Just a-lookin’ for a home: Geographies of Desire in Terrance Hayes’ Boll Weevil Blues This paper takes Terrance Hayes’ recent poem, “Another Great Ravager of the Crops Was the Boll Weevil,” as a retrieval and remix of the blues protest tradition that emphasizes resilience, desire, and countermobilization within the violent conditions of plantation capitalism. The poem was occasioned as part of a series commemorating Jacob Lawrence’s landmark 1941 paintings on African American mass movement and makes reference to the “boll weevil blues.” This selective blues tradition carried stories of the boll weevil’s devastation of the Cotton Belt’s agriculture and economy in the early twentieth-century. While taking on apocalyptic significance for southern white landowners in the plantation bloc, early blues performers mythologized the boll weevil as a folk hero that was “just a-lookin’ for a home.” For the black working class in neo-plantation capitalism, this signifying beetle was valorized by artists like Charley Patton, Ma Rainey, and Lead Belly as a trickster that disrupted normative power arrangements and gave expression to opposition to white dominance. Terrance …show more content…
Hayes’ boll weevil poem intervenes by fashioning blues geographies of longing and mobility.
The poem’s exposition describes the freighted cultural intersections of the boll weevil and Southern African Americans, many who moved north and found solace in the distance between Northern diaspora communities and “down home” Dixie,
as well as others who remained in the South, determined to remake home where they were. The poem closes with contrary gestures of intimacy and threat: it names the longing for home common to the human and the boll weevil—“creatures like us”—and narrates how that longing provokes violence within the social-spatial constructions of the plantation bloc. I argue that Hayes’ poem is significant within the blues tradition of plantation criticism to the extent that the affective countermobilizations of desire and longing already constitute home-unmaking and remaking. Which is to say, in Hayes’ retrieval of the boll weevil blues, home becomes “where you at” insofar as movement is identified with home. I suggest that Hayes traces the structures of feeling that animate these blues geographies and migrations, forging a connection with the boll weevil not only as a trickster-hero that vandalized neo-plantation economic systems and provided mythic expression to historical resistance, but also as a resilient affirmation of desire, longing, and mobility. Hayes’ boll weevil blues disavows pessimism that would anchor the plantation bloc as the permanent geographic, economic, and social organization; instead emphasizing fluidity, becoming, and openness in the project of (de)constructing home from where you at.
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
African-Americans’/ Affrilachians’ Suffering Mirrored: How do Nikky Finney’s “Red Velvet” and “Left” Capture events from the Past in order to Reshape the Present? Abstract Nikky Finney (1957- ) has always been involved in the struggle of southern black people interweaving the personal and the public in her depiction of social issues such as family, birth, death, sex, violence and relationships. Her poems cover a wide range of examples: a terrified woman on a roof, Rosa Parks, a Civil Rights symbol, and Condoleezza Rice, former Secretary of State, to name just a few. The dialogue is basic to this volume, where historical allusions to prominent figures touch upon important sociopolitical issues. I argue that “Red Velvet” and “Left”, from Head off & Split, crystallize African-Americans’ /African-Americans’ suffering and struggle against slavery, by capturing events and recalling historical figures from the past.
Clint Smith’s poetry collection, Counting Descent, is an accumulation of compelling stories that seek to complicate the misconstrued conception of tradition and lineage that a majority of Americans have towards the historical upbringing of African Americans. In his poem, “Something You Should Know,” Smith utilizes the behavior of a hermit crab to establish a metaphor; similar to how a hermit crab molts its skin and searches for a new home, a new safe haven, Smith is fearful of letting people know his true self, thus causing him to seek shelter from potential rejection. Through the metaphor, Smith explores the disconnect that results from belonging to a society that stereotypes the lineage and perceived personalities of African Americans while living in a community that is fearful of the acceptance of blacks.
In his poems, Langston Hughes treats racism not just a historical fact but a “fact” that is both personal and real. Hughes often wrote poems that reflect the aspirations of black poets, their desire to free themselves from the shackles of street life, poverty, and hopelessness. He also deliberately pushes for artistic independence and race pride that embody the values and aspirations of the common man. Racism is real, and the fact that many African-Americans are suffering from a feeling of extreme rejection and loneliness demonstrate this claim. The tone is optimistic but irritated. The same case can be said about Wright’s short stories. Wright’s tone is overtly irritated and miserable. But this is on the literary level. In his short stories, he portrays the African-American as a suffering individual, devoid of hope and optimism. He equates racism to oppression, arguing that the African-American experience was and is characterized by oppression, prejudice, and injustice. To a certain degree, both authors are keen to presenting the African-American experience as a painful and excruciating experience – an experience that is historically, culturally, and politically rooted. The desire to be free again, the call for redemption, and the path toward true racial justice are some of the themes in their
Brown conducted a form of unorthodox anthropology fieldwork among southern ebony individuals within the 1920s and afterward engendered a series of dominant essays on ebony Folkways. Brown drew on his observations to engender a composed dialect literature that honored ebony individuals of the agricultural South rather than championing the early order of ebony life being engendered in cities and also the North. Brown's wanderings within the South portrayed not simply an exploration for literary material, however but an odyssey in search of roots more consequential than what appeared to be provided by college within the North and ebony materialistic culture in Washington. Both Brown’s poetry and criticism pursue the liberty referred to as Hughes. As a result of Browns in depth work in African American folk culture, he was well prepared to present his vision to a wider audience once the chance arose.
