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Relevant bibliographies by topics / Contemporary African Poetry / Books

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Books on the topic 'Contemporary African Poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Botsotso: An anthology of contemporary South African poetry. Hastings: Reality Street, 2009.

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2

Bittersweet: Contemporary Black Women's Poetry. London, United Kingdom: The Women's Press, 2001.

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3

The great Black North: Contemporary African Canadian poetry. Calgary, Alta: Frontenac House Poetry, 2013.

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4

A thousand voices rising: An anthology of contemporary African poetry. [Kampala?]: Gilgal Media Arts, 2014.

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5

Angles of ascent: A Norton anthology of contemporary African American poetry. New York: W.W. Norton & Co., 2012.

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6

Holliday, Kene. The book of K-III: The contemporary poetics of Kene Hol[l]iday. Los Angeles, Calif: Milligan's Books, 1998.

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7

Bernard, Stanley. Why does a black poet?: Contemporary musings of an African descendant. Bridgeport, CT: Kushite Multimedia, 2002.

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8

Bodunde, Charles. Oral traditions and aesthetic transfer: Creativity and social vision in contemporary Black poetry. Bayreuth: Bayreuth University, 2001.

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9

Dube, Pamela. Contemporary English performance poetry in Canada and South Africa: A comparative study of the main motifs and poetic techniques. Heidelberg: Universitätsverlag C. Winter, 1997.

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10

Thacher, Jean-Louise N. An annotated partial bibliography of contemporary Middle Eastern and North African poetry, prose, drama, and folktales. 4th ed. Austin, TX: Published by the Middle East Outreach Council, 1991.

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11

Copyright Paperback Collection (Library of Congress), ed. Wine and roses. Washington, D.C: BET Publications, 1999.

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12

Hairston, Alex. Love don't come easy. Washington, DC: BET Books, 2003.

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13

Natalie, Railoun, Ntsoma Neo, Mako Thuto, and Horwitz Allan Kolski, eds. Sections of six: Contemporary South African poetry. Braamfontein, South Africa: Botsotso Pub., 2008.

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14

Natalie, Railoun, Ntsoma Neo, Mako Thuto, and Horwitz Allan Kolski, eds. Sections of six: Contemporary South African poetry. Braamfontein, South Africa: Botsotso Pub., 2008.

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15

Karen, McCarthy, ed. Bittersweet: Contemporary Black women's poetry. London: Women's Press, 1998.

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16

Gilyard, Keith. Spirit & Flame: An Anthology of Contemporary African American Poetry. Syracuse University Press, 1997.

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17

Spirit & flame: An anthology of contemporary African American poetry. Syracuse, N.Y: Syracuse University Press, 1997.

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18

Donald, Burness, ed. Echoes of the sunbird: An anthology of contemporary African poetry. Athens: Ohio University Center for International Studies, 1993.

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19

Letters to America: Contemporary American Poetry on Race. Wayne State University Press, 1995.

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20

Letters to America: Contemporary American poetry on race. Detroit: Wayne State University Press, 1995.

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21

(Editor), Carla Cooks, and Antonio Garner (Editor), eds. Lyrical Madness: An Anthology Of Contemporary Poetry By African American Poets. Authorhouse, 2004.

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22

LYRICAL MADNESS: An Anthology of Contemporary Poetry By African American Poets. AuthorHouse, 2004.

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23

M, Gilbert Derrick I., and Medina Tony, eds. Catch the Fire!!!: A Cross-Generational Anthology of Contemporary African-American Poetry. New York, USA: Riverhead Books, 1998.

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24

(Editor), Aldon Lynn Nielsen, and Lauri Ramey (Editor), eds. Every Goodbye Ain't Gone: An Anthology of Innovative Poetry by African Americans (Modern & Contemporary Poetics). University Alabama Press, 2006.

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25

Every Goodbye Ain't Gone: An Anthology of Innovative Poetry by African Americans (Modern & Contemporary Poetics). University Alabama Press, 2006.

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26

Burness, Don. Echoes of the Sunbird: An Anthology of Contemporary African Poetry (Research in International Studies Africa Series). Ohio University Center for International Stud, 1993.

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27

Into A Light Both Brilliant And Unseen Conversations With Contemporary Black Poets. University of Georgia Press, 2010.

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28

Dove, Rita, Wanda Coleman, Malin Pereira, Cyrus Cassells, and Elizabeth Alexander. Into a Light Both Brilliant and Unseen: Conversations with Contemporary Black Poets. University of Georgia Press, 2010.

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29

Black Gold: An Anthology of Black Poetry. USA: Turner Mayfield Publishing, 2014.

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30

Dace, Letitia, M. Thomas Inge, and Tish Dace. Langston Hughes: The Contemporary Reviews. Cambridge University Press, 2009.

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31

Langston Hughes: The contemporary reviews. Cambridge [England]: Cambridge University Press, 1997.

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32

I, Kgobetsi Siballi E., Poets Against War, Violence, and Nuclear Weapons., and Franco-Namibian Cultural Centre, eds. Poets Against War, Violence, and Nuclear Weapons (PAWN) presents, Poetically speaking, words can come easy: An anthology of contemporary African poetry. Windhoek, Namibia: Gamsberg Macmillan, 2000.

