Raza Schooling, Nina Simone's Lost Songs

Shonda Buchanan Reading & In Conversation With Vanessa Estelle Williams 

Michael Sedano

It is the best all possible words for an enchanted audience at Pasadena, California’s, Octavia’s Bookshelf, when poet Shonda Buchanan sits for friendly plática with Vanessa Estelle Williams. Today, Williams and Buchanan connect Nina Simone’s life with the poetry collection at hand, The Lost Songs of Nina Simone (link). 

Williams conducts an elegant interview reflecting deep research and a thorough reading of Buchanan’s RIZE Press collection. The interlocutor’s copy sports as many sticky notes as the poet’s reading copy. Every reader’s copy will come to look like these, marked up to recapture reading the words a first time, and how the poet gets it right. The Lost Songs of Nina Simone is an important work.

The duo know Nina Simone’s story, her music, her domestic abuse, her activism, her skin color and why that matters. This they understand with love, and with research befitting their professions. Buchanan is an academic, Williams a writer, producer, and a notably successful actor.

Today’s audience rewards Octavia’s Bookshelf’s generosity for use of its space, buying copies of the featured book to have in hand. When the poet reads from her book, Buchanan and Williams make sure to cite a page number and most listeners read along with the words. 

Being here. Seeing the author. Hearing the words as the poet intends. Reading the words. This is the best of all possible words today.

The poet reads from her chair, or stands in the small space between herself and the front row. Williams remains seated throughout the colloquy, her exuberance, gestures, and energy focused on today’s homage to poetry and Nina Simone.

Shonda Buchanan writes with anguished empathy for Nina Simone. Simone’s life is marked with career peaks and boycotts, greedy exploitation, vicious spousal abuse, alcohol and pills, love, a daughter, her own house bought with her own money, a prodigy’s early career training as a concert pianist.  There are poems about these facts, achievements, sorrows.

Simone’s own voice speaks from her music and for some readers it’s their only awareness. Buchanan writes some poems in Simone’s voice, giving her new words about how it was. Readers can be left uneasy, knowing how it was. 

Vanessa Williams finds the imagined voice convincing. Does Simone talk to Buchanan, Williams wants to know, where do these words come from?

Readers will know. 

Bought us a house, too, Mama.

In the white people's neighborhood.

Put paisley prints on white walls

so I could bang my head a little if I needed to.

Out In the West Texas Town of Del Rio... 

Guest Reviewer: Charles "Chuck" Braithwaite. 

Review: Esparza, Jesús Jesse. Raza Schools: The Fight for Latino Educational Autonomy in a West Texas Borderlands Town. Vol. 4. University of Oklahoma Press, 2023. (link to publisher)

As someone with an interest in how cultural identity has an impact on education, I was anxious to read Raza Schools, especially having lived in borderland communities in the southern Great Plains. 

Although Esparza’s focus is on the very edge of what some people consider the Plains, the story told is certainly relevant to all non-dominant ethnic communities throughout US America in that it details how political and social structures prevent some people from gaining access to educational opportunities, unless they take control themselves and create the resources necessary for their children.

The account of this case study has several important strengths. First, we get a detailed, chronological account of the challenges faced by the Latino community of Del Rio, TX, during their fight for educational autonomy: persistent racism and segregation; state and local government interference; economic hardships. 

Second, the author makes an outstanding case for using oral history and non-archived personal collections (yearbooks, photos, etc.) as data to corroborate official documents and records. 

Third, we get a picture of how, even when ethnic communities are successful, institutional intolerance and bigotry are so difficult to overcome.

We go from the 1600s to the present and see some remarkable changes in the borderlands when it comes to education. I was especially interested to learn about how the Latino community in the 1800s provided educational opportunities for their children in the absence of state provided education. These were called “escuelitas” – small, private, Spanish speaking schools, often held in homes.

The bulk of the book is the story of how a community came together to fight the forces of racism and provide an educational opportunity for their children when it was clear the local and state authorities would not be doing anything to help. 

Ultimately, the story has a sad, but not unexpected outcome with the forced merging of Latino-controlled schools into the white-controlled districts. This led inevitably to problems: loss of autonomy; cultural and social tensions with forced integration; language barriers for Latino students; fewer resources provided to the needs of Latino students.

