Sunday, October 9, 2011

Sanchez's Contributions to the World of Literature



Poet and activist Sonia Sanchez is recognized as being one of the trailblazers of the Black Arts Movement. She is credited with being a heavyweight along with her contemporaries such as Nikki Giovanni and Amiri Baraka. Dolores Bundy, a freelance writer with Suite101.com, describes Sanchez as "the single most influential force in African-American literary and political culture for more than three decades." Accompanying her over a dozen published books of poetry, she has also published literature for children and has had a hand in playwrighting. Sanchez also had a 30-year span of an extroadinary teaching career and has traveled extensively, reading her work at over 500 universities and colleges around the United States and abroad. While she was a highlighted intellectual of the Black Arts Movement, she launched a Black studies program at the institution which is now known as San Francisco State University. Sanchez's political activities later resulted in her losing employment and placed her on hiatus from teaching because she was not able to get a job, and that all shifted direction when she landed a position at Temple University. Her writing has covered the subjects of feminism, sexism, racism, and other divisions of human identities.


Following in the tradition of Langston Hughes, she blew the dust off jazz and blues poetry and incorporated it into her work. The elements of these genres can be found in many of her poems, especially in her readings of them. This is seen in her Def Poetry performance of "Poem for Some Women", a piece about drug addiction in sort of a blues style. Sanchez is able to bring out the characteristics of who and what she describes with her dramatic tones. When she published her first book of poetry, Homecoming, in 1969, she explored Black dialect as a poetic medium, which could be called as a revamping of the styles of past writers like Paul Laurence Dunbar and Zora Neale Hurston. Professor T. Edwards at the University of Florida has had this to say about Sanchez: "She has integrated current events, social commentaries, rap music, and history. She uses her own life experiences and poetry into describing the process of writing and becoming a poet. And she gave voice and life to the written words of her books." She has become an artist of magnitude who has stayed relevant to the world of literature today, even inspiring younger generations of spoken word artists. There is no doubt that Sonia Sanchez remains a literary icon of importance and will be studied and recognized for years to come.

Sources


"Sonia Sanchez." Poets.org. The Academy of American Poets, n.d. Web. 9 Oct 2011. <http://www.poets.org/poet.php/prmPID/276>.


"Sonia Sanchez." Poetry Foundation. N.p., n.d. Web. 9 Oct 2011. <http://www.poetryfoundation.org/bio/sonia-sanchez>.


<http://www.youtube.com/user/urbanrenewalprogram#p/u/68/7X8gIrkUTh0 urbanrenewalprogram. "Def Poetry - Sonia Sanchez - Poem for Some Women" YouTube. 24 August 2010. Web. 9 October 2011.


Sonia Sanchez Official Website <http://www.soniasanchez.net>


Bundy, Delores. "Sonia Sanchez's Jazz Poetry." Suite101. 21 February 2010: n. page. Web. 9 Oct. 2011. <http://dolores-bundy.suite101.com/sonia-sanchezs-jazz-poetry-a204731>.


Gates, Henry Louis Jr., and Nellie Y. McKay. Ed. The Norton Anthology of African American Literature. 2nd ed. New York: W. W. Norton & Company, 2004. 1963-67. Print.

On "A Blues Book..." - My Personal Take


When contemplating what Sanchez poem to use as an excerpt, I decided to use piece of "A Blues Book for Blue Black Magical Women", which is also printed in the Norton Anthology. Because she is notorious for writing verse combining the Black and female identity, this poem is a great representation of her work. I learned that Sanchez, who is one of my favorite writers, converted to the Nation of Islam in 1971, otherwise known as the Black Muslims. It was a faith where she took pleasure in the spiritual aspects, but stayed uncomfortable because of the Nation's firm belief on "women should know their place" and it was very repressive. The first lines draw me in:

there is no place
for a soft/black/woman.
there is no smile green enough or
summertime words warm enough to allow my growth.

Although it is not stated that this poem was written during her affiliation with the Nation, this is what it made me think of. Sanchez describes a typical feeling in a unique poetic way, the limitations and boundaries that a Black woman has in the world because her being labeled in minorities. She is known as a poet who speaks to the soul of Black women and advocates that this social overprotection causes them to be stagnant in life, when they should be flourishing like gardens like any other human. This piece is an amazing portrait to put on the pedestal of her work because she has had many experiences with these identities in positive and negative ways, and many people can resonate with these words personally, as well as artistically.

