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MELUS,Volume18,Number3 (Fall1993)
sionally his personae assume the voices and identities of animals and
plants. In the cycle his associations,through sensory and metaphysi-
cally inspired imagery, beg comparisonswith Aime Cesaire's Cahier
d'unRetourau PaysNatal (1935).Numerous in the long works and in
the poems that make up Elaine'sBookand Bolerosare the surrealistic
techniques Andre Breton hastily attributedto the Negritude poets,
techniques Wright appears more accurately to have fulfilled-only
TchicayaU Tamsi of Negritude's second generationbest anticipates
Wright'sachievementin tight linearcontrolbalancedby freerimages.
Ethnopoeticsdoes not adequatelydescribeor explainWright'spoetics
either, especially as a method seeking in his work a foundation in
preliterateincantations.These vivid elucidationsconstitutinghis nar-
rative voice achieve a meditative power where allusions to jazz or to
Nahuatl culture make sense to his initiate.The poet allows himself to
be open to the interconnectednessof a world community,compelling
his readers to jettison their parochialnotions of civilization and the
mystical.His aestheticsuggests thatwho we areopposes the historical
idea and the continuing sensation that we think and behave in some
sort of spiritual and existentialvacuum, or that history is something
very far from the human spirit.
Priorto the publicationof TheHomecoming Singer(1971)by Corinth
Books, Poets Press, one of the burgeoningindependent small publish-
ers of the 1960s, issued a chapbook of Jay Wright'spoems, DeathAs
History(1967).Wrightdoes not view this as an "official"publication
but as a pamphlet put together so he could share his poems with
students during a tour of southernBlackcolleges. Eight of the poems
from this slender volume reappear in The HomecomingSinger.The
erstwhile title poem, "Death As History," features early rhetorical
devices such as repetition,serialphraseelements, thematicrecapitula-
tion and summation of the centralidea, and adjacentimages of oppo-
site conditions such as living and dying. In this personalnarrativethe
speaker ruminates about how budding poet-scholarsare charged by
dancers to make for them anotherexpressiverealm of possibility,that
being the perpetuity of renewal by death.
Anddeathis thereason
to beginagain,withoutlettinggo.
Andwho canlament
suchhistoricalnecessity?(63)
Circumcisedone,
God has put these pearls,
this water, into your hands. (69)
Two gods or spirits, Lebe and Binu, have individual poems also
prefiguring their later appearances in the canon. Lebe, representing
weavers and serpents, is to "protecteur des placenta, pourvoyeur de
forces de vie" (Dieu d'eau 113) among his many responsibilities.
I preen myself,
a dreamer,
too intimate with death,
going by night
over gorges, throughmarshes,
looking for the stone,
my own revelation,
my Binu.
My craftis the craft
The teacher, seating him, can now address him amidst images of
knives and cutting that recurthroughoutthe poem:
You become:
childrenof the twins' star,
childrenof the doubling star,
childrenof the star of circumcision,
childrenof the star of two eyes.
Doubled,
you grow,
from stillness to sight,
into
vision and pain's power. (74-75)
In the two later collections, Elaine'sBookand Boleros,one realizes
that Wright's quest for metaphysically derived properties of truth
have indeed been assimilated,so that their subtle incorporationinto
individual poems and shorter poem-sequences betrays nothing of
pretense.Elaine'sBookcontainsthe thematicallyengaging "Zapataand
the Egungun Mask,"its longest poem, in which the famed Mexican
revolutionarywho was a campesinoaddressesthe Yorubaritualmask
that represents the intermediationbetween forces living and non-
living. We are apt to find language in these two collections that is
richerin metaphorthan Wright'searlierpoems, if that seems possible!