I have a couple of complaints. 

Although the book does look at problems faced by the African-American community of Del Rio regarding education, and the author doesn’t shy away from discussing the tensions between these communities, I would have liked to see more discussion of this diversity and its impact on what happened in the classroom.  

Also, I’m concerned that readers may miss some of the nuances described in the chapter “When the Chicano Movement Came, Our Schools Went Away.” As someone who grew up in southern California and saw first-hand the tremendous contributions to our communities by La Raza, I would not want readers to get the wrong impression about the Chicano Movement.

Overall, I highly recommend this book to everyone interested in educational and ethnic history of the Plains. As one of Esparza’s informants explained, “that a Latino community could establish and maintain its own educational system along the borderlands at the height of Jim Crow is a history worth telling.”

About our Guest Reviewer:

Chuck Braithwaite graduated from San Gabriel High a couple kilometers from downtown Los Angeles. 

After 4 years in the US Navy, he earned a BA from the Univ of Calif, Santa Barbara, and an MA & PhD from the Univ of Washington. 

He taught speech & intercultural communication at New Mexico State, Arizona State, and for the past 21 years taught at the Univ of Nebraska, Lincoln, where he also served as Editor of Great Plains Quarterly. 

Dr. Braithwaite is now retired, living a couple of kilometers from the Pacific Ocean in Southern Calif.

Passion, Power, and Paper Bag Poetry Books: An Afternoon with A.K. Toney

Olga García Echeverría

When I was in my 20's I believed that passion (be it for a particular person, for poetry, for social justice or for lo que sea) was everything. Without passion, there was no poetry, no ganas, no nada. Being a person without passion was like being a deflated brown paper lunch bag.

 

Deflated Lunch Bag: Metaphor for Passionless Person

 

Now in my 40's I still think passion is a wondrous thing, but I see passion as a moon; it waxes and wanes. Sometimes it's big and bright, and other times it's dark and dormant.

 

Passion Hanging Over Long Beach:
Waxing or Waning?

I love teaching, for example, but at times I've felt uninspired, disconnected. It's this way with writing too. I can't imagine my life without writing, but there have been moments (seasons actually) when poetry did not speak to me. When workshopping felt like a chore. When attending a poetry reading was torture. When despite my love for the creative Word, I did not feel inspired by It. Can I get a witness?
 

 

When inspiration wanes, have a cosmo...or two

Cosmos are short-lived, but it's really Octavia Butler's words that endure, “Forget inspiration. Habit is more dependable...Habit will sustain you whether you're inspired or not.” This I believe to be true. It is because of habit or ritual that I am here, still writing. Inspiration when it arrives is the high of highs, but sometimes as poets, as artists, as educators, as bloggers we have to jumpstart the passion. We have to take a deflated paper bag and make something marvelous of it.
 

Enter writer and poet A.K. Toney and his paper bag poetry books.

 

 

Aside from being a father, husband, and student, Toney is also a founder of Reading is Poetry, a Los Angeles based literacy program dedicated to improving reading and writing comprehension and enhancing expression through verse. Reading is Poetry, which has been around since 2005, works with all age groups but a primary focus of the organization has been K-5 inner-city children.

 

When I asked Toney to share a little about the mission of Reading is Poetry, he stated, “We encourage self esteem, writing, and we do it all through the tool of poetic license." Unlike prescriptive teaching approaches that focus on error correction, Toney explains that "poetic license allows a child, a student, anyone who is writing poetry to spell words phonetically or to use the abbreviation of a that word. That doesn't necessarily mean the word is spelled correctly, but it means that you can read the word and you understand what the writer is trying to communicate. I encourage that. When kids misspell words, we know what happens. Teachers do this all the time--spell it for them correctly. But in poetry, it doesn't matter. You can misspell a word. We tell our students, 'We want to encourage you, Reading is Poetry wants to encourage you to write more. We will show you how to spell the word correctly and make other words up too, but right now what we want you to do is write your feelings out no matter if they are misspelled. We want to get you to write more and we will teach you how to create an art form from that, which is poetry.'”

