Podcasts about Countee Cullen

Guests: Kevin Portteus, Daniel J. Mahoney, & Brent Cline Host Scot Bertram talks with Kevin Portteus, professor of politics and director of American Studies at Hillsdale College, about how the American Founders viewed the question of birthright citizenship and a recent essay he wrote on the subject. Daniel J. Mahoney, senior fellow at the Claremont Institute and senior writer at Law & Liberty, discusses his recent book The Persistence of the Ideological Lie: The Totalitarian Impulse Then and Now. And Brent Cline, associate professor of English at Hillsdale College, continues a short series on the Harlem Renaissance. This week, the life and work of poets Langston Hughes and Countee Cullen.See omnystudio.com/listener for privacy information.

The episode features a compelling conversation with Victoria Christopher Murray, an accomplished author, who discusses her latest work, 'Harlem Rhapsody'. The narrative centers around the life of Jessie Redmond Fawcett, a pivotal figure of the Harlem Renaissance whose contributions have been largely overshadowed. Victoria reveals the profound importance of Fawcett's legacy and how her mentorship influenced renowned writers such as Langston Hughes and Countee Cullen. Through an exploration of Fawcett's life, Victoria illuminates the complexities of race, gender, and literary identity during a transformative period in American history. The discussion delves into the challenges faced by black writers in a racially stratified society, as well as the enduring relevance of their struggles today. As Victoria reflects on her writing process and the historical research behind her novel, she underscores the necessity of reclaiming untold stories to ensure that the contributions of black women are recognized and celebrated in literature.

Most people in North America have probably at least heard the name W. E. B. Dubois. In the early twentieth century, DuBois—the first African-American to earn a Ph.D. from Harvard—published and spoke extensively about his vision of equality through education. In particular, he edited The Crisis, the monthly magazine of the NAACP, while also writing such classics as The Souls of Black Folk. But if Dubois is well known, the same cannot be said these days of Jessie Redmon Fauset, the central character of Victoria Christopher Murray's Harlem Rhapsody (Berkley, 2025). In her day, Fauset—who held a degree from Cornell as well as a master's from Penn and a certificate from the Sorbonne in Paris—worked as the literary editor of The Crisis and its associated children's magazine, The Brownies Book, while writing the first of what would become four acclaimed novels. She fostered such stars of the Harlem Renaissance as Langston Hughes, Countee Cullen, Jean Toomer, Georgia Douglas Johnson, Nella Larsen, and Zora Neale Hurston. She was also romantically involved with W. E. B. Dubois, a reality that Murray uses to humanize a heroine who is in every other respect truly remarkable. Her story pulled me in and kept me reading to the very last page. Victoria Christopher Murray is the author of more than thirty novels, including The Personal Librarian and The First Ladies, both historical fiction co-written with Marie Benedict. Harlem Rhapsody is her most recent book. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Steadfast, is due in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Section 3, I discuss some of the prominent movements and themes occurring in between two World Wars, particularly the Great Migration characterized by the movement of millions of blacks from the rural agricultural south to the urban industrial north as well as highlighting some important proponents of the Harlem Renaissance like Zora Neale Hurston, Countee Cullen, Langston Hughes (the Shakespeare of Harlem), Paul Laurence Dunbar (who inspired the movement after passing away in 1906) and others. The Harlem Renaissance influenced the Great Migration just as the Great Migration influenced the Harlem Renaissance. Not only was there a growth in a black intelligentsia or bourgeoisie, there also was an increase in the black urban worker described in past podcasts. Denied not only political protections and equality but also entry into certain occupations, housing, credit, and capital, there would be immense organization for rights. The Declaration of Rights of the UNIA, established in Harlem, would be spearheaded by perhaps the greatest black organizer in American history Marcus Garvey, who sought not only economic advancement for blacks, but support and self help through his organization for African Americans and the black diaspora around the world. Garvey, heavily influenced by Booker T. Washington yet being way more expansive in his demands for education and political opportunity, would be skeptical of the NAACP and W.E.B Du Bois limited political actualization. However, some community organizers would take it a step further than Garvey, demanding not only a radical redistribution of wealth but world revolution. In part 2 of the Great Migration, Harlem Renaissance, and World War 1915-1954, we will see an increased proclivity, prevalence, and sympathy towards communist ideology, influenced by the 1917 Russian Revolution. Not only would blacks recognize race exploitation as tied to wider class exploitation, but in doing so they would seek solidarity with other working class whites in the fight against what Cyril V. Briggs would term "Private Capitalism."Is such an ideology conducive to accommodating a liberal integrationist perspective of the future Civil Rights movement? In some ways yes and in some ways no. Without a doubt, this period saw not only a bursting of literary creativity and a fundamental critique of white oppression and caste democracy, it would also provide the seeds for marxist theories advocated by future leaders and intellectuals like Fred Hampton, Dr. Angela Davis, and Dr. Cornell West. The failures of the economic system, as evidenced by the Great Depression, only heightened a sentiment towards more radical and alternative economic perspectives. Is the problem corruption, capitalism, or political inequality? This would be a question that many people of this period from 1915-1954 would engage with as American after the Great Depression and World War II would enter an era of immense prosperity. However, within two decades it would be short lived.Next video and podcast coming out Friday February 21:Section 3- From Plantation to Ghetto: The Great Migration, Harlem Renaissance, and World War, 1915-1954 Part 2 of 2Monday February 24 will come out:Section 4- We Shall Overcome: The Second Reconstruction, 1954-1975 Part 1 of 2Tuesday February 25 will come out:Section 4- We Shall Overcome: The Second Reconstruction, 1954-1975 Part 2 of 2Friday February 28 will come out (either in 1 or 2 parts):Section 5- The Future in the Present: Contemporary African-American Thought, 1975 to the Present

Most people in North America have probably at least heard the name W. E. B. Dubois. In the early twentieth century, DuBois—the first African-American to earn a Ph.D. from Harvard—published and spoke extensively about his vision of equality through education. In particular, he edited The Crisis, the monthly magazine of the NAACP, while also writing such classics as The Souls of Black Folk. But if Dubois is well known, the same cannot be said these days of Jessie Redmon Fauset, the central character of Victoria Christopher Murray's Harlem Rhapsody (Berkley, 2025). In her day, Fauset—who held a degree from Cornell as well as a master's from Penn and a certificate from the Sorbonne in Paris—worked as the literary editor of The Crisis and its associated children's magazine, The Brownies Book, while writing the first of what would become four acclaimed novels. She fostered such stars of the Harlem Renaissance as Langston Hughes, Countee Cullen, Jean Toomer, Georgia Douglas Johnson, Nella Larsen, and Zora Neale Hurston. She was also romantically involved with W. E. B. Dubois, a reality that Murray uses to humanize a heroine who is in every other respect truly remarkable. Her story pulled me in and kept me reading to the very last page. Victoria Christopher Murray is the author of more than thirty novels, including The Personal Librarian and The First Ladies, both historical fiction co-written with Marie Benedict. Harlem Rhapsody is her most recent book. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Steadfast, is due in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Most people in North America have probably at least heard the name W. E. B. Dubois. In the early twentieth century, DuBois—the first African-American to earn a Ph.D. from Harvard—published and spoke extensively about his vision of equality through education. In particular, he edited The Crisis, the monthly magazine of the NAACP, while also writing such classics as The Souls of Black Folk. But if Dubois is well known, the same cannot be said these days of Jessie Redmon Fauset, the central character of Victoria Christopher Murray's Harlem Rhapsody (Berkley, 2025). In her day, Fauset—who held a degree from Cornell as well as a master's from Penn and a certificate from the Sorbonne in Paris—worked as the literary editor of The Crisis and its associated children's magazine, The Brownies Book, while writing the first of what would become four acclaimed novels. She fostered such stars of the Harlem Renaissance as Langston Hughes, Countee Cullen, Jean Toomer, Georgia Douglas Johnson, Nella Larsen, and Zora Neale Hurston. She was also romantically involved with W. E. B. Dubois, a reality that Murray uses to humanize a heroine who is in every other respect truly remarkable. Her story pulled me in and kept me reading to the very last page. Victoria Christopher Murray is the author of more than thirty novels, including The Personal Librarian and The First Ladies, both historical fiction co-written with Marie Benedict. Harlem Rhapsody is her most recent book. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Steadfast, is due in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Most people in North America have probably at least heard the name W. E. B. Dubois. In the early twentieth century, DuBois—the first African-American to earn a Ph.D. from Harvard—published and spoke extensively about his vision of equality through education. In particular, he edited The Crisis, the monthly magazine of the NAACP, while also writing such classics as The Souls of Black Folk. But if Dubois is well known, the same cannot be said these days of Jessie Redmon Fauset, the central character of Victoria Christopher Murray's Harlem Rhapsody (Berkley, 2025). In her day, Fauset—who held a degree from Cornell as well as a master's from Penn and a certificate from the Sorbonne in Paris—worked as the literary editor of The Crisis and its associated children's magazine, The Brownies Book, while writing the first of what would become four acclaimed novels. She fostered such stars of the Harlem Renaissance as Langston Hughes, Countee Cullen, Jean Toomer, Georgia Douglas Johnson, Nella Larsen, and Zora Neale Hurston. She was also romantically involved with W. E. B. Dubois, a reality that Murray uses to humanize a heroine who is in every other respect truly remarkable. Her story pulled me in and kept me reading to the very last page. Victoria Christopher Murray is the author of more than thirty novels, including The Personal Librarian and The First Ladies, both historical fiction co-written with Marie Benedict. Harlem Rhapsody is her most recent book. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels. Her next book, Song of the Steadfast, is due in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/historical-fiction

For Black History Month this year, All Of It is focusing on the vibrant and historically influential community of Harlem. Today we discuss some of our favorite Harlem-based books with librarian Dana Bello, who works at the Countee Cullen branch of the NYPL in Harlem. And we take your calls about your favorite Harlem based books and authors.

