wewantsomemoney.wesettledfor fortheotherwayandhowwesound.butit’stheotherway anegro.wesettledinahouserightbythefort.we’resettlers. ishowwesound.ourmusicalbreakfastisfree.thebottomscallusnathan.callmeethan.yassuhwecan walkandtalklikeronnieboykins.ourtechniqueisfeline(ll.5-8) Formallysubvertingunilateralmodesof thought,Moten’stypographyinvitesatthe veryleasttwowaysof readingthepoem.Thelinesalongtheleftmarginbothstand aloneandarepositioneddialogicallywiththoseontheright,amultiplicitymatched bythereferencestowhitedominanceaswellasAfricanAmericandefianceof that domination.FortDeposit,Alabama,forexample,wasestablishedduringtheCreek IndianWartosupplyAmericansoldierswiththeweaponryneededtoannihilatethe nativeinhabitantsof theDeepSouth,whilethequery“canwecometodinner?” recallsthefilmGuess Who’s Coming to Dinner (1967)starringSidneyPoitierand KatharineHoughton(alongwithKatharineHepburnandSpencerTracy), agroundbreakingfilmendorsinginterracialmarriage.Moreover,“thebottoms” likelyreferstothecolloquialnameforthegeographicallyundesirableneighborhoods intowhichblacksweresequesteredduringthepre-civilrights/BlackPowerera; 334 AFRICAN AMERICAN REVIEW theline“ourmusicalbreakfastisfree”recallstheBlackPanthers’FreeBreakfast Programforchildren;andRonnieBoykinswasajazzbassistwhoplayedwithSun Raandlaterestablishedhisownband,theFreeJazzSociety,duringthelate1960s. Thesereferencepointscreateaproductivetensioninthepoembetweenoppression andartisticresistance,whichMoten’spoeticsinturnreplicate.Moten’sfinalline thenresonateswithBaraka’sattentiontotheprofundityof AfricanAmerican music—“hearthenewcomposerscrying?wemakeourthingmoresocialthanthey thought.”(l.10)—butabsentthedidactictone. Moten’spoemontheadjoiningpagelikewiseconveysanebullientappreciation of musicthatcorrespondswithBaraka’sblues-andjazz-inspiredwork.Although Motendoesnottelegraphhismessagedirectly,weseehispoliticalstanceinbothhis variedallusionsandhisflexibleunderstandingof thekindof culturalworkmusic performs: thewayorchestrasoundinbirmingham that’smysound.Ibelongtothatsound allthetime,everyday.howboundamI bymusic!thebrain’slittlewildernessis abackbeat,ashotgunshack,adeferred villaandbuilt-incrossandtimewindows(ll.1-6) Thespeaker’sidentificationwiththe“orchestrasound”inBirminghamsuggeststhe Southernrootsof thebluesaswellastheoriginsof jazztracedtotheconfluence of EuropeanorchestralinstrumentswithsyncopatedandantiphonalAfrican sounds,suchasthoseperformedinNewOrleans’sCongoSquare.10 Similarly,the imageof the“shotgunshack”alludestoatypicalarchitecturalstyleof workingclassAfricanAmericanhomesinNewOrleansandthroughouttheSouthand, byextension,theblacksubjugationandsubversionof whitedominancethatunderwritethehistoryof AfricanAmericanculture.Celebratingthisheritageandthe speaker’spersonalconnectiontoit(“boundamI”),MotenalsorecallsBaraka’s notionof “thechangingsame,”orthesharedaffinitybetweenallformsof traditionallyAfricanAmericanmusicalstyles. Yet,whileMotenexpressedhissociopoliticalcommitmentsobliquelythrough hisformaldeparturefromconventionalsyntaxandlinearmodesof thought,Baraka typicallyannounceshisstanceexplicitly,asin“TheNewInvasionof Africa”when hewarns,“Imperialism”“isinsatiable/Andif itneedsto,itwilltakeyourlife” (ll.17,18-19).Healsoconcludeshisreviewof Angles of Ascent unequivocally: “Thestruggle,asmywifeAminaalwayssays,isaboutwhosesideyou’reon.