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Posts Tagged ‘new york public library’

The 17th century Cavalier poet Richard Lovelace wrote in “To Althea from Prison,”

Stone walls do not a prison make,
Nor iron bars a cage;
Minds innocent and quiet take
That for a hermitage.
If I have freedom in my love,
And in my soul am free,
Angels alone, that soar above,
Enjoy such liberty.

I am not going to make the case that inmates at New York’s Rikers Island prison have “minds innocent and quiet,” but I will contend that poetry can help to free the soul.

Kirk Semple at the NY Times has a story about a poetry reading in the prison.

“The inmates at Rikers Island were slumped in plastic chairs, their expressions suggesting boredom and doubt. They had been pried from their favorite television shows to attend — of all things — a poetry reading. Some nice people from the public library, they were told.

“Then came the poet: unshaven, in his early 20s, dark hooded sweatshirt, dark T-shirt, dark ball cap slung backward on his head. Some men leaned forward, elbows on their knees. Expressions shifted to curiosity: This was not what they were expecting.

“ ‘I’m going to kick a couple of poems,’ the poet, Miles Hodges, said in a drawl of the street, before unleashing a blizzard of words titled ‘Harlem.’ His intonation percussive and incantatory, he spoke of race and of children playing amid ‘roached blunts and roached joints’ that were ‘scattered around the purple-, pink- and black-chalked R.I.P. signs as if whispering from the concrete jungle, “I’m resting in peace and high.” ’

“Mr. Hodges, 25, is a spoken-word performer and a somewhat unusual ambassador of the New York Public Library, where he was hired this year to help create programs to attract members of the millennial generation.

“For the past couple of months, he has been developing a spoken-word program at Rikers, where the library has for years offered a variety of services, including a book-lending system.

“ ‘I really wanted to include this other section of New York City that often doesn’t get discussed as part of the city,’ Mr. Hodges said in an interview. ‘You’ll hear me say a lot: They can lock your body up, but they can’t cage your mind.’ “

Asakiyume volunteers in a prison where she helps women with writing. Bet they would get a kick out of a poetry reading like that.

More at the NY Times, here.

Photo: Richard Perry/The New York Times
Miles Hodges, in cap, performing at Rikers Island.  

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Candice Frederick, of the New York Public Library’s Schomburg Center for Research in Black Culture, recently posted research by Katherine Ellington on an African American artist who was new to me.

From Ellington notes: “Augusta Savage was among [a] group of artists who came to Harlem from the Jim Crown South in search of opportunity and where her creative expression could thrive.

“My quest for Augusta Savage (1892 –1962) sculpture led me to a first-time visit to the Art and Artifacts Division of the Schomburg Center for Research in Black Culture. … As a young girl in the early twentieth century, Savage began shaping ducks out of red clay found in the backyard of her home in Green Cove Springs, Florida. Savage’s work gained local attention when she entered and won a prize at a local county fair, which led to community support for further study.

“In 1921, she moved to Harlem after studying at State Normal College for Colored Students (now Florida A & M University). Savage later completed a four-year program in sculpture in three years at Cooper Union. …

“In 1931, Savage … opened the Savage Studio of Arts and Crafts — a fine arts training ground for over 1,500 students including many well-known Harlem Renaissance artists such as Charles Alston, Ernest Crichlow, Norman Lewis, Morgan Smith and Marvin Smith, Jacob Lawrence and Gwendolyn Knight Lawrence. …

“In 1934, Savage became the director of the newly established Harlem Community Art Center, after she was commissioned by the 1939 World’s Fair. Around that time she created “The Harp” as a series, but it was destroyed during the cleanup after the fair. …

“Savage’s art was often in response to the fight against racism. She used a variety of methods, shaping clay and plaster, casting bronze, and later years, carving marble and wood. In the Augusta Savage collection, there are works that illustrate themes such as nineteenth-century romanticism and African and Greek culture. As a trained portraitist, her busts include Marcus Garvey, W.E.B. Du Bois, James Weldon Johnson and Gwendolyn Bennett.”

More here.

Photo: The New York Public Library. Image ID: 1654255
“Harp,” by Augusta Savage

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