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After Mecca Women Poets and The Black Arts Movement Quality Is Not Great Cheryl Clarke Updated 2025

The document discusses Cheryl Clarke's book 'After Mecca: Women Poets and the Black Arts Movement,' which explores the contributions of Black women poets to the Black Arts Movement. It includes critical analysis of works by notable poets such as Gwendolyn Brooks and Audre Lorde, highlighting themes of Black feminism and communalism. The book is published by Rutgers University Press and is available in various formats.

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100% found this document useful (4 votes)
60 views153 pages

After Mecca Women Poets and The Black Arts Movement Quality Is Not Great Cheryl Clarke Updated 2025

The document discusses Cheryl Clarke's book 'After Mecca: Women Poets and the Black Arts Movement,' which explores the contributions of Black women poets to the Black Arts Movement. It includes critical analysis of works by notable poets such as Gwendolyn Brooks and Audre Lorde, highlighting themes of Black feminism and communalism. The book is published by Rutgers University Press and is available in various formats.

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o m e n f i o e t s

B l a c K A r t s

M o v e m e n t

--H t^K

C h e r y l C l a r k e
'After Mecca
77
" A f t e r M e c c a

W O M E N P O E T S

A N D T H E B L A C K

A R T S M O V E M E N T

C H E R Y L CLARKE

RUTGERS UNIVERSITY PRESS


New Brunswick, Newfcrsey, and London
f

LIBRARY OF CONGRESS CATALOG IN G-IN-PUBLICATION DATA

Clarke, Cheryl, 1947-


"After Mecca" : women poets and the Black Arts Movement /
Cheryl Clarke.
p. cm.
Includes bibliographical references and index.
ISBN 0-8135-3405-4 (alk. paper) — ISBN 0-8135-3406-2 (pbk.)
1. American poetry—African American authors-—History and
criticism. 2. Women and literature—United States—History—
20th century. 3. American poetry—Women authors—History and
criticism. 4. African American women poets—Intellectual life.
5. African American women in literature. 6. African Americans in
literature. 7. Black Arts movement. I. Title.
PS310.N4C48 2004
811'.509896073—dc22
2004007530
A British Cataloging-in-Publication record for this book is available 1
from the British Library.
Copyright © 2005 by Cheryl Clarke
All rights reserved
No part of this book may be reproduced or utilized in any form or by m
any means, electronic or mechanical, or by any information storage and
retrieval system, without written permission from the publisher. Please I
contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway,
NJ 08854—8099. The only exception to this prohibition is "fair use" as
defined by U.S. copyright law.
Manufactured in the United States of America
To the memories of Lionel Cuffie of Keypoit, New Jersey,
Eleanor R. Ross of Highland Park, New Jersey, Carol L.
Sanchez of Highland Park, New Jersey, and Karen G.
Smith of Las Cruces, New Mexico, and Somerset, New
Jersey. They were my teachers at crucial times in my life,
and I miss my teachers.
CONTENTS

Acknowledgments ix

Introduction: 'After Mecca' i

i 'Missed Love': Black Power and Black Poetry 7

2 The Loss of Lyric Space in Gwendolyn Brooks's


"In the Mecca" 22

3 Queen Sistuh: Black Women Poets and the


Circle(s) of Blackness 47

4 Black Feminist Communalism: Ntozake


Shange's for colored girls who have considered
suicide/when the rainbow is enuf 94

