Showing posts with label Richard Wright. Show all posts
Showing posts with label Richard Wright. Show all posts

Thursday, December 2, 2010

50 Years w/o Richard Wright

November 28, 2010 marks the fiftieth anniversary of Richard Wright’s death, bringing to closure the celebration of his centennial. November 28, 2010 marks the birth, for those who demand reason and critical thought in a time of crisis, of principled readings and rereadings of Wright’s published works. They read in anticipation that some of his unpublished works will be printed in the coming years. Truly, Wright’s works are equipment for living in the chaotic twenty-first century as much as they were in the troubled twentieth century. The moment of birth and rebirth involves reconfiguring how the voice of a genius from Mississippi continues to bid the world to listen!

But it is not easy to listen to Wright in 2010, especially for people who cling to hope as they desperately seek to confirm the goodness of mankind. They do not hear the soothing platitudes they need for comfort. Skeptics and cynics, however wrongheaded they might be, stand a better chance of hearing Wright’s demands for a truth, for making justice more palpable, and for the purging of guilt. Yet, it is inevitable that all must listen to Wright, or at least overhear what he is saying, because his spirit haunts the world in a quest for peace.

Fifty years ago, Hoyt W. Fuller was able to find a small measure of peace and to mitigate his grief by remembering Wright “has spoken with eloquence and with all the power of his great overburdened heart that which he felt so deeply” (550-51).[1][1] Fuller concluded his meditation on Richard Wright with a modicum of hope: “Richard Wright was an American, tugging at the conscience and the submerged sense of reason of America, and American should be proud to have produced him. Perhaps someday a more mature America will embrace her rejected native son. Perhaps that time will come “(555). Unlike Fuller, we are suspicious of America’s conscience and sense of reason, beholding them as quite remote possibilities. We have greater anxiety about America’s capacity to remember.

Thus, the word perhaps opens cautionary dimensions. Perhaps those for whom Wright is more a living presence than a canonized writer, those who will to learn from Wright’s works the dignity of critical reflection and the great suffering that integrity demands -----well, perhaps they will succeed in persuading others of the unending importance of Wright’s visions, questions, and ideas. Perhaps they will fail. We can take consolation in the fact that they shall not fail and succeed simultaneously in a future of unarticulated designs. Perhaps the sheer force of uncertainty is our best assurance that the most essential qualities of Wright’s intelligence and foresight will not just vanish in the twenty-first century. Even from another world, Mississippi’s native son has audible authority in the world we inhabit.

Jerry W. Ward, Jr.
Dillard University

Monday, February 1, 2010

Making the Wright Connection



The video is a forecast of some exciting things for the Richard Wright institute in July. Share with K-12 teachers.

Jerry Ward

Wednesday, May 6, 2009

Let's Discuss...

The following questions were developed by Dr. Jerry Ward for the short story Bright and Morning Star by Richard Wright. ~Maggie

1.) Why does Wright borrow the title from a hymn?

2.) What aspects of Southern life were threatened by cooperation between black and white Communists in the 1930s?

4.) What is the nature of the new faith that Aunt Sue learns from her sons Sug and Johnny-Boy?


“If in the early days of her life the white mountain had driven her back from the earth, then in her last days Reva’s love was drawing her toward it….”

5.) How does the white mountain function as a metaphor? What does the passage reveal about Aunt Sue’s conception of self?

6.) Why does the sheriff not hesitate to brutalize an old black woman? What does his action reveal about racial hatred?

7.) Is Aunt Sue’s reaction to her beating similar to or different from Reverend Taylor’s reaction to his whipping in Fire and Cloud? How does gender function as a determining element in their responses?

8.) What does Aunt Sue’s suffering and ultimate sacrifice for her son Johnny-Boy suggest about a woman’s determination?

Friday, April 17, 2009

Haiku Friday!

#422

My cigarette glows
Without my lips touching it,
—A steady spring breeze.

Haiku: This Other World by Richard Wright

2004 Southern Breeze "Lallah Award" for Most Innovative
(Psst - I think the art looks like the end of a cigarette.) ~Maggie

Friday, March 13, 2009

Haiku Friday!

