The complete autobiography of a literary legend. Poet, dramatist, novelist, critic, teacher, and political activist Amiri Baraka, born LeRoi Jones, vividly recounts his crusading role in African American literature. Adriving force behind the Black Arts Movement, the prolific Baraka retells his experiences from his participation in avant-garde literature after World War II
The complete autobiography of a literary legend. Poet, dramatist, novelist, critic, teacher, and political activist Amiri Baraka, born LeRoi Jones, vividly recounts his crusading role in African American literature. A driving force behind the Black Arts Movement, the prolific Baraka retells his experiences from his participation in avant-garde literature after World War II and his role in Black nationalism after the assassination of Malcolm X to his conversion to Islam and his commitments to an international socialist vision.
When
The Autobiography of LeRoi Jones
was first published in 1984, the publisher made substantial cuts in the copy. Under the careful direction of the author, the book has been restored to its original form. This is the first complete and unexpurgated version of Baraka’s life and work.
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Paperback
,
496 pages
Published
March 1st 1997
by Chicago Review Press
(first published January 1st 1984)
Recommends it for:
not so squeemish people who want to intertwine arts and politics
A coming to where one is story; declaration of the difficulty of choosing the right way to act in the thick of a moment and also a testament to the going back through afterwards to learn the reason(s) it was you did act the way you acted. Self-reflective and aware with minimal attempts to make him seem like the good guy, starting with an intro about Amina, his wife, and their split politically, because of the chauvinism Amina experienced and detested within the nationalist CAP. How they both hav
A coming to where one is story; declaration of the difficulty of choosing the right way to act in the thick of a moment and also a testament to the going back through afterwards to learn the reason(s) it was you did act the way you acted. Self-reflective and aware with minimal attempts to make him seem like the good guy, starting with an intro about Amina, his wife, and their split politically, because of the chauvinism Amina experienced and detested within the nationalist CAP. How they both have become communists and how of course love trumps political differences is a subject for another book. It's cool to read as a manual for political organizing through the arts, and he outlines many of the mistakes made while constructing the Black Arts Movement in Harlem and then the Spirit House Movers in hometown New Ark. So I'm into it and can certainly dig his love of the arts and music, the powers he attributes to craft. Blues is the grandaddy for African American culture and Jass, once it became Jazz, became the articulation of the whole musical and cultural experience of African, Black, Brown and even a little Yellow and White experience, a historical and philosophical and certainly presumptuous offspring of which grandaddy/granny blues would be proud. It's refreshing to read someone American who believes art and politics to be intertwined, and this was a good introduction to his work.
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I love everything Jones/Baraka wrote in his younger days. He was the most intense, brilliant, fearless of the black writers of the '60s. His plays -- "The Toilet," "J-E-L-L-O," "Slave Ship" -- were eviscerating, and his essays -- "Home" --had a skewering depth that nobody else reached. But like the rest of us, he got older, and though he didn't exactly lose his edge, by the time of the autobio (1984) he'd lost the cohesion that made his writing unique. I can read 3 or 4 pages of this at a time,
I love everything Jones/Baraka wrote in his younger days. He was the most intense, brilliant, fearless of the black writers of the '60s. His plays -- "The Toilet," "J-E-L-L-O," "Slave Ship" -- were eviscerating, and his essays -- "Home" --had a skewering depth that nobody else reached. But like the rest of us, he got older, and though he didn't exactly lose his edge, by the time of the autobio (1984) he'd lost the cohesion that made his writing unique. I can read 3 or 4 pages of this at a time, but it's exhausting without being enlightening. I'm hoping that if I give it to a thrift shop, somebody in these very white hills will pick it up, but I doubt that.
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Amiri Baraka is an important figure in US literary and piolitical history, but i read this book primarily because of his connection to the city of Newark. In his highly personal style, he describes his life up to the mid-seventies, from his childhood in Newark to the time he spent in the armed forces, to his beginnings in the NY literary scene, and finally to his role in the black liberation struggle.
i wasn't spell-bound by it, by i definitely found it to be interesting and a worthwhile read.
