Connections these days seem to bombard one! Or maybe it is that they only ‘seem’ to do so, given time enough to contemplate, reflect and make connections that may otherwise pass unnoticed. This then in The New York Times today, criticising and giving an ultimatum of sorts to the renowned Poetry Foundation relate in some ways to my two previous posts; firstly, that in respect to my revisit in the last days to The 1619 Project, and secondly, one about a call from black and minority writers for equal consideration in publishing.
In a literary section of the Project, mentioned mostly for the point of mentioning Jesmyn Ward!, I did also enjoy very much a poem by Eve Ewing, probably because her subject, Phillis Wheatley, a most extraordinary woman, born in West Africa, sold into slavery as a child and transported as a young girl to Boston, was known to me (from a poetry course I did a few years ago), and Wheatley’s story is such that one tends not to forget, and Ewing’s verse honours her short, tragic life. Following is a poem by Phillis Wheatley; from the Poetry Foundation [sic].
On Being Brought from Africa to America 'Twas mercy brought me from my Pagan land, Taught my benighted soul to understand That there's a God, that there's a Saviour too: Once I redemption neither sought nor knew. Some view our sable race with scornful eye, "Their colour is a diabolic die." Remember, Christians, Negros, black as Cain, May be refin'd, and join th' angelic train. - BY PHILLIS WHEATLEY
Ms. Ewing is amongst the very many initiators of a letter to the Poetry Foundation criticising not only the Foundation’s tepid response to the current antiracism efforts, but more generally the lack of structural and financial support of marginalised groups. And they don’t pussy foot around with their demands!
Eve Ewing and Jesmyn Ward, poetry and prose; black and gifted and successful, but ready to fight this fight for writers of color, or those otherwise marginalised, who may not have a voice.
From the NYT article, one also learns of similar initiatives in the theatre. Could it be that there really is change afoot? Could this be the moment, the generation, to continue fulfilling dreams not dreamed out?