In honor of Black History Month (and the birthday of poet Thylias Moss), here are some ideas and resources for exploring nature poetry–and uses of nature in literature–across the Black* and African diasporas of the Americas.
In nature poetry and environmental literature
Black Nature: Four Centuries of African American Nature Poetry, Camille T. Dungy, ed. Published by University of Georgia Press (2009). The review by Alexa Mergen at the Colorado State University Center for Literary Publishing is undated. Here’s a basic description of the anthology, which I just ordered online:
“Black Nature: Four Centuries of African American Nature Poetry, edited by Camille T. Dungy, provides 180 windows from 93 poets onto views of nature.”
- Consider the role of nature in the history of American slavery and other forms of Black oppression and destruction. Examples: trees used for lynchings, rivers for trafficking slaves. Can you hear Billie Holiday singing “Strange Fruit?” Slave-driven American agriculture appropriated both nature and Africans.
- Natural race, racial nature: As with nature-based portrayals of women, white patriarchal literary and other traditions have used nature concepts and imagery to dehumanize, reduce and limit Black experience and existence, under the assumption that nature, too, is to be dominated. On the other side, feminists and scholars have theorized means of liberation through ecofeminism–a blend of feminism and environmentalism. I read Ecological Feminist Philosophies for a course during college. Perhaps I’ll look at nature poetry from a feminist perspective in the future. Jon Claborn recently published a nonfiction work titled Civil Rights and the Environment in African-American Literature, 1895-1941. Camille T. Dungy, referenced above, highly praises the book.
- Derek Walcott, an award-winning contemporary Black Caribbean poet, died in March of last year. His book-length poem Omeros, a work I also read–and loved–in college, weaves together language, rhythm, sea and island symbolism, myth, and allegory. The poem’s main purpose is to illuminate the history of colonization and the nature of post-colonial life in St. Lucia, the West Indies.
- Wild Africa: poems about nature in Africa, though not necessarily by African poets.
African American poetry resources
Moving beyond the subject of blackness: from the Modern American Poetry series at the University of Illinois, “Furious Flower: African American Poetry, An Overview” by Joanne V. Gabbin:
“Rita Dove, acknowledging her own debt to the Black Arts Movement, said that if it had not been for the movement, America would not be ready to accept a poet who explored a text other than blackness. Unencumbered by a necessarily political message, Dove in her Pulitzer Prize winning book Thomas and Beulah (1987) brings wholeness and elegance to the histories of her grandparents. Dove, who held the post of Poet Laureate of the United States from 1993 until 1995, is representative of a large accomplished group of poets who published their first poems during the late 1970s and 1980s: Yusef Komunyakaa, Cornelius Eady, Melvin Dixon, Dolores Kendrick, Thylias Moss, Toi Derricotte, Gloria Oden, and Sherley Anne Williams.”
Dolores Kendrick, Poet Laureate of Washington, D.C., passed away last November. Here is an in memoriam from her southwest D.C. community, including her poem “Epoch.” The Poetry Foundation notes that Kendrick made connections through poetry. She said, “Good poetry does not belong to the poet.”
See also the Academy of American Poets interview with poet Gwendolyn Brooks, “We Asked Gwendolyn Brooks about the Creative Environment in Illinois,” which includes among its subjects the issue of real and perceived neglect of black writers by white anthologists. The absence of Gloria Oden (G. C. Oden) and Sherley Anne Williams from the the Academy of American Poets and the Poetry Foundation websites may speak to that neglect, though the Poetry Foundation does include Williams’ profile page. Below is the salient excerpt from the Brooks interview.
Angle: Do you think that the fact that you are a Negro placed you under any handicap in a writing career?
Brooks: If it has, I don’t know about it. Certain things might have happened that I don’t know about, but I can’t say that I have been hindered because of my race in the field of writing. I am not aware of this being true. I have written poems. I have submitted poems to editors and publishers. When the poems were poor they were returned (as a rule!). When they were other than poor they were published. Everything that I have written that I wanted to see published has been published, with the exception of one juvenile which needs a couple adjustments. And for many years I have had writing invitations from editors and publishers.
I have something further to say on the subject, however. I do believe that it is true, as Karl Shapiro says, that many white anthologists will not admit black writers to their pages. Mr. Shapiro wrote (in a foreword to Melvin Tolson’s “Harlem Gallery”): “One of the rules of the poetic establishment is that Negroes are not admitted to the polite company of the anthology. Poetry as we know it remains the most lily-white of the arts.”