I liked the first half of the book, since it was more personal and said a lot about what was going on inside and outside of LeRoi Jones. I would definitely prefer to read the same kind of account about his days in black movements. Here it looks more like a list of names hastily collected than a story of one man's development.
Wow, this man's story is very interesting and inspiring when you learn about all the things he did and how great of a writer he became. He has an awesome sense of humor as well.
I read this nearly 20 years ago and still vividly remember how he wrote about the Newark Eagles and going to baseball games with his father ... truly lyrical.
Baraka was born Everett LeRoy Jones in Newark, New Jersey, where he attended Barringer High School. His father, Coyt Leverette Jones, worked as a postal supervisor and lift operator. His mother, Anna Lois (née Russ), was a social worker. In 1967 he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.
The Universities where he studied were Rutgers, Columbia, and Howar
Baraka was born Everett LeRoy Jones in Newark, New Jersey, where he attended Barringer High School. His father, Coyt Leverette Jones, worked as a postal supervisor and lift operator. His mother, Anna Lois (née Russ), was a social worker. In 1967 he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.
The Universities where he studied were Rutgers, Columbia, and Howard Universities, leaving without a degree, and the New School for Social Research. He won a scholarship to Rutgers University in 1951, but a continuing sense of cultural dislocation prompted him to transfer in 1952 to Howard University. His major fields of study were philosophy and religion. Baraka also served three years in the U.S. Air Force as a gunner. Baraka continued his studies of comparative literature at Columbia University. After an anonymous letter to his commanding officer accusing him of being a communist led to the discovery of Soviet writings, Baraka was put on gardening duty and given a dishonorable discharge for violation of his oath of duty.
The same year, he moved to Greenwich Village working initially in a warehouse for music records. His interest in jazz began in this period. At the same time he came into contact with Beat, Black Mountain College and New York School poets. In 1958 he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg.
Baraka visited Cuba in July 1960 with a Fair Play for Cuba Committee delegation and reported his impressions in his essay Cuba libre. He had begun to be a politically active artist. In 1961 a first book of poems, Preface to a Twenty Volume Suicide Note, was published, followed in 1963 by Blues People: Negro Music in White America—to this day one of the most influential volumes of jazz criticism, especially in regard to the then beginning Free Jazz movement. His acclaimed controversial play Dutchman premiered in 1964 and received an Obie Award the same year.
After the assassination of Malcolm X (1965), Baraka left his wife and their two children and moved to Harlem. His revolutionary and now antisemitic poetry became controversial.
In 1966, Baraka married his second wife, Sylvia Robinson, who later adopted the name Amina Baraka. In 1967 he lectured at San Francisco State University In 1968, he was arrested in Newark for allegedly carrying an illegal weapon and resisting arrest during the 1967 Newark riots, and was subsequently sentenced to three years in prison; shortly afterward an appeals court reversed the sentence based on his defense by attorney, Raymond A. Brown. That same year his second book of jazz criticism, Black Music, came out, a collection of previously published music journalism, including the seminal Apple Cores columns from Down Beat magazine. In the late 1960s and early 1970s, Baraka courted controversy by penning some strongly anti-Jewish poems and articles, similar to the stance at that time of the Nation of Islam.
Around 1974, Baraka distanced himself from Black nationalism and became a Marxist and a supporter of third-world liberation movements. In 1979 he became a lecturer SUNY-Stony Brook's Africana Studies Department. In 1980 he denounced his former anti-semitic utterances, declaring himself an anti-zionist.
In 1984 Baraka became a full professor at Rutgers University, but was subsequently denied tenure.In 1989 he won an American Book Award for his works as well as a Langston Hughes Award. In 1990 he co-authored the autobiography of Quincy Jones, and 1998 was a supporting actor in Warren Beatty's film Bulworth. In 1996, Baraka contributed to the AIDS benefit album Offbeat: A Red Hot Soundtrip produced by the Red Hot Organization.In 2002, scholar Molefi Kete Asante listed Amiri Baraka on his list of 100 Greatest African Americans.
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