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The Cracks Between What We Are and
What We Are Supposed to Be
Modern and Contemporary Poetics

Series Editors
Charles Bernstein
Hank Lazer

Series Advisory Board

Maria Damon
Rachel Blau DuPlessis
Alan Golding
Susan Howe
Nathaniel Mackey
Jerome McGann
Harryette Mullen
Aldon Nielsen
Marjorie Perloff
Joan Retallack
Ron Silliman
Jerry Ward
The Cracks Between What
We Are and What We
Are Supposed to Be
Essays and Interviews

Harryette Mullen

Introduction by Hank Lazer

The University of Alabama Press

Tuscaloosa
Copyright © 2012
The University of Alabama Press
Tuscaloosa, Alabama 35487-­0380
All rights reserved
Manufactured in the United States of America

Typeface: Minion and Goudy

Cover: “The Flag is Bleeding,” 1967. Faith Ringgold (c) 1967. Courtesy of the artist.
Cover design by: Michele Myatt Quinn
∞
The paper on which this book is printed meets the minimum requirements of
American National Standard for Information Sciences—Permanence of Paper for
Printed Library Materials, ANSI Z39.48-­1984.

Library of Congress Cataloging-in-Publication Data

Mullen, Harryette Romell.

The cracks between what we are and what we are supposed to be : essays and
­interviews / Harryette Mullen ; introduction by Hank Lazer.
   p. cm. — (Modern and contemporary poetics)
 Includes bibliographical references.
 ISBN 978-0-8173-5713-9 (pbk.) — ISBN 978-0-8173-8617-7 (ebook) 1. Mullen,
Harryette Romell—Interviews. 2. Mullen, Harryette Romell—Criticism and interpre-
tation. 3. Poets, American—20th century—Interviews. 4. African American women
poets—­Interviews. 5. Literature and society—United States—History—20th century.
6. African American women—Intellectual life—20th century. I. Title.
 PS3563.U3954Z459 2012
811' .54—dc23
2012005533
This book is dedicated to family and friends. Without them
I could never have written anything at all.
Contents

Acknowledgments ix
Introduction xiii

I. Shorter Essays
1. Imagining the Unimagined Reader: Writing to the Unborn and
Including the Excluded 3
2. Poetry and Identity 9
3. Kinky Quatrains: The Making of Muse & Drudge 13
4. Telegraphs from a Distracted Sibyl 18
5. If Lilies are Lily White: From the Stain of Miscegenation in Stein’s
“Melanctha” to the “Clean Mixture” of White and Color in Tender
Buttons 20
6. Nine Syllables Label Sylvia: Reading Plath’s “Metaphors” 29
7. Evaluation of an Unwritten Poem: Wislawa Szymborska in the
Dialogue of Creative and Critical Thinkers 35
8. Theme for the Oulipians 44
9. When He Is Least Himself: Paul Laurence Dunbar and Double
Consciousness in Af­ri­can American Poetry 49
10. Truly Unruly Julie: The Innovative Rule-­Breaking Poetry of Julie
Patton 57
11. All Silence Says Music Will Follow: Listening to Lorenzo
Thomas 60
viii Contents
12. The Cracks Between What We Are and What We Are Supposed to
Be: Stretching the Dialogue of Af­ri­can American Poetry 68

II. Longer Essays

13. Af­ri­can Signs and Spirit Writing 79
14. Runaway Tongue: Resistant Orality in Uncle Tom’s Cabin, Our Nig,
Incidents in the Life of a Slave Girl, and Beloved 102
15. Optic White: Blackness and the Production of Whiteness 130
16. Phantom Pain: Nathaniel Mackey’s Bedouin Hornbook 155
17. A Collective Force of Burning Ink: Will Alexander’s Asia &
Haiti 162
18. Incessant Elusives: The Oppositional Poetics of Erica Hunt and Will
Alexander 173

III. Interviews
19. “The Solo Mysterioso Blues”: An Interview with Harryette Mullen by
Calvin Bedient 185
20. An Interview with Harryette Mullen by Daniel Kane 204
21. An Interview with Harryette Mullen by Elisabeth A. Frost 213
22. An Interview with Harryette Mullen by Cynthia Hogue 233
23. “I Dream a World”: A Conversation with Harryette Mullen by
Nibir K. Ghosh 258
Bibliography 267
Acknowledgments

This book would not exist without the criti­cal vision and active support of
Charles Bernstein, Hank Lazer, and Dan Waterman. I am thankful to all
of them for their dedicated effort on behalf of this work. Thanks as well to
Kevin Fitzgerald for careful editing. I also thank my outstanding colleagues
at UCLA and the members of my superlative writing group—Wendy Bel­
cher, Mary Bucci Bush, Ellen Krout-­Hasegawa, Geraldine Kudaka, Kathleen
McHugh, and Alice Wexler—for their care and commitment over the years
these essays were written. I appreciate as well the always supportive UCLA
Friends of English. I gratefully acknowledge the innovative editors of the
journals in which several of these essays first appeared.