[Mitt] Romneyandthemlostbecausetheydon’tevenknowwhatcountrythey’rein. NeitherdoesCharlesRowell”(“Post-Racial”).Infact,weseetheirapproaches divergemostsignificantlyintheirdistinctrelationshipstoreaders(andlisteners): whileMotenengageshisaudienceinadialogicexchange,Barakainstructsreaders preciselyhowtointerprettheconnectionsbetweenpoetryandpoliticsthathe propagates.InhisIntroductiontoAngles of Ascent,RowellrightlynotesthatMoten’s poetry“isshapedbyblackAmericanmusictraditions,whoseuseslongagobegana traditioninAfricanAmericanpoetryandotherliteraryforms”(li),butMoten’s influencesaremorespecificthanRowellimplies.NotonlyhasMotenstatedhis admirationforBaraka(inaninterviewwithRowell),butreadingMoten’spoetryin conversationwithBaraka’silluminatestheconnectivetissuethatbindsMotento BarakaaswellasthefissuresthatMotennurturestoaffirmhisownperspective. CoNtEStEd LINEAgES: FREd MotEN, tERRANCE HAyES, ANd tHE LEgACy oF AMIRI BARAkA 335 “You know how I feel” L ikeMoten,TerranceHayesusesBaraka’spoetryandcriticismasatouchstone tostakeouthisownsociopoliticalandartisticoutlook,troublingthelinesof descentthatAngles of Ascent setsoutforhim(whichminimizeBlackArtsinfluences). Hayes’smusiciantributepoems,forexample,resonatewithBaraka’sseminalwritings onbluesandjazz,butHayeslikewisedestabilizesthebinariesunderwritingmuchof Baraka’scriticalandpoeticœuvre.Invokingthebluesidiom,Hayespaystributeto gender-bendingwhitemusicians,suchasDavidBowieandAntonyHegarty(the leadsingerof theBritishalternativerockbandAntonyandtheJohnsons),alongside politicallyconsciousblackartistssuchasNinaSimoneand,mostnotably,Baraka. Inaninterviewthatfollowedthepublicationof hiscollectionWind in a Box (2006), Hayesasserted,“Ilikearangeof people,allkindsof styles.IlikeAmiriBaraka, IlikeStanleyKunitz,twopoetswhocouldn’tbemoredifferent.I’minterestedin bringingallthesestylestogether”(qtd.inKoo63).Muchlikethetableof contents toMoten’sB Jenkins,Wind in a Box includesaheterogeneousseriesof,inthiscase, bluestributes:threeversionseachof “TheBlueTerrance,”“TheBlueBaraka,” “TheBlueBorges,”“TheBlueSeuss,”“TheBlueBowie,”and“TheBlueEtheridge” (asinEtheridgeKnight,apoetsympathetictothemovementthatRowellinexplicably classifiesas“OutsidetheBlackArtsMovement”11).Laterinthesameinterview, Hayesdiscussesthe“blue”series“asawayof workingoutobsessions:anobsession withDavidBowie,Borges,Baraka.I’mworkingoutwhatIthinkaboutthem throughthepoems”(qtd.inKoo75),andhethengoesontodescribehisdeparture fromBaraka’slegacy:“Thearmorof politicsdoesn’tletusseehim[Baraka]smiling, seehimhappy.Ithinkthatreducesthescopeof hispoetry;itmakesthepoetless complicatedandinsomewayslesshuman”(77).Arguably,Hayes’spoetryisnoless sociopoliticallyattunedthanBaraka’s,buttheimplicitdistinctionthatHayesdraws betweenBaraka’s“armorof politics”andhisownmorefluid,figurativestylehelps usconsiderthewaysinwhichheengagesBarakapoeticallyandideologicallyonthe printedpage. In“TheBlueBaraka,”forexample,HayesventriloquizesBaraka’svoiceand empathizeswithhiscritiqueof America’sracialcastesystem: Wegowaaaaayback,America. Likemuttsinthebedofapickup. Likerighteousindignations. Likeriotousignitions.Likefarrightwingindicatorsblinking white&black,white&black,white&black— They don’t share our values,yousay. .............................. ...Someofusbagboys.Someofus Lerois,someofusCharlietooBrowns too.Someofusblack-eyed,browneyedidlers.Someofusbebestfriends orfriedfiends,butallofusbe flounderinginteriors,beallthesethings atonce,America.Whyyoube?