This year marks the 100th anniversary of Alain Locke's classic essay "The New Negro" and the literary anthology featuring the work of Langston Hughes, Zora Neale Hurston, Countee Cullen and other significant black writers of the day.The rising artistic scene would soon be known as the Harlem Renaissance, one of the most important cultural movements in American history. And it would be centered within America's largest black neighborhood -- Harlem, the "great black city," as described by Wallace Thurman, with a rising population and growing political and cultural influence.During the 1920s, Harlem became even more. Along "Swing Street" and Lenox Avenue, nightclubs and speakeasies gave birth to American music and fostered great musical talents like Count Basie, Billie Holiday and Duke Ellington. Ballrooms like the Savoy and the Alhambra helped turn Harlem into a destination for adventure and romance.What were these two worlds like -- the literary salons and the nightclubs? How removed were these spheres from the everyday lives of regular Harlem residents? How did the neighborhood develop both an energetic and raucous music scene and a diverse number of churches -- many (like the Abyssinian Baptist Church) still around today?Visit the website for more details and more podcastsGet tickets to our March 31 City Vineyard event Bowery Boys HISTORY LIVE! hereAnd join us for our Gilded Age Weekend in New York, May 29-June 1, 2025. More info here.This episode was edited by Kieran Gannon

Candle-extinguishing butts, 3am afterparties, collections of seamen (and semen)--this dishy tour of Langston Hughes's love life will leave you gagging with the gays.Please Support Breaking Form!Review the show on Apple Podcasts here.Pretty Please.....Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Watch Hughes recite his poem, "The Weary Blues" to jazz accompaniment on tv in 1958.You can check out troves of Hughes's poetry here, here, and here. Read Langston Hughes's poem "Café: 3AM"Listen to Hughes read "Harlem." Langston Hughes's first memoir, The Big Sea, about his seafaring travels--including upon the West Hesseltine where he said he had that fateful encounter with a sailor--can be found here.  It includes  the essay "Spectacles in Color" in which Hughes describes queer ballroom scene and Countee Cullen's wedding  to Yolanda Du Bois (with Harold Jackson, his boyfriend, serving as best man).Faith Berry's biography of Hughes is Before and Beyond Harlem. Her papers are at the Library of Congress.Read more about Arnold Ampersad's biography of Hughes:Volume 1 (which covers 1902-1940 and does have a snazzy subtitle: I, Too, Sing America).Volume 2 (which covers 1941-death and also has a snazzy subtitle: I Dream a World).Other receipts for the episode can be found in the following essays and scholarship:Hilton Als, "The Elusive Langston Hughes" (The New Yorker, 2015)Juda Bennett, "Multiple Passings and the Double Death of Langston Hughes" (Biography, vol 23.4, 2000).Link through Project Muse.Andrew Donnelly, "Langston Hughes on the DL" (College Literature, Volume 44, Number 1, Winter 2017). Link through Project Muse.Mason Stokes, "Strange Fruits: Rethinking the Gay Twenties" (Transition , 2002, No. 92). Link through JSTOR.Shane Vogel, "Closing Time: Langston Hughes and the Poetics of Harlem Nightlife," in Criticism (Vol 48.3, 2006). Link through Project Muse.Jennifer Wilson, "Queer Harlem, Queer Tashkent" (Slavic Review , FALL 2017). Link through JSTOR.Finally, visit Ann Patchett's bookstore online here: https://www.parnassusbooks.net/

“Desde la reunión de los Estados Generales en Versalles en vísperas de la Revolución Francesa, nunca se había visto un arco iris de sombreros, cofias, plumas y vestidos, chalecos, joyas y calzado reluciente”. David L. Lewis sobre la boda de la hija de W.E.B. Dubois y Countee Cullen. Con José Manuel Corrales.

Cullen's exact birthplace is unknown, but in 1918, at the age of 15, Countee LeRoy was adopted by Reverend Frederick A. Cullen, the minster to the largest church congregation in Harlem.Cullen kept his finger on the pulse of Harlem during the 1920s while he attended New York University and then a graduate program at Harvard. His poetry became popular during his student years, especially his prize-winning poem “The Ballad of a Brown Girl.” In 1925, he published his first volume of poetry entitled Color. Within the next few years, Cullen became well-known, publishing several books and winning a Guggenheim Fellowship in 1928 (to write poetry in France).At first, Cullen was critical of Langston Hughes' poetry, writing that, in using jazz rhythms in his poetry, Hughes was erecting barriers between race instead of removing them. In his own poetry, Cullen sought to erase these boundaries and took traditionalist poets, such as Keats and A.E. Housman, as models for his own poetry. However, despite his criticisms of other black poets, the majority of Cullen's own verses confront racial issues.By the 1930s, Cullen's influence had waned, though he continued to publish prolifically, including novels, a collection of poems for children, the autobiography of his cat, and an adaption of his novel God Sends Sunday into a Broadway musical.-bio via Song of America Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

