Word: leroi
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...Hattie Winston, Nathan George, Roscoe Lee Browne and many more. Simultaneously, a band of black playwrights got their first chance to render and explore black experience to increasingly black audiences. In a sense, it has been a drama of exorcism, a casting out of white devils from black minds. LeRoi Jones' Dutchman is a prime example. A sexy, sassy white girl in a subway car flaunts herself before a softspoken, conservatively dressed black boy, goads him into venting his pent-up fury at whites, and then knifes him to death. Jones achieved his own symbolic revenge soon after...
...Wall of Dignity is calm and restrained. Painted primarily by Chicago Artist Bill Walker, it faces a rubble-strewn lot on Mack Avenue in Detroit's East Side slums, and brings to the residents a saga of the black man's history from ancient Egypt to LeRoi Jones' exhortation: "Calling all black people. Calling you urgent...
...LeRoi Jones ("Black...
...white man to read LeRoi Jones or almost any other black poet is like being held in a dark room while listening to an angry voice threaten him in a language he is not expected to appreciate or understand. The angry voices belong to poetry guerrilla fighters who talk "Black English" and ignore accepted aesthetics. They neglect the usual critical dictums. Most black poets are revolutionaries, or try to be. Sometimes they mouth propaganda, but they are also creating a powerful record of their people's anguish and accompanying rage...
...tried to do with this production. In 1961, I don't think black people understood as fully as we do today the difference between anger and hatred. Genet uses the word "hatred" constantly in this play. Anger is the kind of thing Ed Bullins is writing about, and Leroi Jones, with "eighteen muthah-fuckahs" and "I'm gonna kill yoah ass" and all that. Which is perfectly valid, and thef're absolutely right in what they're writing about. But Genet has gone one step behind, after the auger, when a man no longer says "I'm gonna kill yoah...