1. “Imagining the Unimagined Reader: Writing to the Unborn and Includ­

ing the Excluded.” boundary 2, Spring 1999, 198–203.
2. “Poetry and Identity.” West Coast Line 19, 1996, 85–89.
3. “Kinky Quatrains: The Making of Muse & Drudge.” In Ecstatic Occa-
sions, Expedient Forms. Ed. David Lehman. Ann Arbor: U Michigan P,
1996.
4. “Telegraphs from a Distracted Sibyl.” American Book Review, vol. 17,
no. 3, February/March 1996.
5. “If Lilies are Lily White: From the Stain of Miscegenation in ‘Melanctha’
to Stein’s ‘Clean Mixture’ of White and Color in Tender Buttons.” Presen-
tation for Gertrude Stein at the Millennium, Washington University, Saint
Louis, 1999. Also appeared online in Mark(s) <www.markszine.net>.
6. “Nine Syllables Label Sylvia: Reading Plath’s ‘Metaphors.’ ” Chain, 1997.
7. “Evaluation of an Unwritten Poem: Wislawa Szymborska in the Dialogue
of Critical and Creative Thinkers.” The Explicator. vol. 64, no. 2, Winter
2006, 112–15.
x Acknowledgments
8. “Theme for the Oulipians.” Presentation for CalArts Noulipo Confer-
ence, 2006. Also published in The Noulipian Analects, Los Angeles: Les
Figues Press, 2007.
9. “When He Is Least Himself: Paul Laurence Dunbar and Double Con-
sciousness in Af­ri­can-­American Poetry.” Presentation for Paul Laurence
Dunbar Centennial Conference, Stanford University, 2006. Also pub-
lished in Af­ri­can American Review, June 22, 2007.
10. “Truly Unruly Julie: The Innovative Rule-­Breaking Poetry of Julie Pat-
ton.” American Poet, Journal of Academy of American Poets, Fall 2001,
26–27.
11. “All Silence Says Music Will Follow: Listening to Lorenzo Thomas.” Pre-
sentation at American Studies Association, Houston, Texas 2002.
12. “The Cracks Between What We Are and What We Are Supposed to Be:
Stretching the Dialogue of Af­ri­can-­American Poetry.” Presentation at
American Literature Association, Long Beach, California 2000; and Na­
ropa University, Boulder, Colorado, 2000. Published in How2 <www.asu
.edu/pipercwcenter/how2journal>.
13. “Af­ri­can Signs and Spirit Writing.” Callaloo 19.3, 1996, 670–689. Also
reprinted in Af­ri­can American Literary Theory: A Reader, 2000, and The
Black Studies Reader, 2004.
14. “Runaway Tongue: Resistant Orality in Uncle Tom’s Cabin, Our Nig, Inci-
dents in the Life of a Slave Girl, and Beloved.” Presentation at American
Studies Association, New Orleans, 1990. Also reprinted in The Culture
of Sentiment: Race, Gender, and Sentimentality in Nineteenth-­Century
America, ed. Shirley Samuels, New York: Oxford UP 1992, 244–64, 332–
35. Copyright © 1992 by Oxford University Press, Inc. Used by permis-
sion of Oxford University Press, Inc.
15. “Optic White: Blackness and the Production of Whiteness.” diacritics,
24.2–3, Summer-­Fall 1994, 71–89. Also reprinted in Cultural and Liter-
ary Critiques of the Concept of “Race,” ed. Nathaniel E. Gates, New York:
Garland Publishers, 1997.
16. “Phantom Pain: Nathaniel Mackey’s Bedouin Hornbook.” Talisman 9, Fall
1992, 37–43.
17. “A Collective Force of Burning Ink: Will Alexander’s Asia & Haiti.” Cal-
laloo 22.2, 1999, 417–426.
18. “Incessant Elusives: The Oppositional Poetics of Erica Hunt and Will
Alexander.” Presentation at MELUS Europe Conference, Heidelberg,
Germany, 1998. Also reprinted in Holding Their Own, eds. Dorothea
Fischer-­Hornung and Heike Raphael-­Hernandez.
Acknowledgments xi
19. “ ‘The Solo Mysterioso Blues’: An Interview with Harryette Mullen” by
Calvin Bedient. Callaloo 19.3, 1996, 651–669.
20. “An Interview with Harryette Mullen” by Daniel Kane. What is Poetry?:
Conversations with the American Avant-­Garde, New York: Teachers &
Writers Collaborative, 2003, 126–137.
21. “An Interview with Harryette Mullen” by Elisabeth Frost. Contemporary
Literature vol. 41, 2000, 397–421.
22. “An Interview with Harryette Mullen” by Cynthia Hogue. Postmodern
Culture, 9.2, 1999.
23. “I Dream a World”: A Conversation with Harryette Mullen by Nibir K.
Ghosh. Multicultural America, Chandigarh: Unistar, 2005.
INTRODUCTION
Hank Lazer

