In his lifetime, Dick Gregory (1932-2017) achieved the distinction of becoming a celebrated athlete, conscientious comic, civil rights leader, devoted (in his own singular way) family man, philanthropist, American icon, and author of more than a dozen books.Publisher Harper Collins released his most recent title, Defining Moments in Black History, Reading Between the Lies, on September 5, 2017. The event was a highly-significant one for a 21st-century America in which racial conflicts continue to fuel social and political division. It also represented the extension of a major literary legacy begun at the height of the 1960s Civil Rights Movement.
‘For Black Folks and White Folks’
Gregory possessed an uncanny ability to transform the soul-crushing anguish of racism and poverty into healing inspiration. As rare as such a gift can be, it is on full display in his first triumphant publishing venture: the classic autobiography titled Nigger, (written with Robert Lipsyte).
My used paperback edition of the book was published in 1964 and has a cover price of $1.94. On its now-famous front is a beautiful black and white photograph of Gregory beside a red starburst with bold white text announcing in all caps: OVER ONE MILLION COPIES SOLD. The copy in my possession has been so thoroughly read and re-read by different people that the cover has started coming off and had to be reinforced with cellophane tape.
As impressive as the book’s 1 million-plus sales figures are, equally noteworthy is an observation shared by Gregory in its pages about the history and future of the struggle to which he would dedicate so much of his life:
“It started long before I came into it, and I may die before it’s over, but we’ll bust this thing and cut out this cancer. America will be as strong and beautiful as it should be, for black folks and white folks” (p. 209).
Few in 1964 would have imagined those words retaining the relevance which they have for more than half a century. Yet the #TakeAKnee and Black Lives Matter movements, both of which owe some ideological debt to the icon’s legacy, indicate they have never been more applicable. In addition, Mr. Gregory has indeed passed on while the struggle has not halted but intensified in ways unpredictable before the advent of social media.
On August 20, the day before the great eclipse of 2017, I learned that Gregory had died on the 19th at the age of 84. Prior to learning about his death, my plan for the day had been to spend some time constructing an outline for an article or an op-ed in response to suggestions the Confederate Monument in Savannah’s (Georgia, USA) Forsyth Park should be removed. But news of the great satirist’s demise prompted me once again to pick up his brilliant autobiography.
‘More Hope in Laughing’
In his own way, Richard Claxton Gregory, who was born on Columbus Day, was as politically dynamic as Malcolm X, as spiritually motivational as Martin Luther King Jr., and as socially revolutionary as Nelson Mandela. Yet his talent for coaxing laughter out of the most brutally inhumane situations set him apart as an astonishingly unique and painfully necessary individual.
He said his genius for employing comedy in the face of humor-less oppression derived from a lesson taught by Lucille Gregory (1909-1953) his mother, whom he saw cruelly beaten by Presley Gregory (b.?-1964) his father: “She taught us that man has two ways out in life—laughing or crying. There’s more hope in laughing” (p. 25).
In regard to the highly-controversial word chosen for the title of his autobiography, he examined it from many different angles and concluded it said more about people who used it to express hatred that it did about people who were targets of its use. He himself employed it in different situations, such as in 1963 during a protest demonstration in Greenwood, Mississippi, when threatened by a white policeman: “Nigger, you want to go to jail?” (p. 172). By that time, when he was 30 years old, Gregory had already become one of the most successful comedians in America and responded to the policeman as follows:
His words represented more than just a furious retort. Gregory felt a deep compassion for humanity as a whole; one of his early mentors was the white Southern Illinois University track and field coach Leland “Doc” Lingle. Like many of the great civil rights activists of his time and now, he believed racism was at least as injurious to those who practiced it as it was to those dis-empowered by it.
In the universe as the comically-inclined author saw it, whether certain words cause an individual’s soul to bleed or help it to heal depends on the emotional intent expressed behind its use. Hatred can turn a beautiful poem into a curse. Love can transform an expletive into a benediction. Therefore, the same word which word which sustained an intense encounter between him and a policeman could make others smile: such as when reading this dedication to his mother:
“Dear Momma––Wherever you are, if you ever hear the word ‘nigger’ again, remember they are advertising my book.”
Maintaining that fine-line balance between humor and rage never became easy. In light of the author’s commitment to eradicating social injustice, however, the ability to do so remained critical.
