First of a two-part critique of the published works of a major black poet by a professor of English at the University of Chicago. (JM)

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)

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)

This annual feature reviews events and happenings in New York City, Cleveland, Chicago, Detroit, Washington, D.C., Atlanta, San Francisco-Bay Area, and Los Angeles. (JM)

Contends that Don L. Lee's work demands that the black poet, in a mutual alliance with black people, interchange, formulate, communicate, possess, and strengthen" his own (Lee's) values as opposed to white values. (RJ)

Analyzes the argument, style and structure of the novel, asserting that when analyzed as a poetic novel, the disparate elements and illusive meanings of the book coalesce into an integral whole and provide a poignant insight in to the dilemma of the modern black artist. (Author/JM)

Notes that, in recent years, the image of Black Women in Afro-American poetry has become more autobiographical and that categories used images of white women -- i.e. formlessness, passivity, instability, confinement, the shrew, and the witch, and others -- are mostly not appropriate to Afro-American images of black women because they are rarely…

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)

A Review and critical discussion of the West Indian prose fiction in the sixties by one of the best-known poets of the Carribean and a member of the faculty of the University of West Indies, Jamaica. (JM)

Discusses the work of sixtwentieth century black writers, who, it is stated, refuse to accept, without thorough questioning, the aesthetic standards of a society which in most areas of its operation has offered definitions of their people which are consistently negative and emasculating. (Author/JM)

Reviews two books, Houston Baker's "Long Black Song" and Askia Muhammad Toure's "Songhai," which reverse the trend begun in the Sixties, moving from an all-pervasive preoccupation with urban America towards an exploration of other, equally meaningful, areas of the black experience. (Author/JM)