(ll.1-7,11-17) Thepoem’sbitinglyhumoroustonematchesonethatBarakafrequentlyemploys, asinhisAngles of Ascent review.RiffingonBaraka’spre-BlackArtsnameLeRoiJones (birthname:EverettLeRoyJones)andemployingthe“us”socommoninBaraka’s work,Hayesworkswithinhispredecessor’sparadigminwhichthepoem’s“our” referstoapopulationunitedbysharedvalues.Hayesalsounpacksthiscollectiveto uncoverthediversitywithinit.Astheimageof the“flounderinginteriors”makes 336 AFRICAN AMERICAN REVIEW clear,humanbeingscanneverbesummedupbythelabelof asocialcategory,even anaffirmativeone,asblacknesscertainlyisforBarakaandHayes.LikeAmerica itself,Hayessuggests,theblackcommunityalwaysincludes“allof thesethings,” encompassingthe“righteousindignations”and“riotousignitions”of bothpickup driversandblack-nationalists-turned-Marxists. Asthepoemcontinues,HayesechoesBarakainhisportrayalof whiteAmerica asculturallyanemicinimplicitcontrasttotherichlyvibrantAfricanAmerican culturethatthewhitepowerstructureseparatesandmaligns,concludingwitha Baraka-esqueindictmentof America’ssocialinequitiesandcenturies-longprivileging of whiteness: Youbeawhite,blueandready-madeutopia forsome;youbeover-cooked andcrooked,ascytheofbitemarks, anodorofordersforothers.(ll.35-38) Inhabitinghispersonawithinabluescontextandunderscoringmanyof Baraka’s centralpoliticalcritiques,Hayespositionshimself asaninheritorof Baraka’smantle. Yet,likeMoten,Hayesalsoindicatesthedistinctionsbetweentheirworld-views, particularlyinhisomissionof thegalvanizinginjunctionssocharacteristicof Baraka’sœuvreaswellashisattentiontothe“flounderinginteriors”thatsubvert thepossibilityof ahomogenouscollectiveof black“bluespeople.” Afewpageslaterin“TheBlueBowie,”HayescontinuestouseBarakato distinguishhisartisticandsociopoliticalcommitments.Reaffirminghisowndiverse culturalinfluences,Hayescharacterizesthepoem’sspeakerasthechildof both BlackPowerandBowie’sglamrock: Thisguywept andtoldus hewantedtotouch theearth withthefury ofafallingstar. Thisguyworesnowstormglitterandbangles oflightningandtears backwhenoursloganwas: NeverPullASlowGun(ll.1-11) Invokingthecollective“us,”Hayesestablishesthespeaker’sinclusionwithinBowie’s audience,mesmerizedasheisbyhissurrealandfantasticalZiggyStardustpersona. Afewlineslater,HayescontextualizesBowie’srock-and-rollfantasywithinthe postmodernmomentinwhichMichelFoucault—“All modern thought / is permeated by the idea / of thinking the unthinkable”(ll.19-21)12—andotherpoststructuralist philosopherswereexposingthecontingencyandconstructednessof socialand epistemologicaltruths.Atthesametime,thespeakeridentifieshimself asachildof thesocialmovementsof the1960sandearly’70s,includingBlackPowerwithits emphasisonblackpride,empowerment,and,whennecessary,armedself-defensein “theiridescentcities/of “War”(ll.17-18),inwhichsloganssuchas“NeverPullA SlowGun”gainedcredence. Acknowledgingthesesociopoliticalexigencies,thespeakernonethelessremains transfixedbythegender-bendingperformativityof theZiggyStardustpersona: “Icouldwritemyname/inthemakeup/onyourface”(ll.29-31).AsPhilip Auslanderargues,“Byassertingtheperformativityof genderandsexualitythrough thequeerZiggyStardustpersona,Bowiechallengedboththeconventionalsexuality of rockcultureandtheconceptof afoundationalsexualidentity”(106).Accordingly, thespeaker’s,andbyextensionHayes’sfascinationwithBowie’smakeupandflamCoNtEStEd LINEAgES: FREd MotEN, tERRANCE HAyES, ANd tHE LEgACy oF AMIRI BARAkA 337 boyantcostumesrepresenthistransgressionnotonlyof thecolorlinebutalsothe heteronormativismthatBaraka(rightlyorwrongly)hascometobeassociatedwith.13 