There are exceptions to my exception, of course. Sometimes Paul Laurence Dunbar, Langston Hughes, Countee Cullen, and James Weldon Johnson may be found. Sometimes I may be found. Sometimes LeRoi Jones may be found, but never with his best work, which is the poetry of The Dead Lecturer. Never Kent Foreman, Don Lee, Dudley Randall, Margaret Danner, David Lhorens, Ted Joans, G. C. Oden, Julia Fields, Robert Hayden, Conrad Rivers, Owen Dodson, Margaret Walker. (You will find these people in the Negro anthologies, in Hughes’s and Bontemps’s anthologies.)
Poem by an African American
Finally, an excerpt of a poem by Yusef Komunyakaa, the full text of which can be found through the Poetry Foundation and JSTOR:
Excerpted from "Blessing the Animals"
by Yusef Komunyakaa
. . . An elephant daydreams, nudging
ancestral bones down a rocky path,
but won't venture near the boy
with a white mouse peeking
from his coat pocket. Beyond
monkeyshine, their bellows
& cries are like prayers
to unknown planets & zodiac
signs. The ferret & mongoose
on leashes, move as if they know
things with a sixth sense.
Priests twirl hoops of myrrh. . . .
Academy of American Poets. “We Asked Gwendolyn Brooks about the Creative Environment in Illinois.” Accessed February 27, 2018. https://www.poets.org/poetsorg/text/we-asked-gwendolyn-brooks-about-creative-environment-illinois.
Claborn, John. Civil rights and the environment in African-American literature, 1895-1941. New York: Bloomsbury Academic, 2018.
Dungy, Camille T. Black nature: four centuries of African American nature poetry. Athens: University of Georgia Press, 2009.
Gabbin, Joanne V. 2004. Furious flower: African American poetry from the Black arts movement to the present. Charlottesville: University of Virginia Press. (listing: https://www.worldcat.org/title/furious-flower-african-american-poetry-from-the-black-arts-movement-to-the-present/oclc/52424044 )
“The Furious Flower Conference of 1994 represented the largest gathering of African American writers at one event in nearly 30 years. This work assembles a second selection of works by 43 Furious Flower participants covering three generations. It includes biographies and photographs by C.B. Claiborne of many of the Furious Flower participants.“
Komunyakaa, Yusef. “Blessing the Animals,” Poetry, July 1997, 220-21. Accessed February 27, 2018 through Poetry Foundation and JSTOR. https://www.poetryfoundation.org/poetrymagazine/browse?volume=170&issue=4&page=39.
Walcott, Derek. Omeros. München: Hanser, 1995.
* Black – The term is here distinguished from “African American” to acknowledge the various groups of black people who (1) did not descend from Africa (any more than all of humanity does, which it does) but are in fact descendants of darker-skinned peoples relatively more native to different parts of, for instance, the Caribbean, in this “Americas” context, and (2) are neither geographically nor culturally American.
The term “Black” is here capitalized as a sign of respect for traditionally subjugated and marginalized groups, who, while not ethnically or culturally homogeneous, tend to have darker skin compared to whites and other people of color, and whom white, majority cultures have oppressed, over the centuries, in large part because of that darker skin. For more on the debate over color labels and their use in type, see “Black and white: why capitalization matters” by Merrill Perlman at Columbia Journalism Review.
My series on famous nature poetry:
- Nature Poetry by Famous Poets excerpting Thomas Hardy’s “The Darkling Thrush”
- Famous Poets’ Nature Poetry (1): Sun Spots
- Famous Poets’ Nature Poetry (1a): “The Sunlight on the Garden”
- Famous Poets’ Nature Poetry (2): Elizabeth Bishop
- Famous Poets’ Nature Poetry (3): Wordsworth’s Daffodils
- Famous Poets’ Nature Poetry (4): Promise of a Fruitful Plath
- Famous Poets’ Nature Poetry (5): Of Mice, Men and Rabbie Burns
- Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots
- Famous Poets’ Nature Poetry (6)–Oh, NOW I Get It!: Hugh MacDiarmid in Scots
Famous Poets’ Nature Poetry (8): “Corsons Inlet” by A. R. Ammons