Latimore, but encouraged by her publisher she would change her name to the Swahili Johari Amini (Don L. On the front cover of her first book only, the poet is still calling herself Jewel C. And there is the very word Black, capitalized, reflecting a new interest in an Africa in the process of decolonization (beginning with Ghanaian independence in 1957) and nation-building. Phelps’s critique of Images in Black calls our attention to the importance of the Black Power iconography of the movement.
After an Introduction, in her first two chapters Phelps writes on BAM more generally and OBAC more specifically, before she devotes a chapter to each of the three poets, beginning with Johari Amini and her first two chapbooks of poetry, Images in Black (1967) and Black Essence (1968), both published by Third World Press. And somewhere in the background, or perhaps we should say back of it all, Chicago’s great Pulitzer Prize-winning poet laureate, Gwendolyn Brooks, her workshops, her support for the poets, and her example. Madhubuti’s Third World Press (TWP) and Black Books Bulletin. Fuller, editor of Negro Digest/Black World poet, editor and educator Don L. Rodgers (1940-2010), and the poet, novelist, playwright, and biographer Angela Jackson (1951-).Įven as they would later on dance to different drummers, leaving quite different legacies, their early careers were closely intertwined through their involvement with leading organizations, institutions and key figures of Chicago’s Black Arts Movement:Ĭhicago’s OBAC, the Organization of Black American Culture, its workshops, and its journal, Nommo Hoyt W.
Phelps’s reconsideration of the Black Arts Movement (BAM) in Chicago are poets Johari Amini (1935-) and Carolyn M. The ‘visionary women writers’ that are the focus of Carmen L.
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