NEXT: Text and Meaning in Dick Gregory’s ‘Nigger’ part 2: Unyielding Commitment
On any given day of the week, the creator of Postered Chromatic Poetics and co-author of Encyclopedia of the Harlem Renaissance, Aberjhani, may be found wearing any number of hats: historian, visual artist, poet, advocate for compassion, novelist, journalist, photographer, and editor. Having recently completed a book of creative nonfiction on his hometown of Savannah, Georgia (USA) he is currently working on a play about the implications of generational legacies as symbolized by efforts to rename the Eugene Talmadge Memorial Bridge.
April, when both Jazz Appreciation Month and National Poetry Month are observed, is always a special time at Bright Skylark Literary Productions. This year it is doubly special because in addition to featuring several re-posts of classic articles and essays about poetry and jazz on this site, we have also teamed up with our Charter for Compassion partners to present the timely new 4-part series: Poetic Traditions of Compassion and Creative Maladjustment.
The celebration of Jazz Appreciation Month actually got underway with Jarreau Jazz-riff Earth-tunes for the Angel of Compassion, the poem and essay published in tribute to the late great Al Jarreau after his passing earlier this year. Jarreau in recent years had been among the headliners for the annual International Jazz Day concert and one of the premier talents of the modern jazz era. You can check out part 1 of the tribute by clicking here and part 2, which includes the poem, by clicking this Postered Poetics artwork:
A Confluence of Compassionate Sensibilities
In addition to commemorating NPM 2017, the series showcased on the Charter for Compassion website does two important things:
1) It explores the conceptual relationship between Dr. Martin Luther King Jr.'s call for a creative-maladjustment approach to civil disobedience and author Karen Armstrong’s recommended strategy for living a compassion-empowered life.
2) It utilizes as lens through which to examine poetic traditions of compassion, short biographical profiles of the Sufi genius Jalal al-Din Rumi, the great Pulitzer Prize-winning Harlem Renaissance and Chicago Renaissance poet Gwendolyn Brooks, and the Prague, Czech Republic-born author of Duino Elegies, Rainer Maria Rilke.
You can begin enjoying the series by clicking either of the following graphics:
Author-Poet Aberjhani is currently completing a book of nonfiction narratives addressing race relations, histories of erasure, the cultural arts, and practices of slavery in his hometown of Savannah, Georgia, USA.
The United Nations may have officially tagged 2017 as The Year of Sustainable Tourism for Development and the Chinese dubbed it Year of the Fire Rooster, but I am inclined at this point to declare it: Year of the Rising Tide of Multicultural Voices.
Sounds a little awkward I know. However, it is fairly accurate and the poetic quality lends to the description an aspect of hopefulness as opposed to a smell of certifiable doom.
The tones of the Rising Tide of Multicultural Voices range from the humanely compassionate and passionately engaged to the apathetically detached and dangerously dictatorial. They include, but certainly are not limited to, the following:
Add to the above chorus Native Americans and committed environmentalists taking a stand against the on-again Keystone and Dakota Access pipelines, women across the globe convinced they have been cheated of their time to shine in history, and Millennials struggling to find the right balance between trust placed in technology and the flaring passions of their innate humanity.
In truth, members of any number of various demographic groups who thought they had gained solid social and political ground on which to stand for the rest of their lives during former U.S. president Barack Obama's administration are now screaming "Oh hell no!" as the new commander-in-chief --doing exactly as he promised to when campaigning for the job--steers America toward the far right.
Allowing Ourselves to Hear Each Other
Probably the biggest mistake anyone can make when wishing for his or her voice to be heard and respected is to ignore the voices of everyone else. That observation helped drive the launch and growth of the Creative Thinkers International (CTI) online community 10 years ago.
The sharing of visions and voices for the purpose of inspiring unity in a world turned morbidly cynical by 9/11 was what made the community possible and drove it to thrive for nearly a decade. At a time when hatred threatened to permanently erase the potential for any meaningful cooperation between cross-cultural populations, Creative Thinkers International demonstrated the exact opposite: unity in the name of shared humanity.
The glorification of hatred is predicated on a foundation of fear-induced ignorance venomous to haters and those they believe they hate. Without awareness of root causes inflating their fears, prejudices, and destructive actions, it is easy for someone such as an alt-right terrorist, or a jihadist more faithful to a love of violence than love for Allah, to misinterpret aggravated frustrations as saintly devotion. Given the chance to do so, their own hearts can provide the insight necessary to correct themselves.
For Creative Thinkers International in 2007, allowing ourselves to hear each other and work together to identify the common ground on which we could build trust and cooperation was a matter of working to either: 1) sustain humanity; or 2) watch it simultaneously implode and explode. It is not so different at this 2017 moment in history when words like "polarization," "fake news," and "alternative facts" shape stories heard, viewed, and read every day.