As the school year begins, today's poem goes out to all of those everyday saints performing the unseen and unsung acts of love that make life possible for rest of us!Born Asa Bundy Sheffey on August 4, 1913, Robert Hayden was raised in the Detroit neighborhood Paradise Valley. He had an emotionally tumultuous childhood and lived, at times, with his parents and with a foster family. In 1932, he graduated from high school and, with the help of a scholarship, attended Detroit City College (later, Wayne State University). In 1944, Hayden received his graduate degree from the University of Michigan.Hayden published his first book of poems, Heart-Shape in the Dust (Falcon Press), in 1940, at the age of twenty-seven. He enrolled in a graduate English literature program at the University of Michigan, where he studied with W. H. Auden. Auden became an influential and critical guide in the development of Hayden's writing. Hayden admired the work of Edna St. Vincent Millay, Elinor Wiley, Carl Sandburg, and Hart Crane, as well as the poets of the Harlem Renaissance—Langston Hughes, Countee Cullen, and Jean Toomer. He had an interest in African American history and explored his concerns about race in his writing. Hayden ultimately authored nine collections of poetry during his lifetime, as well as a collection of essays, and some children's literature. Hayden's poetry gained international recognition in the 1960s, and he was awarded the grand prize for poetry at the First World Festival of Negro Arts in Dakar, Senegal, in 1966 for his book Ballad of Remembrance (Paul Breman, 1962).Explaining the trajectory of Hayden's career, the poet William Meredith wrote:Hayden declared himself, at considerable cost in popularity, an American poet rather than a Black poet, when for a time there was posited an unreconcilable difference between the two roles. There is scarcely a line of his which is not identifiable as an experience of Black America, but he would not relinquish the title of American writer for any narrower identity.After receiving his graduate degree from the University of Michigan, Hayden remained there for two years as a teaching fellow. He was the first Black member of the English department. He then joined the faculty at Fisk University in Nashville, where he would remain for more than twenty years. In 1975, Hayden received the Academy of American Poets Fellowship and, in 1976, he became the first Black American to be appointed as Consultant in Poetry to the Library of Congress (later, U.S. poet laureate).Hayden died in Ann Arbor, Michigan, on February 25, 1980.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Author and filmmaker Alex Sheremet sits down with Erik Hill of Erik Hill Reviews  @erikhillreviews  to discuss all things art: the relationship between filmmaking and poetry, how the Harlem Renaissance and rap music changed Alex's life, the perils of Steven Pinker, and fresh insights into Alex Sheremet's and Joel Parrish's new film, "From There to There: Bruce Ario, the Minneapolis Poet". This discussion can also be watched on our YouTube channel: https://www.youtube.com/watch?v=g1QPNsQlZRk This interview first appeared on Erik Hill's channel: https://www.youtube.com/watch?v=FBE0DeormUQ Donate to "From There to There: Bruce Ario, the Minneapolis Poet": https://www.gofundme.com/f/new-film-the-minneapolis-poet-bruce-ario Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 1:35 -- Alex Sheremet's background; from the USSR to Brooklyn, NY; Eldridge Cleaver's Soul on Ice; the Harlem Renaissance & artistic hierarchies; how Alex's book of film criticism, "Woody Allen: Reel to Real", helped shape his own filmmaking 5:53 -- what makes a poem great; Countee Cullen's "Heritage"; Alex's atheism doesn't interfere with appreciating theological poetry; art should omit ideology in questions of craft; the artist's manipulation tactics 10:46 -- art's trajectory over time; one needs to do sufficient reading to recognize quality or flaws; why Alex abandoned Vladimir Nabokov 14:45 -- the role of politics in Alex Sheremet's artistic life; how rap music shaped Alex's artistic views; hip-hop & the stakes of masculinity; the destruction of attention span; being a 20th century man in the 21st century; many elements of human culture can disappear, but books totally shape human civilization 21:45 -- discussing Steven Pinker's "Better Angels of our Nature" & "Enlightenment Now"; human violence over time; bad neighborhoods vs. hunter-gatherer societies; those who believe in progress are incentivized to ignore stagnation 26:30 -- our film on Bruce Ario; Erik Hill reviews the film's first 8 minutes; Erik's experience with classical music set against visuals; how Alex Sheremet and Joel Parrish use visuals to "explain" Bruce Ario's poetry; why most poetry documentaries fail; using footage in arresting ways; choosing a film title 35:05 -- Bruce Ario's novel, "Cityboy"; Alex: it is a great, short novel but a difficult read; why Bruce Ario allowed his book to get destroyed; "Cityboy" captures mental illness very well; an example of great, unconventional writing in "Cityboy" 40:45 -- defining Bruce Ario's disabilities and mental ills; memoir vs. veiled autobiography vs. a "mere" novel; the "morality" of Bruce Ario's novel; art requires order, discipline, and consistency from the artist; Bruce Ario's interactions with homeless people; Robert Grudin: Time and the Art of Living  47:56 -- Bruce Ario's "innocence"; all cityboys must learn that all cities are the same 51:00 -- poetry recommendations for beginners; poetry is like learning a new language; how Vladimir Lenin and Leon Trotsky changed Alex's life; Alex learned to read books by summarizing every paragraph on index cards Tags: #filmmaking #politics #books #poetry #cinema

Born and raised in Pennsylvania, the 97-year-old Pittsburgh-based artist and sculptor Thaddeus Mosley has a deep and enduring obsession with wood. In his late 20s, he began to use the material for art, carving sculptures in his basement studio, and with his sculpture-making now spanning 70 years, his enduring dedication to his craft is practically unparalleled. Represented by Karma gallery since 2019, Mosley has only now, in the past decade or so, begun to receive the international recognition and attention he has long deserved. In his hands, wood sings; he shapes and carves trees into striking abstract forms that often appear as if they're levitating while honoring and preserving their organic, natural character. As with the work of his two main influences, Constantin Brâncuși and Isamu Noguchi, Mosley, too, strives to make sculptures that, in his words, beyond today, “will be interesting in a hundred tomorrows.”On the episode, he talks about the language that poetry, music, and sculpture all share; his early years as a sports writer for a local newspaper; and his life-transforming relationship with the Carnegie Museum of Art in Pittsburgh.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Thaddeus Mosley[4:13] Sam Gilliam[17:24] Carnegie Museum[21:08] Carnegie International[21:08] Leon Arkus[21:08] “Thaddeus Mosley: Forest”[21:08] “Inheritance”[24:20] Isamu Noguchi[27:53] Constantin Brâncuși[28:28] University of Pittsburgh[28:28] Martha Graham[46:15] Floyd Bennett Field[46:23] Ebony magazine[46:23] Sepia magazine[46:23] Jet magazine[46:23] Pittsburgh Courier[54:34] John Coltrane[51:37] Li Bo[51:37] Dylan Thomas[56:21] Bernard Leach[57:45] Langston Hughes[57:45] Countee Cullen[57:45] Harriet Tubman[57:45] Fannie Lou Hamer[57:45] “The Long-Legged Bait”[57:45] “Air Step - for Fayard and Harold Nicholas”[57:45] The Nicholas Brothers

W.E.B. Du Bois and Countee Cullen were, no question, pivotal pillars during the Harlem Renaissance. Du Bois's philosophy of race and Cullen's masterful poetry defy the status quo of the early 1900s; however, both men fall victim to the challenges Black people still face today. In this special episode, Franchesca Ramsy and Conscious Lee dive deeper into the black-on-black conflict, church hurt, and misogyny that show up in our “Talented Tenth” series, in addition to modern times. As the good book says, “The truth shall set you free,” and our hosts tell it for real, for real.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Harlem and Moscow is an audio drama based on the true story of the Harlem Renaissance in the Soviet Union. Red Flags, is the official companion podcast to Harlem and Moscow.  In this episode of Harlem and Moscow: Red Flags, host Panama Jackson is talking to experts about the people of the Harlem Renaissance who went on this trip to Moscow back in 1932. We learn more about Dorothy West, Langston Hughes, Henry Lee Moon, Louise Thompson, and others who journeyed to the Soviet Union. We also talk about other Black artists in the “Harlem and Moscow” circle like Zora Neale Hurston, Countee Cullen, Paul Robeson, and many others. Plus we dish on the gossip of the era and how surprisingly shady folks in that time were! Panama is joined by the playwright of “Harlem and Moscow” Alle Mims as well as historian, cultural critic, and author of  “Our Secret Society,” Tanisha C. Ford.  Music Courtesy Of: Transition "Fantastic Voyage” Lakeside BMG Gold Songs, H&R Lastrada Music, Tiemeyer McCain Publishing Fred Alexander, Norman Paul Beavers, Marvin Craig, Frederick E. Lewis, Tiemeyer Le'Mart, Thomas Oliver Shelby, Stephen Preston Shockley, Otis Stokes, Mark Adam WoodSee omnystudio.com/listener for privacy information.

To save his public image, Countee Cullen marries W.E.B. Dubois' daughter, Yolande. The wedding is the merger of the century. All of Black high society is in attendance to celebrate this high profile matrimony. W.E.B.'s plan to create a dynasty is complete. Countee finds love and another father figure. Happy ending, right? Not quite. Countee's marriage to Yolande might've hushed the whispers of his sexuality but temptation is closer than he can handle. Like, “Best Man” close.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the early 1900's, Harlem Renaissance poet Countee Cullen went from an orphan to one of the most celebrated literary figures of his time. But his reluctance to introduce Blackness into his art threatened to alienate him from peers. And his struggles with his sexuality threatened to isolate him from his family. Luckily, his mentor W.E.B. DuBois has a plan to solve both problems. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If you're interested in learning about the Harlem Renaissance poet and later playwright who became a key figure in the Harlem Renaissance while still just in his 20s, then my Countee Cullen Black History Facts profile is for you.   Show notes and sources are available at http://noirehistoir.com/blog/countee-cullen.