He freely personifies inanimateobjectsand physical sensations: "No
ruffledlace guitarsclutchat the darkenedwindows" ("Madrid"54);or
the women who, knowing the autumnalflight of geese, "tellus that, if
you listen, you can hear / their dove's voices ridge the air."Indeed,
two of the book's short sequences, "Desire's Persistence"-whose
"Winter"section contains the last example-and "The Anatomy of
Resonance,"are concernedwith auraland visual perceptions.Several
of the thirty-ninepoems in Boleroslack titles outright,Wrightprefer-
ring numbers to identify them instead. Spanishphrases,some idiom-
atically obscure, characterizemany. Again, history, reality and myth
blend without clear demarcations.Saints days, the Muses, New En-
gland,and a Moorish-Iberian pointof referencethatstimulatesthoughts
about the cultures of the Americas are its themes. Wright's use of
colors is not as vivid as Wallace Stevens's, for example, but he re-
sponds to a symbolist's influence on the intellect and the senses
without any lack of discipline in how he selects his images. The cover
design of Bolerosmakes obvious Jay Wright'sideals of fusion and the
kind of intellectual and metaphysical terrainhe is willing to risk: a
bolerois a Spanish dance at slow tempo; the figures depicted on the
cover are a man and a woman in an African carving and they are
playing a balafon,a precursorto the xylophone. Togetherconstituting
an image and impression on the senses, they demand that artist and
public depend on an interactivefreedom in order to attain a spiritual
unity.
Notes
1. Vera Kutzinski, acknowledging Wright's echoing a passage from W. E. B.
DuBois's The Souls of the Black Folk ("I sit with Shakespeare and he winces
not...[139]), triggers a personal memory of the assembly lectures at Lincoln
University in Pennsylvania, at which attendance was mandatory until the
practice ended in 1966. One lecture was given by Dr. Hildrus Poindexter, an
alumnus of Lincoln's esteemed class of 1924 and a specialist in tropical diseases
and medicines who taught at Howard University for several decades. I have
long forgotten his topic; but he marveled undergraduates with his thorough
command of far-reaching references to Shakespeare, arcane Scriptures, Locke
and Carlyle, African art, the civil rights movement, and other subjects which he
used as analogies without intellectual pretension.
2. Among the reliable analyses of the Fray Marcos Relacidn is Frederick Webb
Hodge's History of Hawikuh,New Mexico: One of the So-CalledCities of Cibola (Los
Angeles: The Southwest Museum, 1937) 20, which Cleve Hallenbeck relied
heavily on for his TheJourneyof FrayMarcosde Niza (Dallas: Southern Methodist
U P, 1987) 29. The friar, two or three days from Hawikuh, learned from an
Indian in Estabon's party on May 21,1539 that Estabon had been recently slain.
Others agreeing that Fray Marcos fabricated specific details of what he claimed
to have seen are Carl Sauer in The Road to Cibola (Ibero-Americana No. 3,
Berkeley: U California P, 1932) 28, and John Upton Terrell, Estavanicothe Black
(Los Angeles: Westernlore P, 1968) 111-15.
3. Willie Best played "Willie," an apartment custodian in the popular early-fifties
television sit-com, My Little Margie, starring Gail Storm.
4. Wright informed the writer in June 1991 that he read the original French edition
of Dieu d'eau.
5. Temple's book (New York: St. Martin's, 1976) was inspired by Erich von
Daniken's Chariots of the Gods as a discussion of the speculated visit of
extraterrestial life forms to earth over 5,000 years ago. While most of its content
is unrelated to any concerns of Jay Wright's poetry, and while it possesses its
own unique level of fascinating scholarship, parts of it may assist the reader
curicus about Dogon cosmology. Important to us here, and as Temple learned
from Griaule and Dieterlen, is that Sirius B orbits the bigger star on a fifty-year
elliptical path. This fifty-year cycle corresponds to the period of the Sigui, a
major event in Dogon reckoning of chieftain succession; but the Dogon added
ten years for holding the Sigui. The period of the orbit is counted as one hundred
years consisting of five-day weeks, "so as to insist on the basic principle of twin-
ness," the Sigui being conceived of as pairs of twins (41). Coincidentally, the
second volume of Wright's quartet cycle, as the last to be published, appeared
during his own forty-ninth year, in 1984!
Works Cited
Barrax, Gerald. "The Early Poetry of Jay Wright." Callaloo 19.6 (Fall 1983): 85-102.
Cdsaire, AimS. Cahierd'un Retourau Pays Natal [Notebookof a Return to the Native
Land]. 1939. Trans. Clayton Eshleman and Annette Smith. The Collected
Poetry of Aime Cesaire.Berkeley: U of California P, 1983. 34-85.
Danquah, J. B. The Akan Doctrine of God. 1944. London: Frank Cass, 1968.
Dieterlen, Germaine, and Youssouff Ciss6. Lesfondementsde la societied'initiation du
Komo.Paris: Mouton, 1972.
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