Most people understand achieving unification is more complicated than sticking labels on entire populations and trusting in bias or bigotry to solve the world's most existential dilemmas. Many, however, do not bother to consult any kind of discerning social or political analyses of the turmoil raging around them like the very real tornadoes that slammed New Orleans East on February 7, 2017 (twelve years after Hurricanes Katrina and Rita caused historical damage from which the city is still recovering). To them it is a simple matter of opposing dichotomies: good versus evil, white versus black, the past versus the future, the aged versus youth, East/West, Christian/Muslim, nationalism/globalism, and so on.
What does it take for us to hear each other clearly enough to not only respect what is being said but understand that often the concerns of one group or individual mirror those of "the other." How do we recognize and remove the most unyielding roadblocks to harmonious coexistence between nations and communities?
We begin by acknowledging the reality of the need to do so. We begin by setting aside denials of truth blazing like wildfires right in front of our faces.
In addition, for example, to xenophobia and cultural bias, we know the so-called wealth gap and insufficient education all fall in the same category of oppressive strategies that do not work. We know also that a predatory instinct prompts some power-brokers to use divisiveness as a tool to manipulate social unrest for personal financial benefit. That is a sadly-cruel non-alternative fact we are able to improve with the kind of empowered consciousness represented by the 2017 Rising Tide of Multicultural Voices.
Author-Poet Aberjhani is currently completing a book of nonfiction narratives about race relations, histories of erasure, the cultural arts, and practices of slavery in his hometown of Savannah, Georgia, USA.
Trends in demographic shifts, progressive grass roots movements aimed at correcting blatant social injustices, and social media have had transformative effects that strongly encourage revisiting and reflecting on images of Black men's realities in 2017. The prototypes identified in "The Many Ways of Looking at Black Man" are still important. They have, however, expanded considerably.
Signs of Our Changing 2017 Times
Both before and during the Harlem Renaissance of the 1920s through the 1940s gifted African-American actors and performers like Ira Aldridge and Paul Robeson at times left the States to find outlets for their talents where they could work without the hindrances of extreme racism. In 2017, that scenario has reversed as performers of African descent from countries outside the U.S. make their way to Hollywood, Broadway, and central strongholds of hip-hop to reap the financial rewards of professional gains made during Blacks' historic struggles for equality.
When giving interviews about his 2013 Academy-award-winning film, 12 Years a Slave, director Steve McQueen Afro-Britain noted he was able to adapt Solomon Northup’s book for the screen as successfully as he did because of the Transatlantic slave trade common to the history of Black people on different continents in the western hemisphere. That simple acknowledgment underscored an aspect of African American men’s' identity often overlooked: that African Americans are also members of the African Diaspora, or, if you will, African Diasporans. Despite the United Nations-endorsed 2011 International Year of People of African Descent, the profound implications and potential of the McQueen's observation is routinely overlooked.
In addition to McQueen, actors David Oyelowo, Idris Elba, DelRoy Lindo Del, and Chiwetel Ejiofor are only a handful of British actors of African descent whose artistry has been employed to dramatize interpretations of African-American men's lives. Such interpretations have ranged from Elba's portrayal of druglord Russell “Stringer” Bell to Oyelowo's acclaimed performance as Martin Luther King Jr. in the film Selma, directed by Ava DuVernay.
Echo Kellum's recurring role as Curtis Holt, a gay Black man married to a Latino on the hit television show ARROW, reflects an aspect of one population subgroup which many in the larger community still have extreme difficulty accepting. Yet, so far as popular television series go, Jesse L. Martin's role as Joe West in The Flash is no less a challenge to stereotypes and assumptions. As the Black adoptive father of a White son––Barry Allen (a.ka The Flash, a.k.a. actor Grant Gustin) who is involved in a romantic relationship with West's biological daughter Iris (Candice Patton )––his is a comic-book world where race is defined not so much by color as by those who have super powers and those who do not.
The Obama Legacy Effect
In his farewell addess, President Barack Obama quoted the late great novelist Harper Lee in which her character Atticus Finch states the following in To Kill a Mockingbird: “You never really understand a person until you consider things from his point of view…until you climb into his skin and walk around in it.”