Harryette Mullen’s collection of essays and interviews is an important lit-

erary event. Like her poetry, Mullen’s essays and interviews are written at
several key intersections: speech and writing, innovation and race. Mullen
notes that her work “continues to explore linguistic quirks and cultural ref-
erences peculiar to American English as spoken by the multiethnic peoples
of the United States” (6). As you will see, this collection provides abundant
evidence of Mullen’s vision of a multiethnic America. Mullen’s politics is for
linguistic inclusion: “I desire that my work appeal to an audience that is di-
verse and inclusive while at the same time wondering if human beings will
ever learn how to be inclusive without repressing human diversity through
cultural and linguistic imperialism” (6). While Mullen claims that her own
“inclination is to pursue what is minor, marginal, idiosyncratic, trivial, de-
based, or aberrant in the language that I speak and write” (6), the results are
hardly minor. Mullen is helping us all to imagine and to inhabit a multi­
ethnic culture that has rid itself of xenophobia, and Mullen’s exact provoca-
tion is to create a linguistic environment that promotes that acceptance and
openness through its intellectual challenges and exemplary linguistic play.
Mullen’s writing arrives in an era of charged identity politics, and she is
determined to challenge overly simplified versions of identity. She inter-
rogates and complicates identity: “The idea of identity informs my poetry,
insofar as identity acts upon language, and language acts upon identity. It
would be accurate to say that my poetry explores the reciprocity of language
and culture” (6). Mullen, by her own description, is involved in a “construc-
tion and ultimate deconstruction of a representative black poetic voice” (51).
Particularly in the essay “The Cracks Between What We Are and What We
Are Supposed to Be,” she takes up Aldon Nielsen’s term “interrogate,” which
Mullen applies in its original sense of “standing between and asking ques-
xiv Introduction
tions.” Her poetry and essays thereby participate in an interrogative prac-
tice where the writing is located “in a space between declarative representa-
tions of blackness and a criti­cal engagement with the cultural and discursive
practices by which evolving identities are recognized, articulated, and de-
fined.” This writing of “ ‘other blackness’ (rather than ‘black otherness’)” con-
stitutes a powerful, intelligent disturbance of any homogeneous sense of Af­
ri­can American culture and identity. The result, as Mullen describes it, is to
allow “the meanings of blackness to proliferate and expand, thus stretching
black identity and making it more inclusive, but also allowing instability in
the definition of blackness” (68–69).
Mullen’s essays interrogate governing assumptions about blackness: “Pre-
sumably for the Af­ri­can American writer there is no alternative to the produc-
tion of this ‘authentic black voice’ but silence, invisibility, or self-­effacement”
(79). In “Af­ri­can Signs and Spirit Writing,” an important critique of Henry
Louis Gates’ work, Mullen argues that “any theory of Af­ri­can American lit-
erature that privileges a speech-based poetics or the trope of orality to the ex-
clusion of more writerly texts results in the impoverishment of the tradition”
(79-80). Mullen’s own poetry is a crucial instance of writing and thinking
that interrogates the profoundly important intersection of speech and writ-
ing: “I am writing for the eye and the ear at once, at that inter­sec­tion of oral-
ity and literacy, wanting to make sure that there is a troubled, disturbing as-
pect to the work so that it is never just a ‘speakerly’ or a ‘writerly’ text” (216).
Part of the pathway for Mullen to this intersection goes by way of Gertrude
Stein’s writing, particularly Tender Buttons, although Mullen’s consideration
of Stein remains a skeptical one—“although I claim her [Stein] as an ances-
tor, I cannot say that I am a devout ancestor worshipper” (26).
Along with exploring the relationship between speech-­based and literary-­
based text, Mullen also questions received notions and categories for poets
of color. She writes that “ ‘formally innovative minority poets,’ when visible
at all, are not likely to be perceived either as typical of a racial/ethnic group
or as representative of an aesthetic movement” (10). Or, put more directly,
“[t]he assumption remains, however unexamined, that ‘avant-­garde’ poetry