Throughhismulticulturalreferencepoints,Hayeslikewisesignalshisdeparturefrom thepoetic-musical-politicalmodeof Baraka’s“AM/TRAK,”forexample,whilehis allusionstoBlackPower/BlackArtsmaintaintheconnectionbetweenthem. Moreover,thatthisfascinationwithBowieoccursnotonlyagainstthebackdrop of BlackPowerbutalsowithintheframeworkof theblues(“TheBlueBowie”) matters,foritenablesBaraka—whowrotewhatisperhapstheur-textonthe blues—toperformadualroleasHayes’sancestorandinterlocutor. In“IAmaBirdNow,”apoemfromHayes’scollectionLighthead (2010), Barakacontinuestoperformthesedualroles.InvokingbothNinaSimoneand AntonyHegarty,HayesdrawsontheinextricableconnectionsBarakadelineates betweenAfricanAmericanmusic,poetry,andsociopoliticalchange,whilesignificantlyexpandingthesocioculturaldimensionsof thatconstellation.Forinstance, Hayestakesthepoem’stitlefromAntonyandtheJohnsons’secondalbum,I Am a Bird Now,andpositionsHegartyasasuccessortoSimone’ssoulfultraditionof politicalactivism,notsurprisinglygivenHegarty’sstatedadmirationforSimone: “Sherepresentsthemostcourageousrelationshipthatamusiciancantrytohave withsociety:toengagewithit,andtoscreamatthetopof herlungsforwhat’s righteous”(qtd.inRobinson).As“IAmaBirdNow”suggests,Hegartyfollows Simoneinvocalizingherownsocialconsciousnessasatransgenderfigureconcernedwithcombatinghegemonicforcesof oppression.14 BothHegarty’salbumtitleandHayes’spoemalsousethemotifsof flightand freedomthatSimoneexpressesin“FeelingGood”:“Birdsflyinghighyouknow howIfeel//It’sanewdawn,it’sanewday/It’sanewlifeforme,andI’mfeeling good.”Hayeslikewiseincorporatesthesong’srefrain(“youknowhowIfeel”)into threeunrhymedcoupletsin“IAmaBirdNow,”establishinganempatheticconnectionamongHegarty,Simone,andhimself thattranscendstheirracialandcultural differences: WhenAntonyamanlikeNina Withashooknotecornedinhisquiver Dollsawigoflightthewayawounded Headisdolledandsongslung Fromhisgrimaceisnolongerpart Ofthebodybutsharessomeofits HistoryyouknowhowIfeel/theraw Drawldrawnfromthebottomofthethroat(ll.1-8) Ontheonehand,thesestanzasimbueHegartywithafeminine,nearlyangelicbeauty (“amanlikeNina,”who“Dollsawigof light”);ontheother,theyelucidatethe somaticandpsychologicalrepercussions(“awounded/Head”)of defyingtraditionalnotionsof femininityandmasculinityasanatomicallydetermined.Hegarty’s transgenderidentification,Hayesimagines,hasledtosufferingandalienationanalogoustothediscriminationthatSimoneenduredasanAfricanAmericanwoman whocameof ageinthepre-civilrights/BlackPowerera(“youknowhowIfeel”). Hegarty,likeSimonebeforeher,channelsthesepainfulexperiences(“songslung/ Fromhisgrimace”)intosongsthatpoignantlyresistself-abnegationand,aswith Simone’s“FeelingGood,”proclaimaliberatedfuture.Indeed,thepenultimatesong onHegarty’sI Am a Bird Now,“FreeatLast,”repeatsarecordingof amanclaiming “I’mfreeatlast,”echoingMartinLutherKing,Jr.’sfamousdeclarationfromhis “IHaveaDream”speech. Weseeperhapsthemostwell-knownexampleof Simone’svocalizingof her politicalconvictionsin“MississippiGoddam,”aprotestsongthatconveyedher 338 AFRICAN AMERICAN REVIEW outrageoverthe1963murdersof MedgarEversinMississippi,andthe16thStreet BaptistChurchbombinginBirmingham,Alabama,thattookthelivesof four AfricanAmericanschoolgirls—atragedythattheaforementionedpoemfrom Moten’sThe Feel Trio alsoobliquelyreferences(“birmingham/that’smysound”). Infact,Barakaanticipatedtheseallusionsinhis“ILoveMusic”(1987),apoem whichdrawsonJohnColtrane’s“Alabama.”Barakawrites,“youleavemebreathless ...alabama”(ll.21,23),asameansof