5 Transferences and Confluences: Black Arts and


Black Lesbian-Feminism in Audre Lorde's The
Black Unicorn 121

Notes 171
Works Cited 187
Index 193
Permissions 205
ACKNOWLEDGMENTS

I AM DEEPLY grateful to Ms. Nora Brooks Blakely,


daughter of the late Gwendolyn Brooks, for allowing me to use
"After Mecca," the title of the second part of Ms. Brooks's 1968 vol-
ume, In The Mecca, as the lead title of this book. At the risk of seem-
ing to make a memoir of this space, anyone who's been in school as
many times and as long as I have, has had many teachers. I would like
to pay tribute here to some of tKem. Professors Jean Marie Miller,
Carolyn (Taylor) Mitchell, and the late Arthur P. Davis stoked my
passion for African-American and U.S. literature during my time as
an undergraduate at Howard University from 1965 to 1969. Not
being isolated with this passion has been critical. So in 1972,1 taught
one of the first college courses on black women writers for the Rut-
gers College English Department called "The Literary Imagination
of the Black Woman," which brought me into contact with other
feminists and sealed my commitment to the study of black women's
writing and black feminist thought. I have enjoyed and still enjoy
vigorous conversations about African American literature, most no-
tably with Professors Cheryl Wall, Abena P. A. Busia, and Wesley
Brown of Rutgers University, my friends and colleagues for more
than twenty-five years. Cheryl and Wesley served on my dissertation
committee in 1999-2000, with Cheryl as chairperson. Conversations
during 1988 with Professor Mae G. Henderson, of the University of
North Carolina at Chapel Hill, still inform my thinking about
African American women writers. All these teachers have kept me
believing that there is plenty of scholarship still to be done on the
writing Africans have wrought in the putative new world.
x Acknowledgments

When I reentered graduate school in 1991,1 joined a commu-


nity of scholars—students and teachers—who made my pursuit of
the Ph.D. a communal project. Professors Donald Gibson, Harriet
Davidson, Cora Kaplan, Ed Cohen, and Marcellus Blount encour-
aged my work. Harriet Davidson's seminar, "Poetry and the Post-
Modern," in 1992, particularly opened the field of poetry for me. In
that seminar I formed invaluable intellectual bonds with my fellow
students Kathleen Crown, NickYasinski, and especially my brilliant
friend, Miriam Bartha. Miriam and I were dissertation partners, met
weekly for the 1999-2000 academic year, and shared our work
on contemporary poetry and popular culture. We created a space
wherein we theorized brazenly about poetry's impact on everyday
living since the end of World War II. As we and our country face
the aftermaths of our current wars in Afghanistan and Iraq, Miriam
and I continue to talk deeply on the unending cultural need for
poetry's intervention.
As much as I value the experience of studying for my doctor-
ate, my experience between 1975 and 1990 as a practicing poet, es-
sayist, and editor gave me such fulfillment and joy and the stamina
first to produce that unruly thing called a dissertation and then to
produce this book. I want to thank Barbara Smith, whom I first met
in 1975, for inviting me to a series of black feminist retreats from
1978 to 1980, which introduced me to other black feminists from
all over the United States. I also wish to thank Barbara for asking
me to write my first book review—of Ntozake Shange's nappy
edges—for Conditions: Five, the Black Women's Issue in 1979 and then
in 1981 to write one of my two crucial articles, "The Failure to
Transform: Homophobia in the Black Community," for Home Girls:
A Black Feminist Anthology. Thanks must also go to poet and play-
wright Cherrie Moraga for asking me in 1979 to write the other of
my two crucial articles, "Lesbianism: an act of resistance," for the
groundbreaking anthology This Bridge Called My Back: Writings by
Radical Women of Color. In 1981 also, I was asked by Elly Bulkin,
Rima Shore, and Jan Clausen to become one of the eight members
A cknowledgments xt

of the multicultural editorial collective for Conditions, a lesbian-


feminist literary journal, founded in 1976. Thanks to them for pro-
viding me with such a marvelous learning experience during nine
productive years. Because of my work, I was fortunate to have
known the late Gwendolyn Brooks, Toni Cade Bambara, Audre
Lorde, June Jordan, and Pat Parker. The spirit of each emboldens me
still to do my work. From 1977 to 1987,1 was fortunate to have had
great conversations with Linda C. Powell, who always encouraged
my writing and pushed me to self-publish my first book of poetry.
My sister, novelist Breena Clarke, also encouraged my writing by
staging and directing for public performance my first book of po-
etry, Narratives: poems in the tradition of black women. I want to thank
my dear friend of twenty-three years, Evelynh M. Hammonds,
whose brilliance I never get enough of, for always including me in
her black feminist projects, especially the 1995 conference, "De-
fending Our Name: Black Women in the Academy," at M.I.T. My
writing soulmate, Jewelle L. Gomez, and I traversed this country
during the 1980s, reading our poetry and spreading the lesbian-
feminist good news. I thank her from the deepest recesses of my
heart for her support and friendship over these last twenty-five
years. And finally, the profound Barbara Balliet, historian, friend,
life partner, and soulmate—with her quick, deep, and encompassing
mind—always excites me to do my work by doing hers.
'After Mecca
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