Searching for ‘Patricia Spears Jones’
Jenifer Berman and poet Patricia Spears Jones (who was just awarded the Oscar Williams-Gene Derwood Award of the New York Community Trusttalk) about the various facets of Jones’s writing and her views on religion, race and privacy.
The decades-spanning volume makes it clear that for Jones the job of the poet is to “preside” as Aimé Césaire writes, over the “experience as a whole.”
My chest is angry. Tight enough to bounce
This First Proof contains the poems “Back when Roberta was the same age as Lucille,” “Valentine’s Day, 2001,” “Sea Serpent,” and “Comfort and Joy.”
Walter K. Lew’s poetry is lyric and experimental and tackles some pretty heavy subjects, according to Patricia Spears Jones.
Barbara Henning’s sprawling volume underlines the joy of old-fashioned, mail correspondence and features a thorough and revealing interview with Harryette Mullen.
The growing importance of African artists involved in contemporary artistic practices is exemplified by the career and work of El Anatsui, a Ghanaian sculptor who teaches in Nigeria.
Carl rarely makes “paintings,” though he started as a painter and is among a group of Guyanese visual artists who, since the ’80s, have gained international reputations.
An exhibition of photographs from three series, exploring absence, decomposition and dislocation. Shot in Cape Town and New Orleans, subjects vary from migrants in their intimate spaces, empty beds, and ruined houses.
The second week in January, when I wrote this piece, marked the fiftieth anniversary of the war on poverty. More than forty-seven million people are currently living below the official poverty line.
Ida Applebroog’s paintings master the secret of psycho-drama: always in the midst of an action, their denouement is left to our imagination and fears. Patricia Spears Jones speaks with the painter about the everyday violence that surrounds pop culture.
Since the mid-’70s, Wesley Brown has produced intensely provocative, well-crafted novels and plays in which the lives and characters of African Americans at different points in history are explored.
As an African-American poet who grew up in the segregated South, I know my Church Lady hats. My mother has several. So when Aretha Franklin stood at the podium wearing a dove gray wool ensemble and hat to match, I knew that this was her grandest gesture and her best tribute to the new President of the United States, the fulfillment of the civil rights struggle, and honor to all the Church Ladies who made the day possible. Franklin’s generosity of spirit was matched by that boldly trimmed dove gray crown.
In early February, via Facebook and the poetry grapevine, I gathered poems about Aretha Franklin’s hat as a way to respond to political change and Obama’s presidency. “Think” was picked as a favorite Franklin song by many of the contributors, thus the title. The poets are women, men, straight, gay, young, a little older, established and emerging, mostly Americans (African and otherwise) and a Canadian and Costa Rican. We were inspired by Aretha Franklin’s singing “sweet land of liberty” wearing her diva hat as part of day of citizen power, political change, and natural splendor. Think.
April 27, 2009 – Obama’s 98th Day in Office (revised June 9, 2009)
On a beautiful day in October, Cornelius Eady and I sat in a Sixth Avenue diner to talk about writing, art, politics, theatrical collaboration, and yes, the events of September 11.
For more than 25 years, Maureen Owen has been creating poems that explore the malleability of the page—how space becomes its own punctuation or phrase.
BOMB Magazine celebrated its 25th Anniversary year of publishing legendary interviews with an all-star line-up of literary talents featured in BOMB’s Spring 2006 “Living Legends” Anniversary issue.