Two years after the creation of the Black Panther Party, Eldridge Cleaver's prison writings were published as SOUL ON ICE. He became the party's Minister of Information, but would soon have a falling out with Huey P. Newton over tactics and ideology. In ArtiFact #47, authors Alex Sheremet and Keith Jackewicz break down the text, highlighting its strengths and weaknesses, as Alex explains why it was so critical for his own intellectual development in high school. You can also watch this conversation on our YouTube channel: https://www.youtube.com/watch?v=M1DCNP2uYMo If you found this video useful, support us on Patreon and get the B Side to this conversation: https://www.patreon.com/automachination B Side Topics: re-visiting James Baldwin; why don't political writers care about good prose; varieties of bad conservative & liberal writing; African American leftist writing tends to be self-Orientalizing; art has become an arm of ideology, parasocial relationships; terrible art-objects (“The Sound of Freedom”) and ciphers (“Try That In A Small Town”); the implosion of Ibram X. Kendi; his valorization of ignorance and refusing to read; Ibram X. Kendi doesn't get Shakespeare's “Othello” and “The Tempest”; Christopher Rufo runs victory laps; Boston University's racial problems; COVID in 2023: no tracking, vaccination is disorganized, no funds for long COVID & the nature of endemic disease; most Americans are not compliant with vaccine uptake; blood clots & COVID; Chapo Trap House & their fanbase; the practical ramifications of day-to-day climate change; waking up to storms; Pittsburgh & the Amtrak experience; Ukraine/Russia developments; why did Biden box himself in by selling the war as a Russia-US proxy; Nikki Haley vs. Joe Biden; the salience of Roe v. Wade; Republicans will likely adopt Trump's abortion strategy; Zelensky & Minsk II We are working on a film on the late, great Minneapolis poet, Bruce Ario. Read more and contribute to the film here: https://www.gofundme.com/f/new-film-the-minneapolis-poet-bruce-ario Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 0:00 – a white kid sits at the black table 1:30 – introducing Eldridge Cleaver's classic Black Panther text, “Soul on Ice”; how the book totally changed Alex's life in high school; Keith: Cleaver has more lyrical dexterity than most leftist writing; the homophobia 9:00 – Malcolm X's autobiography vs. Eldridge Cleaver; thresholds of transformation; Ras Kass's 1996 rap album, “Soul on Ice”; contrasts with Huey P. Newton's “Revolutionary Suicide”; homophobia & social conservatism in the radical left; the RCP's Bob Avakian; Aleksandr Dugin's style of fascism 19:25 – why the Black Panthers presented as a black nationalist group despite being Marxist-Leninists; how Donald Trump's election shattered Keith's understanding of the world; why the United States government feared the Black Panthers; hecklers in the Nation of Islam; the New Black Panther Party; armed patrols in California; overreaction within geopolitical rivalry; liberalism & the erosion of rights; 2007's Stop the Madrassa; America's change of opinions on Islam, immigrants; Alex: why Richard Spencer, et al was a dying gasp in 2016-2017 38:50 – Eldridge Cleaver's obsession with poseur whites; Norman Mailer & “The White Negro”; a terrible passage from Jack Kerouac's “On The Road”; masculine novelists & insecure violence; cultural appropriation discourse is now passe; how diversity & integration teaches everyone; Alex's experiences in a majority-black high school; how Alex was transformed by Countee Cullen & Harlem Renaissance poetry; black America faces steeper consequences for *everything* 52:08 – respect vs. fetishization; collectivization & sociability in black America; Eldridge Cleaver's attacks on James Baldwin; Eldridge Cleaver might have been a closeted bisexual; Cleaver fails to understand high art; assessing Giovanni's Room; defending James Baldwin's comments on Richard Wright; Cleaver's upbringing & psychology damaged his chances of becoming a great author; the worst chapter in Soul on Ice 01:19:42 – Eldridge Cleaver's love letters are surprisingly well-handled; Alex's favorite chapter in Soul on Ice; Cleaver knew how to sketch and characterize; Cleaver's writerly tricks in his Old Lazarus chapter; how sexual imbalances fuel resentment; black objectification; comparisons to Bela Tarr's The Turin Horse 01:42:05 – Patreon show preview; Eldridge Cleaver's latter biography; his falling out with Beverly Axelrod; Soul on Fire was a terrible follow-up; Keith: how There Will Be Blood & Ratatouille changed my life Tags: #politics #books #blackpanther

This sonnet by Countee Cullen begins our observance of Black History Month this year. Within my folk music setting I tried to sing this poem air of mournful hope.

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on January 15, 2023. www.poets.org

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!James Mercer Langston Hughes was born February 1, 1901, in Joplin, Missouri. Hughes's birth year was revised from 1902 to 1901 after new research from 2018 uncovered that he had been born a year earlier. His parents divorced when he was a young child, and his father moved to Mexico. He was raised by his grandmother until he was thirteen, when he moved to Lincoln, Illinois, to live with his mother and her husband, before the family eventually settled in Cleveland, Ohio. It was in Lincoln that Hughes began writing poetry. After graduating from high school, he spent a year in Mexico followed by a year at Columbia University in New York City. During this time, he worked as an assistant cook, launderer, and busboy. He also travelled to Africa and Europe working as a seaman. In November 1924, he moved to Washington, D.C. Hughes's first book of poetry, The Weary Blues, (Knopf, 1926) was published by Alfred A. Knopf in 1926 with an introduction by Harlem Renaissance arts patron Carl Van Vechten. Criticism of the book from the time varied, with some praising the arrival of a significant new voice in poetry, while others dismissed Hughes's debut collection. He finished his college education at Lincoln University in Pennsylvania three years later. In 1930 his first novel, Not Without Laughter(Knopf, 1930), won the Harmon gold medal for literature.Hughes, who claimed Paul Laurence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insightful portrayals of black life in America from the twenties through the sixties. He wrote novels, short stories, plays, and poetry, and is also known for his engagement with the world of jazz and the influence it had on his writing, as in his book-length poem Montage of a Dream Deferred (Holt, 1951). His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period such as Claude McKay, Jean Toomer, and Countee Cullen, Hughes refused to differentiate between his personal experience and the common experience of black America. He wanted to tell the stories of his people in ways that reflected their actual culture, including their love of music, laughter, and language itself alongside their suffering.In addition to leaving us a large body of poetic work, Hughes wrote eleven plays and countless works of prose, including the well-known “Simple” books: Simple Speaks His Mind (Simon & Schuster, 1950); Simple Stakes a Claim (Rinehart, 1957); Simple Takes a Wife (Simon & Schuster, 1953); and Simple's Uncle Sam (Hill and Wang, 1965). He edited the anthologies The Poetry of the Negro and The Book of Negro Folklore, wrote an acclaimed autobiography, The Big Sea (Knopf, 1940), and cowrote the play Mule Bone (HarperCollins, 1991) with Zora Neale Hurston.Langston Hughes died of complications from prostate cancer on May 22, 1967, in New York City. In his memory, his residence at 20 East 127th Street in Harlem has been given landmark status by the New York City Preservation Commission, and East 127th Street has been renamed “Langston Hughes Place.”From https://poets.org/poet/langston-hughes. For more information about Langston Hughes:Previously on The Quarantine Tapes:Ngũgĩ wa Thiong'o about Hughes, at 16:05: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-137-ngg-wa-thiongo“Song for Billie Holiday”: http://stephenfrug.blogspot.com/2013/08/poem-of-day-langston-hughes-song-for.htmlSelected Poems of Langston Hughes: https://www.penguinrandomhouse.com/books/84090/selected-poems-of-langston-hughes-by-langston-hughes/“Religion ‘around' Langston Hughes, Billie Holiday, and Ralph Ellison”: https://aas.princeton.edu/news/roundtable-conversation-religion-around-langston-hughes-billie-holiday-and-ralph-ellison“Langston Hughes: The People's Poet”: https://nmaahc.si.edu/explore/stories/langston-hughes-peoples-poet“Langston Hughes”: https://www.poetryfoundation.org/poets/langston-hughes“Langston Hughes Papers”: https://beinecke.library.yale.edu/collections/highlights/langston-hughes-papers

Today's poem is I Have a Rendezvous With Life by Countee Cullen. This episode was originally released on 5/26/2022.

We're exploring the much-neglected legacy of Countee Cullen, Harlem Renaissance poet, playwright, and also, Junior High School teacher! Cullen's work ran counter to many of his contemporaries but made a huge impact on the world of poetry. Despite the mixed reception of his work, he continued to write, create, and challenge the understanding of what it meant to be Black and be an artist in America. 

After taking a two month break, I'm baaaack! Thank you all for your patience-- it was necessary and I'm grateful for the downtime. So, without further ado...  My next guest is the remarkable Danne Smith Mathis! Danne's definition of “writing” is that it is the process of staying sane in insane situations! Danne Smith Mathis began writing as a poet and biographer at age 9 during the Newark riots in Newark, New Jersey, which is her birthplace.  Danne absorbed quickly the rhythms and the messages of Black poets and prolific writers such as Nikki Giovanni, Countee Cullen, Amira Baraka ( formerly known as Leroy Jones), Sonia Sanchez and Don L. Lee. Danne has coauthored 4 books and is in the process of writing her first solo work whenever she's not talking with her three adult children or her grandson.   You can reach Danne Smith Mathis on all social media platforms under her name. https://10000cards.com/card/danne-smith-mathis  Website:  https://www.dannesmithmathis.com Facebook:  https://www.facebook.com/smithmathis Instagram:  https://www.instagram.com/dannesmithmathis/ LinkedIn:  https://www.linkedin.com/in/daniellemathis/ Twitter:  https://twitter.com/BlackAmethyst22Please subscribe to the show while you're at it, so that you'll be alerted to every episode that drops weekly!