celebratingthepowerof jazzbothtolament blacksufferingandresistwhitehegemony.AlthoughHayesdoesnotidentify Baraka bynameashedoesin“TheBlueBaraka,”“IAmaBirdNow”resonateswiththe foundationthatBaraka’sjazz-inspiredpoetryset,evenasHayestracesamore diversenexusof influences. Moreover,Hayes’scoupletsgesturetowardtheformof call-and-responseutilizedintheblues,oftenanindividualizedcallforunderstandingthatnonetheless conveys,asAngelaY.Davisavers,“importantsocialandpoliticaldimensions”(55). Davisfurthernotesthat“thebluesinperformancecreatesspaceforspontaneous audienceresponseinamannerthatissimilartoreligioustestifying”(55).InHayes’s multifacetedadaptationof thistrope,heanticipatesreaders’affirmativeresponses tothespeaker’scatharticconfessions:“YouknowwhatIsorrowwhenIlay/On yourbackBelovedandourlovemaking”(ll.17-18).Thisassertionof desireis,in prototypicalbluesfashion,accompaniedbythespeaker’sfeelingsof loss,assexual fulfillmentquicklybecomes“aform/Of departure/youknowhowIfeel”(ll.1920).HayesalsoinscribeshisownresponsestobothHegarty’sandSimone’sevocative sonicexpressionsintothepoem,whileimplicitlycallingonreaderstoaffirmthis seeminglysyncreticcouplingof musicalandsociopoliticaloutlooks.Notably,inthe original2009publicationof “IAmaBirdNow”intheNew Orleans Review,thepoem’s finalthreecoupletsreproducethelyricstothefirstverseof “FeelingGood.” Toavoidcopyrightinfringement,however,HayesredactedSimone’slyricsfromthe Lighthead versionof thepoem.15 Initscurrentform,then,thefinalcoupletoperates ratherambiguously—“andthewindedvalvesthesongwhichaches/Asitopens andachesasitshuttersdown”(ll.25-26)—referringtoSimone’sand/orHegarty’s “songwhichaches.”Yet,evenif thefirstiterationof “IAmaBirdNow”wasmore definitiveinitsconcludingquotation,thisfinalversionfurtherstrengthensthelinks betweenHegarty,Simone,andultimatelyHayeshimself. Mobilizingbluesthemesandtropesontheprintedpage,Hayesmaintains Baraka’sdescriptionof thebluesasa“secularday-to-daylanguagegiventhegrace of poetry”anda“culturalinsistence,afeeling-matrix,”not“merelyaparticular twelve-barform”(“Blues,Poetry”262,263,264).However,Hayes’smorescopic understandingof thebluesdepartsfromBaraka’spreviouscontentionsthatthe musicoffersanexclusiveexpressionof “theAfrican-Americannation”(“Blues, Poetry”263)andthat“theideaof awhitebluessingerseemsanevenmoreviolent contradictionof termsthantheideaof amiddle-classbluessinger”(Blues People 148). Hayes’spoetry,inotherwords,extendsthebluestraditionthatBarakachampioned throughouthiscareer,whilefreelymarshalingotherblues-inspiredlyricalexpressions,suchasHegarty’s,notcomposedorvocalizedbypeopleof Africandescent. AsStephenBurtobserves,“HayesworkstoescapenottheAfrican-American identitybutthedemandthathe(oranyone)expressthatidentityinthesamewayall thetime”(61).InHayes’spoetry,Simone’sandHegarty’smelismaticutterances seamlesslysegueintooneanother,andtheBlackPower/BlackArtsmovements fluidlycoincidewithDavidBowie/ZiggyStardust.Therefore,whereaswemight thinkthatBaraka’scorpusindicatesan“either/or”ideology,Hayes,likeMoten, prefersa“both/and.” Wemightconcur,then,withRowell’sIntroductionwhenhenotesthatcontemporarypoetsare“directdescendantsof thosecourageousblackartistswho,beginningtheirwritingcareersduringthelate1970sand1980s,daredtowalkthewayof CoNtEStEd LINEAgES: FREd MotEN, tERRANCE HAyES, ANd tHE LEgACy oF AMIRI BARAkA 339 aworldmuchdifferentfromthatconstructedandproclaimedbythearchitectsof theBlackArtsMovement”(xxxi);yet,acknowledgingtheinfluenceof thepoets