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33

(Editor), Letitia Dace, and M. Thomas Inge (Editor), eds. Langston Hughes: The Contemporary Reviews (American Critical Archives). Cambridge University Press, 1997.

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34

Guillaume, Geri, and Carmen Green. Wine And Roses: Sweet Sensation\The Perfect Fantasy\Cupids Day Off (Arabesque). Kimani Press, 1999.

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35

Lurie, Peter. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.003.0006.

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This book concludes by relating its discussion of visualizing history to the media and the public response to the 9/11 terrorist attacks. It shows their overly mediated depiction to have a precedent in Civil War photography, and it avers the shared impulse to visualize attending each of these epochal historical events. The Conclusion reads Toni Morrison’s Beloved as offering a salutary “forgetful remembrance” of history in the novel’s model of “rememory” and as an alternative to historicist criticism, as well as to U.S. culture’s visual archiving of a supposedly accessible and remediable past. The discussion also links Morrison’s work to post-9/11 poetry and to contemporary and recent African-American cinema, which, like Beloved, shows the occasion and the need for a willful look forward for both racialized subjects and for the U.S. polity generally in a postdigital age.

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36

Barnard, John Levi. Empire of Ruin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190663599.001.0001.

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This book traces the development of a critical practice within African American literature, art, and activism that identifies and critiques the widespread appropriation of classical tradition to the projects of exceptionalist historiography and cultural white supremacy in the United States. This appropriative method has typically figured the United States as the inheritor of the best traditions of classical antiquity and thus as the standard bearer for the idea of civilization. Where dominant narratives—articulated through political speeches and editorials, poetry and the visual arts, and the monumental architecture of Washington, DC—envision the political project of the United States as modeled on ancient Rome yet destined to surpass it in the unfolding of an exceptional history, the writers, artists, and activists this book considers have connected modern America to the ancient world through the institution of slavery and the geopolitics of empire. The book tracks this critique over more than two centuries, from Phillis Wheatley’s poetry in the era of Revolution, through the antislavery writings of David Walker, William Wells Brown, and the black newspapers of the antebellum period, to the works of Charles Chesnutt, Toni Morrison, and other twentieth-century writers, before concluding with the monumental sculpture of the contemporary artist Kara Walker.

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37

Love Don't Come Easy. Harlequin Enterprises, Limited, 2003.

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38

Patterson, Robert J., ed. Black Cultural Production after Civil Rights. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.001.0001.

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Through its analysis of film, drama, fiction, visual culture, poetry, and other cultural -artifacts, Black Cultural Production after Civil Rights offers a fresh examination of how the historical paradox by which unprecedented civil rights gains coexist with novel impediments to collectivist black liberation projects. At the beginning of the 1970s, the ethos animating the juridical achievements of the civil rights movement began to wane, and the rise of neoliberalism, a powerful conservative backlash, the co-optation of “race-blind” rhetoric, and the pathologization and criminalization of poverty helped to retrench black inequality in the post-civil rights era. This book uncovers the intricate ways that black cultural production kept imagining how black people could achieve their dreams for freedom, despite abject social and political conditions. While black writers, artists, historians, and critics have taken renewed interest in the historical roots of black un-freedom, Black Cultural Production insists that the 1970s anchors the philosophical, aesthetic, and political debates that animate contemporary debates in African American studies. Black cultural production and producers help us think about how black people might achieve freedom by centralizing the roles black art and artists have had in expanding notions of freedom, democracy, equity, and gender equality. Black cultural production continues to engage in social critique and transformation and remains an important site for the (re)making of black politics.

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39

Keeling, Kara K., and Scott T. Pollard. Table Lands. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828347.001.0001.

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Table Lands: Food in Children's Literature surveys food’s function in children’s texts, showing how the socio-cultural contexts of food reveal children’s agency through examining texts that vary from historical to contemporary, non-canonical to classics, the Anglo-American to multicultural traditions, including a variety of genres, formats, and audiences: realism, fantasy, cookbooks, picture books, chapter books, YA novels, and film. The first chapter tracks children’s cookbooks over 150 years to show how adults’ expectations change based on shifting ideologies of child capability. Subsequent chapters survey canonical authors. Social work theory, British rural and urban cultures, and poverty inform the analysis of the foodways that underlie Beatrix Potter’s animal tales. Investigating Jewish immigration and foodways, food manufacturing, and roadside/programmatic architecture reveals Maurice Sendak’s In the Night Kitchen as an immigrant Jewish and natively American work. A.A. Milne’s Winnie-the-Pooh books work as a künstlerroman; Mary Douglas’s semiotic analysis and the history of honey and bees show Pooh as a poet who celebrates food. Laura Ingalls Wilder’s Little House books contrast with Louise Erdrich’s Birchbark series: differing foodways showcase competing cultural and environmental values. The final chapters examine intersections of geography, history, and food in contemporary texts. Francesca Lia Block’s Dangerous Angels reflects Los Angeles culture. Disney•Pixar’s Ratatouille showcases French haute cuisine in its story of otherness. In One Crazy Summer and its sequels, Rita Williams-Garcia tracks the movement of African American internal diasporas, through southern foodways, soul food, and the Black Panthers’ breakfast program. Refugee Studies demonstrate how food is a primary signifier of the difficulties posed by forced migration in Thanhha Lai’s Inside Out & Back Again.

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