#3

Keep straight down this block,
Then turn right where you will find
A peach tree blooming.

Haiku: This Other World by Richard Wright (Arcade, 1998)

Mixed media collage titled Coming Together by Mississippian Charles Crossley.

Mr. Crossley's recent works are on exhibit
at
The Lauren Rogers Museum
from
March 15 - May 17, 2009 in the Stairwell Gallery! ~ Maggie

Saturday, February 21, 2009

Facebook and 4Ws


I have created a page for the 4Ws Writing Institute on Facebook. Please support the Writing Institute Facebook page by becoming a fan! I created the page to provide universal exposure for the program. I have enjoyed being a participant in this program, and I want to share my experience with others. Look forward to seeing you online at Facebook!

Friday, February 20, 2009

Haiku Friday!
















#730

From the cherry tree
To the roof of the red barn,
A cloud of sparrows flew.

Haiku: This Other World by Richard Wright (Arcade, 1998)

Acrylic by Mississippian Rick Anderson titled Red House. ~Maggie

Friday, February 13, 2009

Haiku Friday!


#97

In the setting sun,
Each tree bud is clinging fast
To drying raindrops.

Haiku: This Other World by Richard Wright (Arcade, 1998)

Mixed media collage by Texan Cheryl McClure titled The Rain Came. ~ Maggie

Tuesday, February 10, 2009

Let's discuss...

The following questions were developed by Dr. Jerry Ward for the short story Down by the Riverside by Richard Wright. ~ Maggie


1. What is the moral conundrum in this story?

2. Does the story seem to have unusual significance if we compare reactions to the Mississippi River flood of 1927 with those evidenced in the aftermath of Hurricanes Katrina and Rita and the breaking of the levees in New Orleans in 2005?

3. Why are the military officials so insensitive to Mann's grief over the death of his wife? Why is Mann addressed as “boy”?

4. Why does Mann rescue Mrs. Heartfield and her two children when he knows they will identify him as the person who murdered Mr. Heartfield?

5. Why does Mann decide to die before the agents of justice can kill him? What is the significant difference between his decision and the one Silas makes in Long Black Song?

Sunday, February 8, 2009

Let's Discuss...

The following questions were developed by Dr. Jerry Ward for the short story Big Boy Leaves Home by Richard Wright. ~ Maggie


1.) The story opens with four black boys engaged in the banter known as “the dozens.” Why does Wright begin the story with a ritual involving verbal insults?

2.) How does Wright use a classic taboo regarding contact between blacks and whites to activate tragic events in the plot?

3.) What are the justifications for the soldier’s killing of Lester and Buck? For Big Boy’s killing the soldier? What point does Wright wish to make about justice and inequality? About justice and power?

4.) How does Wright use the themes of innocence and guilt in the story?

5.) Note the pastoral setting in which violence initially occurs. What do other acts of violence in the story lead us to conclude about the nature of violence? About the nature of the community wherein it occurs?

6.) Is Big Boy’s witnessing of the lynching of Bobo a part of his education?

7.) How important are issues of migration and displacement in the story? Why does Big Boy flee to Chicago rather than to another part of the United States?

Friday, February 6, 2009

Haiku Friday!

#334
A lakeshore circus:
An elephant trumpeting
Waves on blue water.

Haiku: This Other World by Richard Wright (Arcade, 1998)
Note: The artwork titled A Fresh Wave is by Mississippi artist Antoinette Badenhorst.
The photograph is taken by Koos Badenhorst. ~ Maggie

Sunday, December 28, 2008

Natchez Trip Photos

I have just posted photos to our Flickr group: The 4Ws. Don't forget to join and post photos you took on the trip!


Wednesday, December 24, 2008

Interviews with Richard Wright

Keneth Kinnamon’s book, Conversations with Richard Wright (Literary Conversations Series) is a collection of interviews with Richard Wright. Allowing the reader to escape into the mind and thoughts of Richard Wright, it is a must-read. You can purchase it online at Amazon.com. What would you have asked Richard Wright, if you had the opportunity to interview? How would you have prepared for an interview with Richard Wright?