Themes in Sanchez's Poetry


Sanchez's themes and topics in her work include, but are not limited, to the following:

Racism
Sexism
Black studies
Feminism/Female empowerment
Poverty
Drug addiction

Saturday, October 8, 2011

Poem Excerpt


The following is an excerpt from Sanchez's poem "A Blues Book for Blue Black Magical Women", part three.
                                           
                                 there is no place
for a soft/black/woman.
there is no smile green enough or
summertime words warm enough to allow my growth.
and in my head
i see my history
standing like a shy child
and i chant lullabies
as i ride my past on horseback
tasting the thirst of yesterday tribes
hearing the ancient/black/woman
me, singing                     hay-hay-hay-hay-ya-ya-ya
                                      hay-hay-hay-hay-ya-ya-ya
like a slow scent
beneath the sun
                         and i dance my
creation and my grandmothers gathering
from my bones like great wooden birds
spread their wings
while their long/legged laughter
stretches the night.

Bibliography



Homecoming (poetry), Broadside Press (Detroit, MI), 1969.
  • We a BaddDDD People (poetry), with foreword by Dudley Randall, Broadside Press (Detroit, MI), 1970.
  • (Editor) Three Hundred and Sixty Degrees of Blackness Comin' at You (poetry), 5X Publishing Co., 1971.
  • Ima Talken Bout the Nation of Islam, TruthDel, 1972.
  • Love Poems, Third Press (New York, NY), 1973.
  • A Blues Book for Blue Black Magical Women (poetry), Broadside Press (Detroit, MI), 1973.
  • (Editor and contributor) We Be Word Sorcerers: 25 Stories by Black Americans, Bantam (New York, NY), 1973.
  • I've Been a Woman: New and Selected Poems, Black Scholar Press (Sausalito, CA), 1978.
  • Crisis in Culture—Two Speeches by Sonia Sanchez, Black Liberation Press, 1983.
  • homegirls and handgrenades (poetry), Thunder's Mouth Press (New York, NY), 1984.
  • (Contributor) Mari Evans, editor, Black Women Writers (1950-1980): A Critical Evaluation, introduced by Stephen Henderson, Doubleday-Anchor (Garden City, NY), 1984.
  • Under a Soprano Sky, Africa World (Trenton, NJ), 1987.
  • (Compiler and author of introduction) Allison Funk, Living at the Epicenter: The 1995 Morse Poetry Prize,Northeastern University Press (Boston, MA), 1995.
  • Wounded in the House of a Friend (poems), Beacon Press (Boston, MA), 1995.
  • Does Your House Have Lions? (poems), Beacon Press (Boston, MA), 1997.
  • Like the Singing Coming off the Drums: Love Poems, Beacon Press (Boston, MA), 1998.
  • Shake Loose My Skin: New and Selected Poems, Beacon Press (Boston, MA), 1999.
  • Morning Haiku, Beacon Press (Boston, MA), 2010.
FOR CHILDREN
  • It's a New Day: Poems for Young Brothas and Sistuhs, Broadside Press (Detroit, MI), 1971.
  • The Adventures of Fat Head, Small Head, and Square Head, illustrated by Taiwo DuVall, Third Press (New York, NY), 1973.
  • A Sound Investment and Other Stories, Third World Press, 1979.
PLAYS
  • The Bronx Is Next, first produced in New York, NY, at Theatre Black, October 3, 1970 (included in Cavalcade: Negro American Writing from 1760 to the Present, edited by Arthur Davis and Saunders Redding, Houghton [Boston, MA], 1971 ).
  • Sister Son/ji, first produced with Cop and Blow and Players Inn by Neil Harris and Gettin' It Together by Richard Wesley as Black Visions, Off-Broadway at New York Shakespeare Festival Public Theatre, 1972 (included inNew Plays From the Black Theatre, edited by Ed Bullins, Bantam [New York, NY], 1969).
  • Uh Huh; But How Do It Free Us?, first produced in Chicago, IL, at Northwestern University Theater, 1975 (included in The New Lafayette Theatre Presents: Plays with Aesthetic Comments by Six Black Playwrights, Ed Bullins, J. E. Gaines, Clay Gross, Oyamo, Sonia Sanchez, Richard Wesley, edited by Bullins, Anchor Press [Garden City, NY], 1974).
  • Malcolm Man/Don't Live Here No More, first produced in Philadelphia, PA, at ASCOM Community Center, 1979.
  • I'm Black When I'm Singing, I'm Blue When I Ain't, first produced in Atlanta, GA, at OIC Theatre, April 23, 1982.

Sonia Sanchez - "Poem for Some Women" performance

Dr. Sonia Sanchez delivers a dramatic and powerful reading of her "Poem for Some Women" in the first season of the hit HBO series Russell Simmons presents Def Poetry. Introduced by hip-hop artist and host Mos Def, she is welcomed with a standing ovation before she proceeds with her reading. This ovation cements her legacy as a enormous influence on fellow artists and fans.