Ricardo Pedace, Gabriel Mesa, Nora Perlé, Marcelo Moreno, Rómulo Berruti, Diego Recalde, Silvana Amato y José Luis Cataldo ¿Qué entendemos por “Epanadiplosis”? ¿Y por “Conectores”? ¿Qué es el “Cantar de Gesta”? ¿Cuál es el significado de “Borgiano”? ¿Qué significa el término “Hermenéutica”? Oscar Wilde, Roberto Santoro y Antonio Machado. ¿Cuál fue la causa de la visita de Federico García Lorca a Buenos Aires en 1933? ¿Qué actitud tuvo Darío Fo en el momento de recibir su Premio Nobel? ¿Cuál era el Café, a principios del siglo XX en Madrid, donde se reunían grandes artistas de la época? ¿Cuáles son la raíces en donde por primera vez se encuentran la poesía y el jazz? ¿Las obras de qué pintor argentino figuran en las tapas de reconocidos libros? Refrescamos los poemas y narrativas de los autores Miguel Hernández, Augusto Monterroso, Darío Fo, Rafael Alberti, Countee Cullen, Almafuerte y John Steinbeck en la voz de nuestros locutores Francis Scott Fitzgerald le envía una carta a su hija, dejándole varias enseñanzas de vida. Luz Casal, Sui Generis, Ella Fitzgherald y León Gieco, entre otros

James Mercer Langston Hughes was born February 1, 1901, in Joplin, Missouri. Hughes's birth year was revised from 1902 to 1901 after new research from 2018 uncovered that he had been born a year earlier. His parents divorced when he was a young child, and his father moved to Mexico. He was raised by his grandmother until he was thirteen, when he moved to Lincoln, Illinois, to live with his mother and her husband, before the family eventually settled in Cleveland, Ohio. It was in Lincoln that Hughes began writing poetry. After graduating from high school, he spent a year in Mexico followed by a year at Columbia University in New York City. During this time, he worked as an assistant cook, launderer, and busboy. He also travelled to Africa and Europe working as a seaman. In November 1924, he moved to Washington, D.C. Hughes's first book of poetry, The Weary Blues, (Knopf, 1926) was published by Alfred A. Knopf in 1926 with an introduction by Harlem Renaissance arts patron Carl Van Vechten. Criticism of the book from the time varied, with some praising the arrival of a significant new voice in poetry, while others dismissed Hughes's debut collection. He finished his college education at Lincoln University in Pennsylvania three years later. In 1930 his first novel, Not Without Laughter(Knopf, 1930), won the Harmon gold medal for literature.Hughes, who claimed Paul Laurence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insightful portrayals of black life in America from the twenties through the sixties. He wrote novels, short stories, plays, and poetry, and is also known for his engagement with the world of jazz and the influence it had on his writing, as in his book-length poem Montage of a Dream Deferred (Holt, 1951). His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period such as Claude McKay, Jean Toomer, and Countee Cullen, Hughes refused to differentiate between his personal experience and the common experience of black America. He wanted to tell the stories of his people in ways that reflected their actual culture, including their love of music, laughter, and language itself alongside their suffering.In addition to leaving us a large body of poetic work, Hughes wrote eleven plays and countless works of prose, including the well-known “Simple” books: Simple Speaks His Mind (Simon & Schuster, 1950); Simple Stakes a Claim (Rinehart, 1957); Simple Takes a Wife (Simon & Schuster, 1953); and Simple's Uncle Sam (Hill and Wang, 1965). He edited the anthologies The Poetry of the Negro and The Book of Negro Folklore, wrote an acclaimed autobiography, The Big Sea (Knopf, 1940), and cowrote the play Mule Bone (HarperCollins, 1991) with Zora Neale Hurston.Langston Hughes died of complications from prostate cancer on May 22, 1967, in New York City. In his memory, his residence at 20 East 127th Street in Harlem has been given landmark status by the New York City Preservation Commission, and East 127th Street has been renamed “Langston Hughes Place.”From https://poets.org/poet/langston-hughes. For more information about Langston Hughes:Previously on The Quarantine Tapes:Ngũgĩ wa Thiong'o about Hughes, at 16:05: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-137-ngg-wa-thiongo“Langston Hughes”: https://www.poetryfoundation.org/poets/langston-hughesThe Collected Poems of Langston Hughes: https://www.penguinrandomhouse.com/books/84092/the-collected-poems-of-langston-hughes-by-langston-hughes/“The Elusive Langston Hughes”: https://www.newyorker.com/magazine/2015/02/23/sojourner“Langston Hughes: The People's Poet”: https://nmaahc.si.edu/explore/stories/langston-hughes-peoples-poet

#OTD Harlem Renaissance poet Countee Cullen was born.

BlackFacts.com presents the black fact of the day for May 30.Countee Cullen was born.He was an American poet, one of the finest of the Harlem Renaissance.He won a citywide poetry contest as a schoolboy and saw his winning stanzas widely reprinted. At New York University he won the Witter Bynner Poetry Prize and was elected to Phi Beta Kappa.  Major American literary magazines accepted his poems regularly, and his first collection of poems, "Color" (1925), was published to critical acclaim before he had finished college.Most notable among his other works are "Copper Sun" (1927), "The Ballad of the Brown Girl" (1928), and "The Medea and Some Poems" (1935). His novel "One Way to Heaven" (1932) depicts life in Harlem.The Countee Cullen Library, a Harlem branch location of the New York Public Library, was named in his honor. In 2013, he was inducted into the New York Writers Hall of Fame.Learn black history, teach black history at blackfacts.com 

Today's poem is I Have a Rendezvous With Life by ​​Countee Cullen.

This week, we're covering Countee Cullen, the famous Harlem Renaissance poet who broke away from social trends to call himself a poet instead of a Black poet. As always, you can get ad-free versions of the episode, and much much more on the Unruly Figures Substack: http://unrulyfigures.substack.com That's always where you can find transcripts of each episode, photos of each episode's subject, and behind-the-scenes goodies. So come join us! --- Send in a voice message: https://podcasters.spotify.com/pod/show/unruly-figures/message Support this podcast: https://podcasters.spotify.com/pod/show/unruly-figures/support

They called themselves the Niggerati and named their newspaper FIRE.The Origin Story: It was the height of the Harlem Renaissance. Zora Neale Hurston was one of the most popular writers and one of THE founders of the very field of anthropology at Columbia University. A brilliant mind. She sat in the middle of her glamorous Harlem neighborhood with her Florida overalls on. Like a farmer. She loathed the burn of White gaze on Black genius. She refused to perform respectability. She hated what it did to her spirit, her people, her freedom. People were drawn to her bravery. The way she laughed from her belly and cut with her eyes. The certainty of her critiques, the quickness of her wit and daring of her dreams. She was attractive. Magnetic. And people were drawn to that porch, to her crew. The crew was big and loud and included: Countee Cullen: a famous writer whose words inspired the creation of jazz music according to Duke Ellington. He, in his cufflink excellence, hated the crew name - for the record lol. Wallace Thurman: Who wrote The Blacker the Berry is credited with advancing the very idea of colorism. Dorothy West: Famed writer of The Living is Easy which chronicled the upper-class Black experience in Boston. And of course, perhaps the most famous, Langston Hughes was there looking like Al B. Sure and spitting lyrics.  Together, their ideas were foundational to the Harlem Renaissance. Disclaimer: We do not own the rights to the music or speech excepts played during this broadcast. Original content can be found here:Countee Cullen Poem:https://youtu.be/lBPdHtdntOM

Enjoy a reading from Countee Cullen's book Color. The poem is The Dance of Love, accompanied by the soothing music of Beauty of the Soul.          Written, hosted and edited by certified life coach Daleena Ewbank.             Rewind Relax Release website https://rewindrelaxrelease.com/                       New Choices Coaching  website  https://newchoicescoaching.com/                 Join the Facebook group  https://www.facebook.com/groups/1359529967796933              Find me on Twitter  https://twitter.com/rewind_relax         *New* Subscribe to my YouTube channel https://www.youtube.com/channel/UCcrre3MRQ0yf1fVFr4HZp0A         Find me on TikTok @a_simpledreamer         Please rate, review, subscribe and share with your friends.           Find my journals here: https://newchoicescoaching.com/favorite-things/Support the show, or show your appreciation for an episode:  Cash App: $DEwbankSupport the show (https://www.buymeacoffee.com/RRRpodcast)

Today Tuesday, February 22, 2022....2'sday :-)What could you do differently today? Some see this magical number day as an opportunity to reset..a second New Year.Is there something you would like to reset? To add or take away from your daily life in order to find more joy and fullness?Everything we do matters, you matter!The focus of today's episode is the following poem by Countee Cullen "THE TRUTH IS...EVERYTHING COUNTS.EVERYTHING.EVERYTHING WE DO AND EVERYTHING WE SAY.EVERYTHING HELPS OR HURTS;EVERYTHING ADDS OR TAKES AWAY... FROM SOMEONE ELSE." May your day today be everything you need it to be!