Finch's words may contain the wisdom necessary to help members of an increasingly diverse democracy better support one another as Americans rather than continually battle each other as cultural and political separatists. The president also wisely pointed out the need for African Americans to recognize the value of adopting the following practice:
"...Tying our own struggles for justice to the challenges that a lot of people in this country face – the refugee, the immigrant, the rural poor, the transgender American, and also the middle-aged white man who from the outside may seem like he’s got all the advantages, but who’s seen his world upended by economic, cultural, and technological change...." (Barack Obama)
Mr. Obama's commentaries on race and the American identity over the past nearly 10 years have not brought about an end to racial divisiveness or violence in the country. But they have played a major role in helping to decrease the magnitude of assumptions and racial bias that seemingly prompt the dismissal of Black folks' lives. His two-term presidency has allowed Americans and citizens of the global community to experience a black man as a "leader of the free world." That singular comprehensive achievement surpasses any categorical way of looking at African-American men that would have been considered possible in 1997.
If, however, someone did feel inspired to duplicate "The Many Ways of Looking at a Black Man" with fresh 2017 faces, it would be easy enough to do with another seven individuals such as: Chance the Rapper, Colson Whitehead, T.D. Jakes, Semaj Clark, Jay Z, Michael B. Jordan, and Tyler Perry. Their celebrity or non-celebrity status would not really comprise the core issue. The main point would be a definitive demonstration that as catastrophic as violence and oppression have been in our lives, they have not and will not erase the most beautiful and essential truths represented by our stories and realities.
Author-Poet Aberjhani is currently completing a book of nonfiction narratives about race relations, histories of erasure, the cultural arts, and practices of slavery in his hometown of Savannah, Georgia, USA.
Since the publication of "The Many Ways of Looking at a Black Man" special feature story in ESSENCE Magazine, November 1997, perspectives on men of African descent in the United States of America have evolved to cover a lot of ideological territory. That observation rings as true for everyday citizens of the country as it does for mainstream media, in which we have seen a gamut of extreme images, sometimes horrifying bloody, sometimes wonderfully inspiring.
The atmosphere of combativeness generated when the country's President-Elect, Donald Trump, chose to castigate civil rights icon Rep. John Lewis (D-GA) for exercising his right (some might say duty) to voice concerns over political legitimacy, removed any doubt that a lot of work still needs to be done where race relations are concerned. In light of the increasingly disturbing violent deaths of African-American men, women, and children over the past few years, prompting me to wonder if their names inexplicably would soon join the others, and in light of unconcealed attempts at disenfranchisement, an industrial prison complex that gorges itself on Black men's lives, and other irrefutable factors, "The Many Ways of Looking at a Black Man" takes on new and powerful significance in this year marking the 20th anniversary of its publication.
Among other things, it is also, as Black History Month approaches, one more reason to think back with gratitude for the leadership which Susan L. Taylor, now founder/director of National Cares Mentoring Movement, provided as editor-in-chief of the magazine for some 20 years. In the noted classic issue, she reminded readers of this: "Whatever parcels of power we claim today were not surrendered to us willingly or without long and painful struggle. That struggle continues because our oppression continues..."
Nevertheless, the dominant theme for the occasion was more one of celebration than protestation. As such, the following description of the African-American man is from the magazine's contents synopsis and introduction to the original feature:
"From sexual icon to warrior to caretaker--he is our black man. In this annual men's issue, we explore how he handles power, privilege and pain... He is many things to many people: husband and lover, father and son, brother, friend, sex symbol and political nightmare, crossover icon and business mogul..."
Those bright powerful noble words make a poignant contrast to the vivid horror of Black men's and boys' bodies falling in American streets to the repeated blasts of gunfire. That does not mean they are no longer relevant.
On Timelines and Parallel Conditions
We know in 2017 that how Black Men are perceived, perceived, or guerrilla decontextualized, is extremely important because of the various circumstances and events that have led to their deaths, or incarceration, in more instances than anyone can accurately count.
Alleged perceptions of unarmed black males as immediate threats to armed policeman's lives (or a would-be policeman in the case of George Zimmerman's shooting of Trayvon Martin) has resulted in numerous deaths declared "justifiable" under Stand Your Ground laws. Stunningly, Edward Lewis, who in 1997 was publisher of ESSENCE and CEO of Essence Communications, Inc., wrote in the November issue:
"Some victims of police brutality don't live to tell about it. They die from bullets and blows and choke holds that are found--upon review by higher authorities--to fall roughly within acceptable guidelines. Others, who seek redress, often find their paths blocked."
Could not Lewis's words written 20 years ago have been penned just as easily in 2017? Think Eric Garner, Michael Brown, Freddie Gray,Terence Crutcher, Walter L. Scott, Sandra Bland and, sadly, many more.
A Few Thoughts from Trevor Noah
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.