is not ‘black’ and that ‘black’ poetry, however singular its ‘voice,’ is not ‘for-
mally innovative’ ” (11). It is hard to imagine this assumption remaining un-
examined in light of the evidence presented by Mullen’s poetry, essays, and
interviews. Her work, along with that of Aldon Nielsen and Lorenzo Thomas
(Mullen calls Thomas “my most immediate and influential model of a black
poet engaged in formal innovation” [12]), clearly demonstrates that “black”
and “innovative” are not mutually exclusive categories. I think that Mullen
is correct when she understands her own Muse & Drudge (1995) as a work
Introduction xv
that “might alter or challenge that assumption [that “black” and “innovative”
are separate categories], bridging what apparently has been imagined as a
gap (or chasm?) between my work as a ‘black’ poet and my work as a ‘for-
mally innovative’ poet” (12). This collection of essays and interviews further
extends the supports and byways of that bridge into a well-­linked thorough-
fare with considerable interchange between both sides of that now much nar-
rowed ­divide.
As you will see as you make your way through this collection, Mullen’s
essays and reviews establish important kinships, with earlier poets such as
Lorenzo Thomas, Tom Dent, and Ishmael Reed, and with a range of con-
temporaries that include Nathaniel Mackey, Will Alexander, Jay Wright, Ed
Roberson, Clarence Major, Julie Patton, C. S. Giscombe, Claudia Rankine,
Mark McMorris, and Akilah Oliver. Mullen has written superb essays espe-
cially on the work of Mackey and Alexander, thereby making important, ar-
ticulate interventions into contemporary taste and attention, extending the
range of audibility and visibility for this particularly rich era of “formally in-
novative minority poets.” Thus, Mullen’s criti­cal writing functions as activist
research: partisan, partial, and ethical. In one sense, then, her work (essays
and poetry) is an effort to “create an audience” for herself and others (228).
In another sense, though, her writing—which is deeply informed by her
probing scholarship, her knowledge of a broad range of music, her training
in folklore, and her genealogical research—amounts to an idealistic or opti-
mistic engagement designed to make her and us more whole: When asked,
“ ‘How do you know all this stuff?’ ” she replies, “it’s because I’ve been search-
ing. We feel incomplete, and we search to make ourselves, our knowledge,
more complete” (203). I find that Mullen’s writing inspires us, her readers,
to take part in that ongoing search to make ourselves and our knowledge
more complete; in this respect, her writing energizes our own reading and
writing.
Ultimately, Mullen’s work embodies a strikingly contemporary sense of a
miscegenated culture. She acknowledges this as a crucial perspective in her
own work: “A lot has been said of how American culture is a mis­cegenated
culture, how it is a product of a mixing and mingling of diverse races and
cultures and languages, and I would agree with that. I would say that, yes,
my text is deliberately a multi-­voiced text, a text that tries to express the ac-
tual diversity of my own experience living here, exposed to different cul-
tures. Mongrel comes from ‘among.’ Among others. We are among; we are not
along. We are all mongrels” (186). For Mullen, as a poet and essayist, that ex-
ploration of the possibilities for a hybrid, miscegenated textuality takes place
at the linguistic intersection where different varieties of English interact; in
xvi Introduction
her own words, her “poetic idiom is a product of American ­English and its
vernaculars, including those associated with black speakers of American
­English” (5).
In “Imagining the Unimagined Reader: Writing to the Unborn and In-
cluding the Excluded,” Mullen suggests that “about one-­third of my pleasure
as a writer comes from the work itself, the process of writing, a third from
the response of my contemporaries, and another third in contemplating un-
known readers who inhabit a future I will not live to see” (3). It is my hope
that this new collection of essays and interviews creates an opportunity for
additional responses from contemporaries as well as a means for future read-
ers to join the conversations and considerations that Mullen’s writing makes
possible.
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What We Are Supposed to Be
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