It his episode Ceebee is reading an article written by John Henri Clarke. THE distinguished Afro-American poet Countee Cullen began his I famous poem "Heritage" with the question: "What is Africa to me?" In order to understand Africa and its place in world history, we must extend the question by asking, "What is Africa to the Africans and what is Africa to the world?" There is a need to locate Africa and its people on the map of human geography. Our own great historian W.E.B. DuBois tells us: "Always Africa is giving m something new. . . . On its Black bosom arose one of the earliest, if not the earliest, of self-protecting civilizations, and grew so mighty that it still furnishes superlatives to thinking and speaking men. Out of its darker and more remote forest fastnesses came, if we may credit many recent scientists, the first welding of iron, and we know that agriculture and trade flourished there when Europe was a wilder- ness." Dr. DuBois tells us further that "Nearly every human empire that has arisen in the world, material and spiritual, has found some of its greatest crises on this continent of Africa. It was through Africa that Christianity became the religion of the world. In Africa the last flood of Germanic invasions spent itself within hearing of the last gasp of Byzantium, and it was again through Africa that Islam came to play its great role of conqueror and civilizer." It is generally conceded in most scholarly circles that mankind orig- inated in Africa; this makes the African man the father and the African woman the mother of mankind. This is where we began our assessment of the role of Africa and its people in world history. Early men in Africa became geniuses at surviving under harsh circumstances. Present-day archaeologist have dug up and preserved the evidence of their achievement. They made hooks to catch fish, spears to hunt with, stone knives to cut with, the bolo with which to catch birds and animals, he blow-gun, the hammer and the stone axe. In his pamphlet "The African Contribution," the writer John W. Weatherwax gives us this additional evidence: African use of power. Africans gave mankind the first machine; it was the fire stick. It is the making of tools that sets man apart from, and, in a sense, above, all living creatures. Africans started mankind along the tool-making path. Canoes made it possible for man to travel farther and farther away from his original home. They began to explore the many rivers in Africa like the Nile, the Congo and the Niger. It was in this way that the early peopling of Africa started and organized soci- eties began. At some time, years later, Africans driven by curiosity or some force of nature began to leave Africa in large numbers. They be- came the most widely dispersed of all people. Evidence of their pres- ence, at some time in history, has been found in nearly every part of the world. Africa was already old when what we now call Europe was born. The Ghanaian historian Joseph B. Danquah called attention to this fact in his introduction to the book United West Africa (or Africa) at the Bar of the Family of Nations by Ladipo Salanke ( 1927 ) when he said: "By the time Alexander the Great was sweeping the civilized world with conquest after conquest from Chaeronia to Gaza, from Babylon to Cabul; by the time this first of the Aryan conquerors was learning the rudiments of war and government at the feet of philosophic Aristotle; and by the time Athens was laying down the foundations of modern European civilization, the earliest and greatest Ethiopian culture had already flourished and dominated the civilized world for over four and a half centuries. Drawing by E.Harper Johnson of Piankhy the Great, King. --- Send in a voice message: https://anchor.fm/ceebee710/message

Countee Cullen's poetry in Color contemplates Black Americans' fractured sense of self—at once spiritually tied to homelands where their ancestors were kidnapped and rooted in the white supremacist society where they live. With poems about love, tradition, the intertwined lives of Black people and whites, and the experience of a "Negro in a day like this," Color is a profound early work of the Harlem Renaissance. The collection's most famous poem is "Heritage". Genre(s): Single author Countee Cullen (1903 - 1946) --- Support this podcast: https://anchor.fm/3daudiobooks0/support

Get ready for quite a ride! This week, Stacie has the story Yolande Du Bois, the long-suffering daughter of civil rights titan W. E. B. Du Bois, who steered her into a deeply unsuitable marriage to poet Countee Cullen, a leading light of the Harlem Renaissance. Then, Alicia has a long-time listener request: The 90s-era heartbreaker of the marriage and divorce of actors Emma Thompson and Kenneth Branagh. Promo Victoria Emerson. Buy one piece and get one free when you visit www.victoriaemerson.com/trashy and use the code TRASHY. Funjet Vacations. Use code Funjet75 for $75 off your next Funjet Vacation at RIU Hotels & Resorts. The Oak Tree Group. Mention Trashy Divorces for your free one hour financial preparedness conversation. Call 770-319-1700 or visit them on the web at theoaktreegroup.net. Advertise with us! Learn more about your ad choices. Visit megaphone.fm/adchoices

Countee Cullen was a major voice of the Harlem Renaissance. Joined by the renowned cultural critic Gerald Early, we here examine together story of Countee Cullen and the astounding sonnet that opens his main collection of poetry, My Soul's High Song. For more on Countee Cullen (https://www.poetryfoundation.org/poets/countee-cullen), see the Poetry Foundation. Here is the text of the sonnet: Yet Do I Marvel Countee Cullen I doubt not God is good, well-meaning, kind, And did He stoop to quibble could tell why The little buried mole continues blind, Why flesh that mirrors Him must some day die, Make plain the reason tortured Tantalus Is baited by the fickle fruit, declare If merely brute caprice dooms Sisyphus To struggle up a never-ending stair. Inscrutable His ways are, and immune To catechism by a mind too strewn With petty cares to slightly understand What awful brain compels His awful hand. Yet do I marvel at this curious thing: To make a poet black, and bid him sing! For the main collection of Countee Cullen's poetry, edited by Gerald Early, see My Soul's High Song (https://www.amazon.com/Souls-High-Song-Countee-Cullen/dp/0385412959).

In ArtiFact #4, Joel Parrish and I discuss growing up religious, the literary questions surrounding the Bible's Ecclesiastes, and other works of art by Rembrandt, Countee Cullen, and Robinson Jeffers. You can also watch this episode on our YouTube channel: https://www.youtube.com/watch?v=aWgEDn4TXIY Read the latest writing from automachination: https://automachination.com Joel's website: https://poeticimport.com Music sample: Lowkemia - "Lorem Ipsum" (CC BY-SA 3.0) Timestamps: 0:14 - Joel amidst the wildfires 5:48 - Some peculiarities of Russian Orthodoxy 9:40 - Joel's religious upbringing 17:05 - Religion will continue compromising with itself 27:34 - Joel: religion still sticks to the atheist 34:03 - Christian Marxism in action 41:37 - Religious sublimation, or sublimating religion? 45:14 - Alex: healthy atheists don't obsess over religion 50:26 - Loren Eiseley as spiritual literature 55:04 - Is religion explanatory or prescriptive? 01:06:46 - Alex: God is an after-thought in Ecclesiastes 01:09:00 - Joel on Biblical structures 01:13:11 - Reading Ecclesiastes, Ch. 1 01:17:12 - Robinson Jeffers vs. Ecclesiastes 01:25:25 - Ch. 2: Solomon's (missing) labors 01:34:32 - Solomon's sophistries 01:40:08 - Ch. 3: where does the narrator truly stand? 01:47:06 - Ch. 5: Schopenhauer explains Ecclesiastes 01:57:00 - Ch. 7: against gatekeeping 02:04:19 - Ch. 9: cutting God out of the equation 02:08:06 - Ch. 10: redemption arcs 02:11:09 - Ch. 11: for the love of melancholy 02:22:22 - Ch. 12: whose epilogue? 02:25:05 - Ecclesiastes as a work of art 02:33:32 - Critiquing Rembrandt's "The Prodigal Son" 02:49:24 - Encore: Robinson Jeffers, Countee Cullen

Some of the topics mentioned in this episode:– Zoom Poetry Readings– Poetry Voice/Poet Voice – Rich Smith's essay "Stop Using Poet Voice"– Lisa Marie Basile's essay "Poet Voice and Flock Mentality: Why Poets Need to Think for Themselves"– Method acting– Marit J. MacArthur, Georgia Zellou, and Lee M. Miller's article "Beyond Poet Voice: Sampling (Non-) Performance Styles of 100 American Poets"– Drama majors are dumb– Howard Rambsy II's blog post "Notes on 'Beyond Poetry Voice'"– Marit J. MacArthur's article "Monotony, the Churches of Poetry Reading, and Sound Studies"– Amanda Gorman's poem "The Hill We Climb"– Printing out song lyrics– Sondheim's writing advice– Rhina Espaillat is the best– Anthony Hecht's fake British accent– My dad's real Southern accent– People at Harvard are mean– "First thought, best thought" is wrong– Trevor Beaulieu's podcast Champagne Sharks, to which episodes 1 and 3 make an especially good introduction
– "Y'all" is cool now– Countee Cullen's poem "Nothing Endures"– Nirvana vs. nirvana– Shakespeare's Sonnet 116– Billy Collins' poem "Paradelle for Susan"Please rate, review, and subscribe!Send questions, comments, and suggestions to sleerickets@gmail.com. Or just go to matthewbuckleysmith.com and direct your hate mail straight to my personal inbox.Music by ETRNLArt by Daniel Alexander Smith

