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Amiri Baraka Biography & Facts

Amiri Baraka (born Everett Leroy Jones; October 7, 1934 – January 9, 2014), previously known as LeRoi Jones and Imamu Amear Baraka, was an American writer of poetry, drama, fiction, essays, and music criticism. He was the author of numerous books of poetry and taught at several universities, including the University at Buffalo and Stony Brook University. He received the PEN/Beyond Margins Award in 2008 for Tales of the Out and the Gone. Baraka's plays, poetry, and essays have been described by scholars as constituting defining texts for African-American culture. Baraka's career spanned nearly 52 years, and his themes range from Black liberation to white racism. His notable poems include "The Music: Reflection on Jazz and Blues", "The Book of Monk", and "New Music, New Poetry", works that draw on topics from the worlds of society, music, and literature. Baraka's poetry and writing have attracted both high praise and condemnation. In the African-American community, some compare Baraka to James Baldwin and recognize him as one of the most respected and most widely published Black writers of his generation, though some have said his work is an expression of violence, misogyny, and homophobia. Baraka's brief tenure as Poet Laureate of New Jersey (in 2002 and 2003) involved controversy over a public reading of his poem "Somebody Blew Up America?", which resulted in accusations of antisemitism and negative attention from critics and politicians over his assertion that the US and Israeli governments had advanced knowledge of the September 11 attacks. Biographical information Early life (1934–1965) Baraka was born in Newark, New Jersey, where he attended Barringer High School. His father Coyt Leroy Jones worked as a postal supervisor and lift operator. His mother Anna Lois (née Russ) was a social worker. Jazz was something Baraka became interested in as a kid. He wanted to be just like Miles Davis. "I wanted to look like that too — that green shirt and rolled up sleeves on Milestones...always wanted to look like that. And be able to play "On Green Dolphin Street" or "Autumn Leaves" ... That gorgeous chilling sweet sound. That's the music you wanted playing when you was coming into a joint, or just looking up at the sky with your baby by your side, that mixture of America and them changes, them blue African magic chants." The influence of jazz can be seen throughout his work later in life. He won a scholarship to Rutgers University in 1951 but transferred in 1952 to Howard University. His classes in philosophy and religious studies helped lay a foundation for his later writings. He subsequently studied at Columbia University and The New School without taking a degree. In 1954, he joined the United States Air Force as a gunner, reaching the rank of sergeant. This was a decision he would come to regret. He once explained: "I found out what it was like to be under the direct jurisdiction of people who hated black people. I had never known that directly." This experience was yet another that influenced Baraka's later work. His commanding officer received an anonymous letter accusing Baraka of being a communist. This led to the discovery of Soviet writings in Baraka's possession, his reassignment to gardening duty, and subsequently a dishonorable discharge for violation of his oath of duty. He later described his experience in the military as "racist, degrading, and intellectually paralyzing". While he was stationed in Puerto Rico, he worked at the base library, which allowed him ample reading time, and it was here that, inspired by Beat poets back in the mainland US, he began to write poetry. The same year, he moved to Greenwich Village, working initially in a warehouse of music records. His interest in jazz evolved during this period. It was also during this time that he came in contact with the avant-garde Black Mountain poets and New York School poets. In 1958 he married Hettie Cohen, with whom he had two daughters, Kellie Jones (b. 1959) and Lisa Jones (b.1961). He and Hettie founded Totem Press, which published such Beat poets as Jack Kerouac and Allen Ginsberg. In cooperation with Corinth, Totem published books by LeRoi Jones and Diane di Prima, Ron Loewinsohn, Michael McClure, Charles Olson, Paul Blackburn, Frank O'Hara, Gary Snyder, Philip Whalen, Ed Dorn, Joel Oppenheimer and Gilbert Sorrentino and an anthology of four young female poets, Carol Berge, Barbara Moraff, Rochelle Owens, and Diane Wakoski. They also jointly founded a quarterly literary magazine, Yugen, which ran for eight issues (1958–62). Through a party that Baraka organized, Ginsberg was introduced to Langston Hughes while Ornette Coleman played saxophone. Baraka also worked as editor and critic for the literary and arts journal Kulchur (1960–65). With Diane di Prima he edited the first twenty-five issues (1961–63) of their small magazine The Floating Bear. In October 1961, the U.S. Postal Service seized The Floating Bear #9; the FBI charged them for obscenity over William Burroughs' piece "Roosevelt after the Inauguration". In the autumn of 1961 he co-founded the New York Poets Theatre with di Prima, the choreographers Fred Herko and James Waring, and the actor Alan S. Marlowe. He had an extramarital affair with di Prima for several years; their daughter, Dominique di Prima, was born in June 1962. Baraka visited Cuba in July 1960 with a Fair Play for Cuba Committee delegation and reported his impressions in his essay "Cuba Libre". There he encountered openly rebellious artists who declared him to be a "cowardly bourgeois individualist" more focused on building his reputation than trying to help those who were enduring oppression. This encounter led to a dramatic change in his writing and goals, causing him to become emphatic about supporting black nationalism. In 1961 Baraka co-authored a "Declaration of Conscience" in support of Fidel Castro's regime. Baraka also was a member of the Umbra Poets Workshop of emerging Black Nationalist writers (Ishmael Reed and Lorenzo Thomas, among others) on the Lower East Side (1962–65). His first book of poems, Preface to a Twenty Volume Suicide Note, was published in 1961. Baraka's article "The Myth of a 'Negro Literature'" (1962) stated that "a Negro literature, to be a legitimate product of the Negro experience in America, must get at that experience in exactly the terms America has proposed for it in its most ruthless identity". He also stated in the same work that as an element of American culture, the Negro was entirely misunderstood by Americans. The reason for this misunderstanding and for the lack of black literature of merit was, according to Jones: In most cases the Negroes who found themselves in a position to pursue some art, especially the art of literature, have been members of the Negro middle class, a group that has always gone out of its way to cultivate any mediocrity, as long as that mediocrity was guaranteed to prove to America, and recently to.... Discover the Amiri Baraka popular books. Find the top 100 most popular Amiri Baraka books.