Rowellcites—RitaDove,Yusef Komunyakaa,NathanielMackey,HarryetteMullen, tonameafew—weneednotforeclosetherecognitionof Baraka’sinfluence,as bothguidingforceandfoil,inthepoeticsof Moten,Hayes,andtheircounterparts. Aswithallinheritances,thatconveyedbyBarakacomeswithmanystringsattached, somethatMotenandHayesconspicuouslytietotheirpoetryandpoetics,andothers thattheywillinglyletfray.Thus,whileweapplaudAngles of Ascent’scontributionto AfricanAmericanliterarystudies,wemustalsoproposeaddendumstothegenealogy Rowelladvancestherein,lestscholarsandstudents(nottomentionpoets)unknowinglyacceptthenotionof Baraka’sabsencefromtwenty-first-centurypoetry—asite whereheisnolongerphysicallypresent,butoverwhichhisindomitablespirit nonethelesspresides. Notes 1. Competing volumes include Giant Steps: The New Generation of African American Writers, Kevin Young, ed. (New York: Harper-Perennial, 2000), a multi-genre anthology that features twelve contemporary poets compared to Angles of Ascent’s forty-eight (with contemporary meaning living, working poets); The Norton Anthology of African American Literature, Henry Louis Gates, Jr., Valerie A. Smith, et al., eds. (New York: Norton, 2014), which includes eight contemporary poets; The BreakBeat Poets: New American Poetry in the Age of Hip-Hop, Kevin Coal, Quraysh Ali Lansana, and Nate Marshall, eds. (Chicago: Haymarket, 2015), which focuses on poets whose work bears the influence of hip hop; and What I Say: Innovative Poetry by Black Writers in America, Lauri Ramey and Aldon Nielsen, eds. (Tuscaloosa: U of Alabama P, 2015), which emphasizes formally innovative poetry, making it more of a companion to rather than a direct competitor with Angles of Ascent. 2. Moten was a recent National Book Award finalist for The Feel Trio (2014), and Hayes was a National Book Award winner for Lighthead (2010) and a 2014 MacArthur Fellow; both have received many other accolades. 3. In his Introduction, Rowell cites Rita Dove and Yusef Komunyakaa as the preeminent poets of the post-Black Arts era, suggesting that they “lead the charge for changes in the directions of poetry writing in African American literary communities. What we have, as a result, are two engaging and evolving waves of younger poets who are extending what the older generation of post-Black Aesthetic poets, the first wave, set in motion” (xlvii). 4. As Harris writes in the Introduction to The Amiri Baraka Reader, “In 1974, dramatically reversing himself, Baraka rejected black nationalism as racist and became a Third World socialist. He declared, in the New York Times: ‘It is a narrow nationalism that says the white man is the enemy. . . . Nationalism, so-called, when it says ‘all non-blacks are our enemies,’ is sickness or criminality, in fact, a form of fascism’ ” (qtd. in Harris xxviii). 5. For lengthy poems such as Baraka’s “AM/TRAK” and “In the Tradition,” I refer to page numbers rather than line numbers. 6. In his critical text In the Break: The Aesthetics of the Black Radical Tradition (2003), Moten writes extensively about Baraka to theorize a black radical tradition—literary, musical, and philosophical in scope. Although I do not examine In the Break here, it provides another salient example of the ways in which Baraka serves as a crucial touchstone by which Moten delineates his own artistic and, more important in this case, theoretical perspective. 7. I am indebted to Moten’s own explication of this poem’s allusions (Rowell, “Words” 102-03). 