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Editorial Reviews
From Publishers Weekly
The poems selected here span from Baraka's first collection, Preface to a Twenty Volume Suicide Note (1961), to the long poem Wise, Why's, Y'z, published earlier this year. The best work here has been culled from his second and third books, The Dead Lecturer (1964) and Black Magic (1969). Despite coming out of distinct phases in Baraka's life (the former when he was a book Beat, by the latter he'd become black nationalist), these works combine the personal and political in highly charged ways. When Baraka writes of "the roaring harmonies of need" or of "stumbling over our souls in the dark, for the sake of unnatural advantage," he succeeds as both an activist and a poet. However, as revolutionary politics increasingly intrude, Baraka seems largely to abandon the craft of poetry for the the broader strokes of diatribe and rant ("dont tell me shit about the tradition of slavemasters/ & henry james... "). However disappointing much of this later work may be, it is readily argued that Baraka's influential work prefigured rap and the current vogue of spoken-word performances and poetry slams. This collection provides a useful overview of his work.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
As the editor of this critically important collection explains in his foreword, the title Transbluesency derives from a 1946 Duke Ellington composition. The entire book resonates with jazz rhythms and homages to Thelonius Monk, Miles Davis, Sonny Rollins, and John Coltrane. This use of jazz as inspiration and artistic model is just one of many signs that Baraka (formerly LeRoi Jones) came of age during the Beat movement and remains perhaps its truest practitioner. His poems are aggressive challenges to the status-quo, relying on daring images, short chant-like lines, neologisms, slang, blues lyrics, and scat-singing: "BaBa Ree Bopp/Ooo Shoobie/Doobie." Transbluesency is a chronicle of nearly 40 years of poetic output, from "Preface to a Twenty Volume Suicide Note" (1961) to "Wise, Why's, Y's" (1995). In an era when celebrated African American poets like Rita Dove and Yusef Komunyakaa are writing highly literary verse, Baraka raucously celebrates "negritude." Highly recommended.?Daniel L. Guillory, Millikin Univ., Decatur, Ill.
Copyright 1995 Reed Business Information, Inc.
See all Editorial Reviews
The poems selected here span from Baraka's first collection, Preface to a Twenty Volume Suicide Note (1961), to the long poem Wise, Why's, Y'z, published earlier this year. The best work here has been culled from his second and third books, The Dead Lecturer (1964) and Black Magic (1969). Despite coming out of distinct phases in Baraka's life (the former when he was a book Beat, by the latter he'd become black nationalist), these works combine the personal and political in highly charged ways. When Baraka writes of "the roaring harmonies of need" or of "stumbling over our souls in the dark, for the sake of unnatural advantage," he succeeds as both an activist and a poet. However, as revolutionary politics increasingly intrude, Baraka seems largely to abandon the craft of poetry for the the broader strokes of diatribe and rant ("dont tell me shit about the tradition of slavemasters/ & henry james... "). However disappointing much of this later work may be, it is readily argued that Baraka's influential work prefigured rap and the current vogue of spoken-word performances and poetry slams. This collection provides a useful overview of his work.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
As the editor of this critically important collection explains in his foreword, the title Transbluesency derives from a 1946 Duke Ellington composition. The entire book resonates with jazz rhythms and homages to Thelonius Monk, Miles Davis, Sonny Rollins, and John Coltrane. This use of jazz as inspiration and artistic model is just one of many signs that Baraka (formerly LeRoi Jones) came of age during the Beat movement and remains perhaps its truest practitioner. His poems are aggressive challenges to the status-quo, relying on daring images, short chant-like lines, neologisms, slang, blues lyrics, and scat-singing: "BaBa Ree Bopp/Ooo Shoobie/Doobie." Transbluesency is a chronicle of nearly 40 years of poetic output, from "Preface to a Twenty Volume Suicide Note" (1961) to "Wise, Why's, Y's" (1995). In an era when celebrated African American poets like Rita Dove and Yusef Komunyakaa are writing highly literary verse, Baraka raucously celebrates "negritude." Highly recommended.?Daniel L. Guillory, Millikin Univ., Decatur, Ill.
Copyright 1995 Reed Business Information, Inc.
See all Editorial Reviews
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