Wykład gościnny Douglasa Christie'ego i Ralpha Blacka, 9 listopada 2016 r.

22 Paź. 2016

W dniu 9 listopada 2016 r. Zakład Studiów Amerykańskich i Kanadyjskich ma zaszczyt zaprosić wszystkich zainteresowanych na wykład gościnny, który wygłoszą Douglas Christie, profesor teologii z Loyola Marymount University, Los Angeles, oraz poeta Ralph Black ze State University of New York. Wykład, który rozpocznie się o 11:30 w sali 2.23, poświęcony będzie prezentacji książki Claudii Rankine Citizen: An American Lyric (2014). Czarna poetka, eseistka i dramatopisarka snuje w niej dramatyczną medytację na temat cierpienia związanego z podwójną świadomością czarnych obywateli Stanów Zjednoczonych Ameryki Północnej. W USA książka została przyjęta entuzjastycznie i obsypana deszczem nagród.

Douglas E. ChristieDouglas E. Christie, Ph.D.

Professor of Theological Studies at Loyola Marymount University. He is author of The Word in the Desert: Scripture and the Quest for Early Christian Monasticism (Oxford) and The Blue Sapphire of the Mind: Notes for a Contemplative Ecology (Oxford). He serves as editor for the journal Spiritus and is co-director of the Casa de la Mateada Program in Córdoba, Argentina.

 

Blue SapphireThe Blue Sapphire of the Mind: Notes for a Contemplative Ecology. Oxford Press, 2013

What might it mean to behold the world with such depth and feeling that it is no longer possible to imagine it as something separate from ourselves, or to live without regard for its well-being? To understand the work of seeing things as an utterly involving moral and spiritual act? Such questions have long occupied the center of contemplative spiritual traditions. In The Blue Sapphire of the Mind, Douglas E. Christie proposes a distinctively contemplative approach to ecological thought and practice that can help restore our sense of the earth as a sacred place. Drawing on the insights of the early Christian monastics as well as the ecological writings of Henry David Thoreau, Aldo Leopold, Annie Dillard, and many others, Christie argues that, at the most basic level, it is the quality of our attention to the natural world that must change if we are to learn how to live in a sustainable relationship with other living organisms and with one another. He notes that in this uniquely challenging historical moment, there is a deep and pervasive hunger for a less fragmented and more integrated way of apprehending and inhabiting the living world--and for a way of responding to the ecological crisis that expresses our deepest moral and spiritual values.

Ralph BlackRalph Black is the author of the poetry collection, Turning Over the Earth, and a chapbook, The Apple Psalms. His poems have been published in such journals as the Gettysburg, Georgia and Mid-American Reviews. He teaches at SUNY Brockport where he co-directs the Brockport Writers Forum.

Turning Over the EarthTurning Over the Earth: Poems. Minneapolis: Milkweed Editions, 2000.

With nods to Brahms and Haydn, Pablo Neruda, Theodore Roethke, and Christopher Smart, Ralph Black's poems tell of a passion for being in the world, a desire to make meaningful contact with the sensuous, both natural and human. With beautifully accessible imagery, Black explores the territory of longing and loss, love and family, wild land and city street - amazed "that the world, even / this one, can offer / so little and / so much at once / and mean them both?"

71SxmbgcRuLClaudia Rankine, Citizen: An American Lyric. Graywolf Press, 2014:

A provocative meditation on race and a long-awaited follow up to Rankine’s groundbreaking book Don't Let Me Be Lonely: An American Lyric.

  • Finalist for the National Book Award in Poetry
  • Winner of the National Book Critics Circle Award in Poetry
  • Finalist for the National Book Critics Circle Award in Criticism
  • Winner of the NAACP Image Award
  • Winner of the L.A. Times Book Prize
  • Winner of the PEN Open Book Award

ONE OF THE BEST BOOKS OF THE YEAR:

The New Yorker, Boston Globe, The Atlantic, BuzzFeed, NPR. Los Angeles Times, Publishers Weekly, Slate, Time Out New York, Vulture, Refinery 29, and many more . . .

Claudia Rankine's bold new book recounts mounting racial aggressions in ongoing encounters in twenty-first-century daily life and in the media. Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

Poet Mark Doty: "Claudia Rankine’s formally inventive poems investigate many kinds of boundaries: the unsettled territory between poetry and prose, between the word and the visual image, between what it’s like to be a subject and the ways we’re defined from outside by skin color, economics, and global corporate culture. This fearless poet extends American poetry in invigorating new directions."

From The New Yorker review by Dan Chiasson:

The poet Claudia Rankine’s new volume, her fifth, is Citizen: An American Lyric (Graywolf), a book-length poem about race and the imagination. Rankine has called it an attempt to “pull the lyric back into its realities.” Those realities include the acts of everyday racism—remarks, glances, implied judgments—that flourish in an environment where more explicit acts of discrimination have been outlawed. “Citizen,” which has been short-listed for the National Book Award, suggests that a contemporary “American lyric” is a weave of artfully juxtaposed intensities, a quarrel within form about form. Like Rankine’s last book, “Don’t Let Me Be Lonely” (2004), which shares its subtitle, “Citizen” is part documentary, part lyric procedural, submitting to its painstaking frame-by-frame analysis everything from J. M. W. Turner’s painting “The Slave Ship” to Zinedine Zidane’s head-butt during the 2006 World Cup final. The extensive list of works that Rankine has drawn on, ranging from James Baldwin to Homi Bhabha to Robert Lowell, makes “Citizen” (like Whitman’s “Song of Myself,” a clear antecedent) one of those American art works that equip us to do without it. It teaches us to “no longer take things at second and third hand,” as Whitman wrote, to “listen to all sides and filter them from your self.”

(...)

“Citizen” is about the grownup ways in which this childhood scene gets replayed, the white cheat always backed by white institutions. It is an especially vital book for this moment in time. While the book was in press, Michael Brown was killed in Ferguson, Missouri; as I write this, hundreds of people are marching in protest there, engaging in civil disobedience and offering themselves up for arrest. The book’s cover, an image of a black hood suspended in white space, seems to be a direct reference to Trayvon Martin’s death, but the image is of a work from 1993, two years after Rodney King was beaten senseless by members of the L.A.P.D. It’s called “In the Hood,” and it suggests that racism passes freely among homonyms: the white imagination readily turns hoods into hoods. The image also makes you think of the hoods in fairy tales and illustrated books, part of the regalia of childhood. But its white backdrop recalls the haunting quotation from Zora Neale Hurston that keeps cropping up in “Citizen”: “I feel most colored when I am thrown against a sharp white background.” The hood becomes an executioner’s headdress, too.

(...)

The book explores the kinds of injustice that thrive when the illusion of justice is perfected, and the emotional costs for the artist who cries foul. “Post-racial” America is like Elsinore, in “Hamlet,” celebrating its renewal as a way of covering up its crimes.

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