Word: mans
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Dates: during 1960-1969
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...course of his search, Eliot immersed himself in the relatively un known field of black letters. There he found poems by men whose names are scarcely known - all black men whose verse cast a new light on the unrealized beauty of blackness. Lit by these neglected lamps, the black man's mirrored image takes on a new dimension - a dimension that both enhances the particularity of "negritude" and celebrates a human communality of relevance...
...said that Negro poetry is "the true revolutionary poetry" of the time, something that transcends race alone. Richard Wright, the father of the black novel, laid claim to "a right more immediately deep er than that of politics or race . . . .that is, a human right, the right of a man to think and feel honestly." In Chicago, a mural on a ghetto wall glowers and glows at passersby in pride and in challenge. Or, hear Owen Dodson...
...finds Rousseau's image pasted permanently to the back of one's brainpan. Those serpents keep on slithering through the jungle of one's own nerve endings, while that level flute pours silence drawn from striped pools. Gilbert Stuart's Flautist is a man cut off from that silence, from wife and children, village, home. He sits soulnaked, haltered in other men's finery. Stuart, the master ironist who gave us a grandmotherly George Washington, here portrays a burnt-cork-face minstrel in reverse. This is a handsome black musician masked, glassed, in a transparent...
Peter Paul Rubens once met a Negro on the docks of Antwerp, or perhaps at a party, and asked the man to pose. 'Probably he gave no more than a morning to the multiple study that now hangs at the Brussels Royal Musum of Fine Arts. This portrait bulges with brilliance, makes room for itself; yet it is not monumental in feeling but intimate. Rubens spins his subject swiftly, eagerly, to see and show the same thing from four view points all at once. Who was the model? No one knows his name. Rubens presumably painted...
...name given to a thing is not the subject, it is only a convenient label. The subject is inexhaustible." Yet the label that Bellows gave to his 1909 masterpiece at Washington's National Gallery has weight. Both Members of This Club, he calls it, and there a black man and a white are trying to beat each other's brains out for money...