In this week's episode of the Get Lit Minute, we spotlight  American poet, novelist, children's writer, and playwright, Countee Cullen, particularly well known during the Harlem Renaissance. Included in this episode is a reading of his poem, "Fruit Of The Flower."Support the show (https://getlit.org/donate/)

In Part 3 of Into America's Black History Month series, Harlem on My Mind, Trymaine Lee spotlights the influence of Jessie Redmon Fauset. Langston Hughes called her one of the midwives of the Harlem Renaissance, but few today remember her name.As literary editor for NAACP's The Crisis magazine, Fauset fostered the careers of many notable writers of the time: poets Countee Cullen and Gwendolyn Bennet, novelist Nella Larsen, writer Claude McCay. Fauset was the first person to publish Langston Hughes, when The Crisis printed the poem The Negro Speaks of Rivers. Fauset was also a writer, penning essays and poems. She went on to write four novels, including There is Confusion (1924). Her focus on bourgeois characters and women's ambition shaped the conversation about Black identity in Harlem at the time.Dr. Julia S. Charles, professor of English at Auburn University, sheds light on the full scope of Fauset's work, including her complicated relationship with Dr. W.E.B. Du Bois and other notable Black thinkers. Author Morgan Jerkins describes how Fauset's legacy has inspired her own work as a writer, editor, and resident of today's Harlem.Special thanks to the Schomburg Center for Research in Black Culture.Thoughts? Feedback? Story ideas? Write to us at intoamerica@nbcuni.com Further Reading and Listening:Harlem on My Mind: Jacob LawrenceHarlem on My Mind: Arturo SchomburgThe Forgotten Work of Jessie Redmon Fauset

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on February 7, 2021. www.poets.org

Harlem Renaissance poet Countee Cullen wrote this short elegy for one of the first Afro-Americans to attend West Point, and today I perform it for the start of Black History Month. For more about this and other combinations of various words and original music visit frankhudson.org  

We are joined by the Locus and Nebula award winning author, P. Djeli Clark to discuss his new book Ring Shout. The New York Times describes the novella as “a fantastical, brutal and thrilling triumph of the imagination.” Educator, historian and author, we drink and discuss this amazing novella. Purchase the book here: https://www.womenandchildrenfirst.com/book/9781250767028 Tristan Strong Punches a Hole in the Sky (Volume 1) Book by Kwame Mbalia https://www.womenandchildrenfirst.com/book/9781368042413 Heritage by Countee Cullen https://liberal-arts.wright.edu/sites/liberal-arts.wright.edu/files/page/attachments/Heritage_CounteeCullen.pdf https://www.theatlantic.com/politics/archive/2016/12/second-klan/509468/

Nancy Cunard war eine Stil-Ikone und Kämpferin gegen Rassismus. In den 1930er-Jahren veröffentlichte sie die Anthologie 'Negro‘ mit Texten von Autor*innen der sogenannten "Harlem Renaissance". Karl Bruckmaier hat nun die erste deutsche Ausgabe publiziert und mit Songs von Elliott Sharp als Hörspiel realisiert. // Mit Textausschnitten von Gladis Berry Robinson, Bob Scanlon, William Carlos Williams, Countee Cullen, Henry Crowder, John L. Spivak, T. Thomas Gordon Fletcher, William Pickens, Lawrence Gellert, Langston Hughes, Robert Goffin, Nancy Cunard, Zora Neal Hurston, George Antheil, Sterling Brown / Musik: Elliott Sharp. Regie: Karl Bruckmaier. BR 2020 // Aktuelle Hörspiel-Empfehlungen per Mail: www.hörspielpool.de/newsletter

Please don’t go.

Avery and Jackson will talk about poetry and share a few pieces from Black poets, too. They will discuss how the podcast got it's name from the famous poem by Dr. Useni Perkins. Episode Resources During our show we give credit for the Hey Black Child poem to Countee Cullen, but we later found out that the real author is Dr. Useni E. Perkins. He often does not get the credit that he deserves for writing such a powerful poem. ​​​

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 28, 2020. www.poets.org

This 1925 poem, written by Countee Cullen (1903-1946) needed to be heard via my voice to your ears.

Today's poem is Countee Cullen's "To the Swimmer." See acast.com/privacy for privacy and opt-out information.

“What is Africa to me?”, African-American writer Countee Cullen asked in Color, his 1925 collection of poems. African Americans and Africa: A New History (Yale University Press, 2019) lays out the long history of African American engagement with the continent. Nemata Blyden’s sweeping narrative weaves together iterations of Cullen’s question that have kept re-emerging from the 1600s through the 2010s, and various answers that Black people in the United States have come up with. Early on, enslaved Africans preserved and transmitted aspects of their culture. In the 19th century, some Black Americans chose to settle on the continent as missionaries, often readily adopting a civilizational discourse that mirrored Western portrayals of Africa as backwards. Others, including members of the Negro Convention movements, fiercely rejected the idea of emigration. Arguments on either ends of this spectrum, as Blyden shows, were both steeped in quests to achieve freedom and justice. In the 1920s and beyond, Pan-Africanism blossomed, followed decades later by the Civil Rights and decolonization movements. Black Americans and Africans alike, people such as Eslanda Goode Robeson or Asadata Dafora, circulated across the Atlantic, crafting and spreading their own ideas about the continent’s place in Black liberation. In this episode, Blyden also gives us a fascinating glimpse of her own family’s history, connecting the West Indies, West Africa, and North America in the 19th and 20th centuries. Madina Thiam is a PhD candidate in African History at UCLA. Learn more about your ad choices. Visit megaphone.fm/adchoices

“What is Africa to me?”, African-American writer Countee Cullen asked in Color, his 1925 collection of poems. African Americans and Africa: A New History (Yale University Press, 2019) lays out the long history of African American engagement with the continent. Nemata Blyden's sweeping narrative weaves together iterations of Cullen's question that have kept re-emerging from the 1600s through the 2010s, and various answers that Black people in the United States have come up with. Early on, enslaved Africans preserved and transmitted aspects of their culture. In the 19th century, some Black Americans chose to settle on the continent as missionaries, often readily adopting a civilizational discourse that mirrored Western portrayals of Africa as backwards. Others, including members of the Negro Convention movements, fiercely rejected the idea of emigration. Arguments on either ends of this spectrum, as Blyden shows, were both steeped in quests to achieve freedom and justice. In the 1920s and beyond, Pan-Africanism blossomed, followed decades later by the Civil Rights and decolonization movements. Black Americans and Africans alike, people such as Eslanda Goode Robeson or Asadata Dafora, circulated across the Atlantic, crafting and spreading their own ideas about the continent's place in Black liberation. In this episode, Blyden also gives us a fascinating glimpse of her own family's history, connecting the West Indies, West Africa, and North America in the 19th and 20th centuries. Madina Thiam is a PhD candidate in African History at UCLA. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“What is Africa to me?”, African-American writer Countee Cullen asked in Color, his 1925 collection of poems. African Americans and Africa: A New History (Yale University Press, 2019) lays out the long history of African American engagement with the continent. Nemata Blyden’s sweeping narrative weaves together iterations of Cullen’s question that have kept re-emerging from the 1600s through the 2010s, and various answers that Black people in the United States have come up with. Early on, enslaved Africans preserved and transmitted aspects of their culture. In the 19th century, some Black Americans chose to settle on the continent as missionaries, often readily adopting a civilizational discourse that mirrored Western portrayals of Africa as backwards. Others, including members of the Negro Convention movements, fiercely rejected the idea of emigration. Arguments on either ends of this spectrum, as Blyden shows, were both steeped in quests to achieve freedom and justice. In the 1920s and beyond, Pan-Africanism blossomed, followed decades later by the Civil Rights and decolonization movements. Black Americans and Africans alike, people such as Eslanda Goode Robeson or Asadata Dafora, circulated across the Atlantic, crafting and spreading their own ideas about the continent’s place in Black liberation. In this episode, Blyden also gives us a fascinating glimpse of her own family’s history, connecting the West Indies, West Africa, and North America in the 19th and 20th centuries. Madina Thiam is a PhD candidate in African History at UCLA. Learn more about your ad choices. Visit megaphone.fm/adchoices