Tuesday, December 23, 2008

NewTube Your Classroom!

YouTube is everywhere. Kids watch diet colas spurt into the air after adding one, little candy Mentos. Coworkers sit mesmerized through a ton of pass-along e-mails such as this Christmas favorite. Sheri, our Natchez videographer, is working on placing her work on Teacher Tube for the classroom. Even I—the book person—sat through an hour long lecture on my laptop instead of buying The Last Lecture by Randy Pausch.

Streaming video is the future, and I am pleased to present a website that provides this service. Films on Demand is a sub-group of the Meridian Films Media Group that provide films on VHS, DVD, DVD and 3-year streaming , or 3-year streaming. It is expensive, $149.95, but the cost includes public performance rights. The librarian or media specialist can pay through the library’s budget, and provide one with a laptop and display monitor. All a teacher needs is a blank wall or screen and the willingness to teach.

On this website I found: Africa to America to Paris: The Migration of Black Writers (53min) that includes Richard Wright for 12th graders or college freshmen, Tennessee Williams and the American South (45min) for grades 11 & 12, and Eudora Welty’s A Worn Path (32min) for grades 9 & 10. An interview with Miss Welty by Beth Henley concludes the short film. ~ Maggie

Note: The photograph is a still from the film. Notice the details like the sunken Natchez Trace, her lack of coat, and the umbrella skeleton. ~ Maggie

Friday, December 19, 2008

Haiku Friday!


#613

While plucking the goose,
A feather flew wildly off
To look for snowflakes.

Haiku: This Other World by Richard Wright
Where is This (2008) by Mississippi artist Ellen Langford
Click artist name to see website. ~Maggie

Friday, December 12, 2008

Haiku Friday!



#31

In the falling snow
A laughing boy holds out his palms
Until they are white.

Haiku: This Other World by Richard Wright (Arcade, 1998)

Note: Artwork is from the book The Snowy Day by Ezra Jack Keats.

Thursday, November 20, 2008

Beginning To Read Welty

Reading Welty has been a huge transition from Richard Wright's work. Having not been familiar with her texts, I am really enjoying reading them. I love her intense usage of dialogue. Her usage of dialogue allows the reader to feel as if they are apart of the story. What has intrigued you the most about Welty's ability to tell stories?

Saturday, November 15, 2008

Southern Literary Trailfest March 2009


Playing around on the Internet, I found a site about the Southern Literary Trailfest being held next year in March. Covering our four authors of choice, (Welty, Wright, Williams, and Walker) I thought I would share this wonderful information with you. Being held in Alabama, Georgia, and Mississippi, it is a great opportunity to further increase our knowledge surrounding the legacies of these four writers, as well as many others. For travel information visit www.southernliterarytrail.org/travel.html. The website contains contact information of the various entities associated with the festival, as well as sponsors!

Tuesday, November 11, 2008

Wrapping up

Trying to make sure I can contribute during our talks on Saturday, I am wrapping up reading Black Boy for the umpteenth time. I try to read before I go to bed. My oldest son, a first grader, asked me to read it to him, as a bedtime story. Not thinking he would actually get anything out of it, I was shocked when he stopped me and explained that he wanted me to read the rest to him the next day. As I told him good night, I wanted to engage in conversation with him. What did he get out of what I read to him. Could he feel what Richard Wright was trying to illustrate with words?

Drifting off into more complex thinking, I wondered what the future held for him as a young black boy. Will his life be different? Will he feel constricted because of his race? Will he ever desire to escape into an unknown world because of his race? Only time will tell the answers to these questions. I do find comfort in the fact that he does have a promising and different future in comparison to Richard Wright.

Monday, November 3, 2008

Big Boy Leaves Home

Reading Big Boy Leaves Home brought to mind the sheer horror and inhumane treatment of African Americans during the Jim Crow era. What I cannot grasp is the desire to participate in this treatment. From the glorious singing to the presence of women, I am unable to understand the pure gratification and satisfaction associated with lynching and harassment of African Americans. If you could rewrite this story what would you add? What would you take away? How would it end?