8. Williams describes the common blues trope of worrying the line as “changes in stress and pitch, the addition of exclamatory phrases, changes in word order, repetition of phrases within the line itself, and the wordless blues cries that often punctuate the performance of the songs” (77). 9. Fanon begins chapter 5 of Black Skin, White Masks with the exclamations “ ‘Dirty nigger!’ or simply ‘Look! A Negro!’ ” (89). 10. As Gioia notes, at New Orleans’s Congo Square “transplanted African ritual lived on as part of the collective memory and oral history of the city’s black community, even among those too young to have participated in it. These memories shaped, in turn, the jazz performers’ self-image, their sense of what it meant to be an African-American musician” (4-5). 11. Etheridge Knight was closely affiliated with the Black Arts Movement and its leaders, particularly Sonia Sanchez, to whom he was married. His work is included in seminal Black Arts anthologies such as 340 AFRICAN AMERICAN REVIEW Stephen Henderson’s Understanding the New Black Poetry (1973) and Abraham Chapman’s New Black Voices (1972). Moreover, his first book of poetry Poems from Prison (1968) was published by Dudley Randall’s Broadside Press, a major publisher of Black Arts poetry. Thus, while Baraka may be overstating the case in his review—“That Rowell can disconnect Etheridge Knight from the deep spirit of the Black Arts Movement is fraudulent” (“Post-Racial”)—I have to concur that, in placing him “Outside the Black Arts Movement,” Rowell misrepresents the inextricable relationship between Knight’s poetry and his sociopolitical convictions during the late 1960s and early ’70s. 12. This Foucault quotation is also the epigraph to the liner notes of the thirty-year anniversary rerelease of the album The Rise and Fall of Ziggy Stardust that came out in 2002. 13. Baraka has often been ascribed misogynist and homophobic positions and is frequently cited in discussions of the more problematic aspects of the social discourses circulating among Black Arts Movement participants. It is also worth noting, as James Smethurst does in The Black Arts Movement: Literary Nationalism in the 1960s and 1970s (2005), that Baraka’s stances were (and are) more complicated than they initially seem. Smethurst writes, for example, that Baraka “became an extremely close friend of [James] Baldwin despite Baraka’s famous (and not undeserved) reputation for homophobic writing during the Black Arts era” (86). 14. I use feminine pronouns to refer to Hegarty, honoring the preference she asserted in a recent interview: “In my personal life I prefer ‘she.’ I think words are important. To call a person by their chosen gender is to honor their spirit, their life and contribution. ‘He’ is an invisible pronoun for me, it negates me” (qtd. in Halperin). 15. During a reading at the 2011 National Book Festival, Hayes introduced “I Am a Bird Now” by explaining his original intentions to include the first verse of Simone’s “Feeling Good”: “At one point I had the whole sort of first verse of that song, ‘Feeling Good,’ at the end of the poem but then I thought I might like get sued or something. People be suing you for copyright infringement, so I took it off” (“Terrance Hayes: 2011”). Auslander, Philip. