Dramatizing Death Threats: Amiri Baraka’s Nuyorican Trio
Douglas S. Kern
Abstract
In critical scholarship, the periods delineating shifts in Baraka's political ideologies have been repeatedly oversimplified. Too often, his legacy is frozen far in the past, and commentators rarely explore his latest works. In Daniel Matlin's 2013 On the Corner: African American Intellectuals and the Urban Crisis, for example, the chapter on Baraka, speciously titled "Be Even Blacker: Amiri Baraka's Names and Places," drops off shortly after 1974, as if the named writer/activist ceases to exist in any place after this particular year (2013). In fact, most contemporary critics treat Baraka as though he did not continue writing. In Amiri Baraka: The Politics and Art of a Black Intellectual, Jerry Gafio Watts justifies his decision to neglect .
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