Reviews the poetry of Derek Walcott, a native of the West Indies, whose new volume 'Another Life' more resembles the poet-artists commentary on a gallery of scenes and portraits in Melvin Tolson's 'The Harlem Gallery' than anything else that has come from the English speaking Caribbean in the post-war period. (Author/JM)

A young Chicago poet explores the black literary scene and exposes new vistas of understanding and possibility. (DM)

Argues that African blacks have not begun the serious task of creating a language that sytematically strives to express black life; that blacks have not begun to think for themselves despite African independence rhetoric, national flags and anthems, and fists raised proclaiming or celebrating power they do not have. (RJ)

A young poet writes in support of black critics for black literature. Present problems in and criteria for black literary criticism are included. (DM)

Both as director/playwright of New York's New Lafayette Theater and as a writer seriously committed to the forging of a black aesthetic, Ed Bullins brings to the community an artistic synthesis of the Folk-Oral and Formal-Literate Traditions. (Author/JM)

Discusses ed Bullins' role in bringing together in the summer of 1968 a representative collection of works from the Black Arts Movement; the controversy surrounding his 1971 Lincoln Center production of his play, "The Duplex"; and his play, "House Party," a collage of voices and images from Blacktown mounted at The American…

Discusses the 1971 Lincoln Center production of "The Duplex", focusing on and refuting Walter Kerr's critical review of that play; Kerr is shown unable or unwilling to accept Bullins' successful use of certain structural innovations--the same ones that he raves about in non-black drama. (Author/JM)

Argues that what lies behind the neglect of black American literature is not a supportable body of critical criteria, but a refusal to believe that blacks possess the humanity requisite for the production of works of art. (Author/JM)

Reviews John Wideman's three novels--'A Glance Away; 'Hurry Home', and 'The Lynchers' noting that although there are distinctly realistic elements in them the preponderant formal qualities are lyrical, surrealistic and expressionistic--including experimentation with journals and letters. (Author/JM)

Discusses Hughes' poetry as it was shaped by three influences: the free verse--imagist--realist schools'' popular during the first third of this century; the African and Afro-American oral and literary folk traditions; and, the essential Hughes. (Author/JM)

Argues that the black aesthetic can be affirmed while also insisting that its affirmation cannot be achieved or denied by mere a priori assumptions, polemics, personalisms, and vague generalities--its affirmation must be based in and validated by the tradition--historical, cultural, and socio-political--of Afro American expression, it is stated.…

Conclusion of a critical review of the works of the poetess by a professor of English at the University of Chicago. (JM)

Noting that his book, "Understanding the New Black Poetry" (Morrow 1973), attempted to sketch a critical framework which would help make the poetry accessible to a larger number of people, the author examines some questions raised there which need some systematic response. (Author/JM)

Discusses Jorge de Lima--born in Uniao dos Palmares, Brazil on April 23, 1893, died in Rio de Janeiro on November 15, 1953--who during the Twenties became an important member of the literary movement known as Modernism and wrote both religious and regional poetry constituting the beginnings of a Afro-Brazilian poetry. (Author/JM)