Word: armah
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William S. Timmons '52 was elected the first--and only--Black president of The Crimson. Aryee Quah (George) Armah '63 led students in forming the Association of African and Afro-American Students (AAAAS), a forerunner of today's Black Students Association (BSA). Jones became the first Black head manager of the football team in the late...
...memory of battles with Greeks that the delegation to Dean Epps brought to mind, the current issue of Outlook reminds of the exciting intellectual activity among a group of Harvard Black students during my early teaching days in the 1960s. A group of Black students (among them Ayee Queh Armah, now a novelist; Lee Daniels, now a New York Times correspondent, and Robert Hall, now a college professor) came up with the idea to found a journal--The Harvard Journal of Negro Affairs--and I and Archie Epps, then an assistant dean of freshmen, joined them as advisors, which meant...
Closing the Journal's issue are A.R.'s reviews of African writer Avi Kwei Armah's second novel, Fragments, the poetry of Imamu Amiri Baraka's (Leroi Jones) poetry, and Amistad 1, a new journal edited by John A. Williams and Charles F. Harris. Provocative briefs on three crucial elements of contemporary black literature, marked by their intellectual toughness and conciseness, the reviews are another example of "the compassionate yet critical reflection" the Journal promises and provides...
Frantic and Languid. Armah's fiction is stiller and clearer. His second novel, Fragments, is set at a lower voltage than The Beautyful Ones Are Not Yet Born, his first novel about the failure of revolution to inspirit his fellow Ghanaians. But contempt for his countrymen still seethes, this time because they are corruptly devoted to cars, tape recorders and neon "WELLCOME" signs at airports. Baako, his fragile hero, cannot adjust to such trinket worship. His sister's premature baby dies when the family too quickly presents it at an outdoor festival because they are anxious...
Oppressed by such signs of avarice, Baako's mind cracks in a long, brilliant scene that is at once frantic and languid. Armah unwinds the entire story slowly, circling the fragments of Baako's breakdown with the sureness of an African tribal dance that seems always on the edge of monotony, yet is continually closing on the climax. For Baako, too, there is a circling. First he approaches nearer and nearer to a knowledge of what lies at his center of being. Then he is literally and figuratively encircled by others like a mad dog. In an Ibsenian...