The South is a region of the United States known for lively bluegrass and jazz music, African American literature, fine cuisine, family unity, a strong prevalence of religion and racial stereotypes. These customs, important to this area, have spurred artists to write about their experiences in the South. Black American poet and educator, Terrance Hayes, has been greatly influenced by the culture of the Southern United States. Terrance Hayes’ works reflect Southern influences and how being a member of the black community in the South has shaped his identity and his perception of the world.
Ida B. Wells-Barnett is an investigative journalist who wrote in honesty and bluntness about the tragedies and continued struggles of the Negro man. She was still very much involved with the issue even after being granted freedom and the right to vote. Statistics have shown that death and disparity continued to befall the Negro people in the South where the white man was “educated so long in that school of practice” (Pg. 677 Par. 2). Yet in all the countless murders of Negroes by the white man only three had been convicted. The white man of the South, although opposed to the freedom of Negroes would eventually have to face the fact of the changing times. However, they took every opportunity and excuse to justify their continued horrors. There were three main excuses that the white man of the South came up w...
Hopkins, Pauline E. Contending Forces: A Romance Illustrative of Negro Life North and South. New
“Strange Fruit” by Billie Holiday conveys the inhumane, gory lynchings of African-Americans in the American South, and how this highly unnatural act had entrenched itself into the society and culture of the South, almost as if it were an agricultural crop. Although the song did not originate from Holiday, her first performance of it in 1939 in New York City and successive recording of the song became highly popular for their emotional power (“Strange fruit,” 2017). The lyrics in the song highlight the contrast between the natural beauty and apparent sophistication of the agricultural South with the brutal violence of lynchings. Holiday communicates these rather disturbing lyrics through a peculiarly serene vocal delivery, accompanied by a hymn-like
In fact, it is clear to the reader that Huggins makes a concerted effort to bring light to both ethnicities’ perspectives. Huggins even argues that their culture is one and the same, “such a seamless web that it is impossible to calibrate the Negro within it or to ravel him from it” (Huggins, 309). Huggins argument is really brought to life through his use of historical evidence found in influential poetry from the time period. When analyzing why African Americans were having an identity crisis he looked to a common place that African American looked to. Africa was a common identifier among the black community for obvious reasons and was where Authors and Artists looked for inspiration. African American artists adopted the simple black silhouette and angular art found in original African pieces. Authors looked to Africa in their poetry. In The Negro Speaks of Rivers by Langston Hughes, the names of rivers in Africa such as the Euphrates, the Congo and the Nile were all used and then the scene switches to the Mississippi river found in America showing that blacks have “seen”, or experienced both. Huggins looks deeply into Countee Cullen’s Heritage discussing “what is Africa to me?” a common identifier that united black artistry in the Harlem Renaissance, “Africa? A book one thumbs listlessly, till slumber comes” (Countee). The black community craved to be a separate society from white Americans so they were forced to go back to the past to find their heritage, before America and white oppression. Huggins finds an amazing variety of evidence within literature of this time period, exposing the raw feelings and emotion behind this intellectual movement. The connections he makes within these pieces of poetry are accurate and strong, supporting his initial thesis
For many blacks in the postbellum South, the only thing they possessed was their “freedom”. Litwack personifies the collective struggle through the stories of individuals like Charlie Holcombe. Charlie, growing up in the period following slavery, was confident in his ability to succeed in a period characterized by hope and possibility. However, in his attempt to express this confidence, Holcombe was confronted with “formidable obstacles” (Litwack 4). While natural forces may hurt the crop yield, the black dependence on land and capital rich whites ultimately left black farmers with the bare minimum. Unable to read or “figure”, Charlie, like many other blacks, could be hit with unfair charges a...
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans. First is about the effect of slave music on American history and African American music. The slave music’s
To analyze Hughes’s poem thoroughly, by using Eliot’s argumentative essay, we must first identify the poem’s speaker and what is symbolic about the speaker? The title (“The Negro Speaks Of Rivers”) of the poem would hint off the speaker’s racial identity, as the word Negro represents the African-American race not only in a universal manner, but in it’s own individual sphere. T.S. Eliot’s essay, mentions that “every nation, every race, has not its own creative, but its own critical turn of mind”(549). In another sense, different societies have their own characteristics, however, with a racial mixture, shadowed elements can be formed. If one were to analyze in between the lines of Eliot’s essay and Hughes’s poem, he...
Roy, W. (2010). Reds, whites, and blues social movements, folk music, and race in the United States. Princeton: Princeton University Press.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.