“What is Africa to me?”, African-American writer Countee Cullen asked in Color, his 1925 collection of poems. African Americans and Africa: A New History (Yale University Press, 2019) lays out the long history of African American engagement with the continent. Nemata Blyden’s sweeping narrative weaves together iterations of Cullen’s question that have kept re-emerging from the 1600s through the 2010s, and various answers that Black people in the United States have come up with. Early on, enslaved Africans preserved and transmitted aspects of their culture. In the 19th century, some Black Americans chose to settle on the continent as missionaries, often readily adopting a civilizational discourse that mirrored Western portrayals of Africa as backwards. Others, including members of the Negro Convention movements, fiercely rejected the idea of emigration. Arguments on either ends of this spectrum, as Blyden shows, were both steeped in quests to achieve freedom and justice. In the 1920s and beyond, Pan-Africanism blossomed, followed decades later by the Civil Rights and decolonization movements. Black Americans and Africans alike, people such as Eslanda Goode Robeson or Asadata Dafora, circulated across the Atlantic, crafting and spreading their own ideas about the continent’s place in Black liberation. In this episode, Blyden also gives us a fascinating glimpse of her own family’s history, connecting the West Indies, West Africa, and North America in the 19th and 20th centuries. Madina Thiam is a PhD candidate in African History at UCLA. Learn more about your ad choices. Visit megaphone.fm/adchoices

“What is Africa to me?”, African-American writer Countee Cullen asked in Color, his 1925 collection of poems. African Americans and Africa: A New History (Yale University Press, 2019) lays out the long history of African American engagement with the continent. Nemata Blyden’s sweeping narrative weaves together iterations of Cullen’s question that have kept re-emerging from the 1600s through the 2010s, and various answers that Black people in the United States have come up with. Early on, enslaved Africans preserved and transmitted aspects of their culture. In the 19th century, some Black Americans chose to settle on the continent as missionaries, often readily adopting a civilizational discourse that mirrored Western portrayals of Africa as backwards. Others, including members of the Negro Convention movements, fiercely rejected the idea of emigration. Arguments on either ends of this spectrum, as Blyden shows, were both steeped in quests to achieve freedom and justice. In the 1920s and beyond, Pan-Africanism blossomed, followed decades later by the Civil Rights and decolonization movements. Black Americans and Africans alike, people such as Eslanda Goode Robeson or Asadata Dafora, circulated across the Atlantic, crafting and spreading their own ideas about the continent’s place in Black liberation. In this episode, Blyden also gives us a fascinating glimpse of her own family’s history, connecting the West Indies, West Africa, and North America in the 19th and 20th centuries. Madina Thiam is a PhD candidate in African History at UCLA. Learn more about your ad choices. Visit megaphone.fm/adchoices

We remember the year 1890 and the birth of Rosa Young. The reading is from Countee Cullen, "Simon The Cyrenian Speaks." — Questions? Comments? Show Ideas? Send them to us at CHA@1517.org. And, of course, share us with a friend or two! Please subscribe, rate, and review us on the following Podcast portals and apps: Apple Podcasts Spotify Stitcher Overcast Google Play You can also like us on Facebook and follow us on Twitter. This show was produced by Christopher Gillespie, a Lutheran pastor (stjohnrandomlake.org), coffee roaster (gillespie.coffee), and media producer (gillespie.media). We’re a part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today.

This week we're continuing our trip through the 1920s by reading a couple stories from the short-lived literary magazine Fire!!, founded in 1926 by a group of black writers and artists that included Langston Hughes, Countee Cullen, and Zora Neale Hurston. The stories we discuss include one by Zora Neale Hurston that is very dialect-heavy, and one by Gwendolyn Bennett about a former boxer living in France who (justifiably) hates American white people. Also this week: we discuss the recent controversy surrounding Jeannine Cummins' book American Dirt, and learn more than we ever wanted to know about "book influencer" and very rich person Zibby Owens, host of the podcast Mom's Don't Have Time to Read and ardent defender of American Dirt. You can read Zibby's essay on the importance of being nice to books here, via Medium. If you like the show and would like more Book Fight in your life, consider subscribing to our Patreon. For $5, you'll get access to three monthly bonus episodes, including Book Fight After Dark, where we read some of the world's weirdest--and steamiest!--novels, and Reading the Room, in which we offer advice on how to navigate awkward, writing-related social situations.

Today we share some background on Harlem Renaissance poet Countee Cullen

Today we share some background on Harlem Renaissance poet Countee Cullen

Today we shine a spotlight on Harlem Renaissance poet Countee Cullen

Today we shine a spotlight on Harlem Renaissance poet Countee Cullen

This prelude is intended to be a heart-shaping worship companion to our sermon series "The Gospel and Race".   (0:00) Introduction by Renaissance Worship Director, Tripp Hampton.   (1:14) Awake O Sleeper written by Tripp Hampton, Caleb Hawley and Wendell Wilson. Performed by the Renaissance Church Band.   (4:56) Poetry readings performed by Godfrey Moye, Kyra Riley and Zora Howard. Sympathy by Paul Laurence Dunbar (1899) My Country 'Tis of Thee by W.E.B. Du bois (1907) Tableau by Countee Cullen (1925) Enslaved by Claude McKay (1922) To America by James Weldon Johnson (1930) Harlem By Langston Hughes (1951) I Wish I Knew How It Would Feel To Be Free by Nina Simone, Billy Taylor (1963) Caged Bird by Maya Angelou (1983) Rage by Zora Howard (2017)

@blackloudproud shares a word from Countee Cullen about how our actions either hinder or help us all...

Larry gives a brief history of Labor Day and its relation to the less popular billy club. And Larry re-recounts two of his brief encounters with celebrities. Then he recites "Fruit of the Flower" by Countee Cullen and talks about the classic movie "Mr. Lucky." http://LarryMillerShow.com Quote of the week: "it's like being a prisoner of war in Finland." Producer: Colonel Jeff Fox

We start off the show with some poetry:Incident by Countee CullenNext up we have and installment of Holy Shit where we take a look at (and listen to) the radio show Fortress of Faith and their list of questions to help figure out whether or not "Your Muslim friend is a terrorist".  It would be a funnier list if it wasn't being taken so seriously by the shows host (and presumably his listeners).For our In the News segment on this episode, we take a closer look at the family that is truly at the center of the Bureau of Land Management occupation and subsequent debacle out in Oregon...the Hammond's.  Ammon Bundy and his group, Citizens for Constitutional Freedom, may have grabbed the headlines in the corporate media, but, the real victims in this case are Dwight and Steven Hammond.  They were re-sentanced back in the fall of 2015 and given longer jail sentences under the Anti-terrorism and Effective Death Penalty Act of 1996.  [Click to Listen]

Today we celebrate Harlem Renaissance poet Countee Cullen

Today we celebrate Harlem Renaissance poet Countee Cullen

May 30, 2014. Poets Rowan Ricardo Phillips and Tim Seibles will celebrate the birthday of American poet Countee Cullen by reading selections from his work and discussing his influence on their own writing. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6520

 Yet do I marvel at this curious thing:To make a poet black, and bid him sing!Countee Cullen (1925)In this Los Angeles segment of the Poetry Society of America’s 2013 national series, three distinguished poets will celebrate the lives and poetry of major 20th century figures— James Weldon Johnson, Countee Cullen, and Gwendolyn Brooks-—discussing their influence, and reading poems of their own in tribute.*Click here to see photos from the program! 

Nathan Gilmour moderates a discussion about Judas, the betrayer of Jesus, and his literary life and afterlife. Along the way the Humanists discuss controversial questions such as the nature of the gospels, the relationship between history and literature, and things that make a crucifixion scene worthy of meditation or of scorn. Among the texts, authors, and movies discussed this week are Genesis, Matthew, John, the York Mystery Plays, Dante, The Last Temptation of Christ, the Passion of the Christ, Countee Cullen, and Frederick Buechener.

Nathan Gilmour moderates a discussion about Judas, the betrayer of Jesus, and his literary life and afterlife. Along the way the Humanists discuss controversial questions such as the nature of the gospels, the relationship between history and literature, and things that make a crucifixion scene worthy of meditation or of scorn. Among the texts, authors, and movies discussed this week are Genesis, Matthew, John, the York Mystery Plays, Dante, The Last Temptation of Christ, the Passion of the Christ, Countee Cullen, and Frederick Buechener.

It was kind of a gloomy day around Michael Asch’s home when his researcher Rob Wiznura sent him an idea for a show that presented the days of the week in song. It was a blue day, so he thought Blue Monday, because it goes through the days of the week and returns to Monday, as did his idea. But Folkways didn’t record Blue Monday. But then it came to me, even better than Blue Monday was Stormy Monday as it captured the weather and also went through the days of the week. And so it was that an idea for a Folkways radio show was born. Listen as Michael presents material from “the days of the Folkways week”. Smithsonian Folkways: Sounds to Grow On is a 26-part series hosted by Michael Asch that features the original recordings of Folkways Records.