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: U of Michigan P, 2009. Baker, Houston A., Jr. Blues, Ideology, and Afro-American Literature: A Vernacular Theory. Chicago: U of Chicago P, 1987. Baraka, Amiri [LeRoi Jones]. “AM/TRAK.” Baraka, SOS 197-203. —-. Blues People: Negro Music in White America. New York: Morrow, 1963. —-. “Blues, Poetry, and the New Music.” Baraka, Music 262-67. —-. “The Changing Same (R&B and New Black Music).” Black Music. New York: Da Capo, 1998. 180-211. —-. “I Love Music.” Baraka, Music 47-48. —-. “In the Tradition.” Baraka, SOS 207-18. —-. The Music: Reflections on Jazz and Blues. With Amina Baraka. New York: Morrow, 1987. —-. “The New Invasion of Africa.” Baraka, SOS 522. —-. “A Post-Racial Anthology?: A Review of Angles of Ascent: A Norton Anthology of Contemporary African American Poetry.” Poetryfoundation.org. 1 May 2013. Web. 15 May 2013. —-. SOS: Poems, 1961-2013. Ed. Paul Vangelisti. New York: Grove, 2014. Bowie, David. The Rise and Fall of Ziggy Stardust. EMI, 2002. CD. Burt, Stephen. “Galaxies inside His Head: Race and Identity in the Poems of Terrance Hayes.” New York Times Magazine (29 Mar. 2015): 32-35, 61. Darden, Robert. People Get Ready!: A New History of Black Gospel Music. New York: Continuum, 2004. Davis, Angela Y. Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday. New York: Vintage, 1998. Fanon, Frantz. Black Skin, White Masks. 1952. Trans. Richard Philcox. New York: Grove, 2008. Gioia, Ted. The History of Jazz. New York: Oxford UP, 1997. Halperin, Moze. “We Will All Howl: Antony Hegarty on the State of Transfeminism.” Flavorwire. 24 Nov. 2014. Web. 30 July 2015. Harris, William J. Introduction. The LeRoi Jones/Amiri Baraka Reader. Ed. William J. Harris. New York: Thunder’s Mouth, 1991. xvii-xxx. Hayes, Terrance. “The Blue Baraka.” Hayes, Wind 19-20. —-. “The Blue Bowie.” Hayes, Wind 23-24. —-. “I Am a Bird Now.” Lighthead. New York: Penguin, 2010. 83-84. —-. “Terrance Hayes: 2011 National Book Festival.” Library of Congress, Washington D.C. 25 Sept. 2011. —-. Wind in a Box. New York: Penguin, 2006. Hegarty. Antony. I Am a Bird Now. Secretly Canadian, 2002. CD. CoNtEStEd LINEAgES: FREd MotEN, tERRANCE HAyES, ANd tHE LEgACy oF AMIRI BARAkA Works Cited 341 Koo, Jason. “A Conversation with Terrance Hayes.” Missouri Review 29.4 (2006): 58-78. JSTOR. Web. 5 May 2013. McGinley, Paige A. Staging the Blues: From Tent Shows to Tourism. Durham: Duke UP, 2014. Moten, Fred. B Jenkins. Durham: Duke UP, 2010. —-. The Feel Trio. Tucson: Letter Machine Editions, 2014. —-. “johnny cash/rosetta tharp.” Moten, B Jenkins 61-62. Nunn, Erich. Sounding the Color Line: Music and Race in the Southern Imagination. Athens: U of Georgia P, 2015. Robinson, John. “Music to His Ears.” The Guardian. 18 Nov. 2005. Web. 15 May 2013. Rowell, Charles H. Introduction. Angles of Ascent: A Norton Anthology of Contemporary African American Poetry. Ed. Charles H. Rowell. New York: Norton, 2013. xxix-liii. —-. “ ‘Words Don’t Go There’: An Interview with Fred Moten.” Moten, B Jenkins 97-112. Simone, Nina. “Feeling Good.” The Very Best of Nina Simone. Sony UK, 2006. CD. Smethurst, James Edward. The Black Arts Movement: Literary Nationalism in the 1960s and 1970s. Chapel Hill: U of North Carolina P, 2005. Wald, Gayle F. Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe. Boston: Beacon, 2007. Williams, Sherley Anne. “The Blues Roots of Contemporary Afro-American Poetry.” Afro-American Literature: The Reconstruction of Instruction. Ed. Dexter Fisher and Robert B. Stepto. New York: MLA, 1979. 72-87. 342 AFRICAN AMERICAN REVIEW