And how does Toney inspire and teach students to create an art form? Through reading, writing workshops, and book making.

 

A.K. con sus libros poderosos de papel

The first time I ever saw A.K. Toney's poetry books was at a Poets & Writers Workshop Leaders Retreat earlier this year. During the retreat, A.K. pulled out a small book about the size of a wallet and passed it around. It was decorated with cutout images, text, and it had several pockets where mini poems or passages were inserted. Being a fan of handmade books, I was instantly intrigued by these lunch bag libritos. Hence meeting A.K. Toney at Philippe's on Alameda this week for a Bloga interview and a bookmaking session.

It was obvious from the onset of our meeting that both of us are "crafty" kind of people. Aside from paper bags, A.K. brought packages of patterned paper, stickers, ribbon, and a paper cutter. When I started to pull out all my bookmaking materials, A.K. asked me, "Did you bring empty toilet paper rolls?" I knew then that this bookmaking session was serious. We got right to work, A.K. confessing that he likes crafting. "Not a lot of straight men can admit they like this kind of stuff, " he said, "Cutting, pasting, making things with your hands." And a little later, "I can't believe we're scrapping at a restaurant." If you haven't been to Philippe's, the upstairs rooms (generally empty) and the large tables are a scrapper's dream.
 

 

A.K. teaching me the art of paper bag bookmaking

 

When I asked A.K. how and why he uses these books in his program, he held one up and said, “This is something that helps get students into reading and writing. Kids generally don't want to write, so when I show them something like this and read from it and tell them about poetry, they become very enthusiastic.”

I can see how these libritos made out of recycled materials attract. They may not light up like Ipads, but they ignite other things—imagination and an instinct, a need to touch, explore, and create.

If you were a child in a classroom would you rather read a passage in a traditional textbook or one in a handmade book that unravels with surprise pockets like this?

 

A.K.'s paper bag book on Black history

 

The act of reading these books is a hands-on exploration. It's all tactile and visual and you can hear the rustling of tissue paper as if unwrapping a gift. Kindle cannot give you this. Isn't it lovely?

 

 

And when you create your own paper bag book, all things are possible. This is where power and magic come in. A woman can ripen like a papaya on a kitchen counter. A dove carrying a love letter in its beak can fly out of a hot-pink heart. You can cut out an ocean or a constellation and hold these in the palms of your hands, pondering what you will do with them. You can paste rain on a page right next to the words “I AM...” You can take an empty toilet paper roll and flatten it into a mini pocket, and then you can put a giraffe in there. All things are possible in scrapping and bookmaking.

You can even honor the dead like A.K. Toney and I did this past week. The book he created during our session was a tribute to the late Maya Angelou. His short poem to her in his book reads:

A AND B CUTTING UP!

 

She the little girl

Didn’t talk for long time…

Caged bird sang

Rose up as Poet Laureate

Phenomenal Woman

On the Dawn and Cusp

Of morning… only you

And Baraka can cut the

Rug on Langston…

You and he doing that

Schomberg…

Angelou Immortalized

Maya Angelou paper bag book with inspirational quotes


And my lunch bag book was for my querida amiga tatiana de la tierra.
 

 

Pages of a fragmented poem for tatiana
 

Since tatiana's passing in 2012, I have been writing poetic fragments for her, but up until now I haven't really known what to do with them. The paper bag book gave me an opportunity to create mini collage poems. Healing via fun. These libritos are good medicine. By the end of the session, I felt the high of artistic creation, my moon of inspiration waxing. Thank you A.K. Toney for the work you are doing and for sharing your art with me and our Bloga readers.

 

Healing Arts

 

There are many ways to make a book out of a lunch bag. A.K. Toney said he first learned the skill via a YouTube video. If you search under "lunch bag mini album" you will get dozens of instructional videos. Making albums or books out of recycled materials isn't a new art, but every artists/writer can take the basics and expand on them. In Toney's case, he's taken the lunch bag into the inner-city classroom to inspire interest in the literary arts and to empower students and all writers to scrap their truth. As the Reading is Poetry motto states, “Read to write...then write yr story.”

To learn more about Reading is Poetry: http://www.readingispoetry.com/

About A. K. Toney

 

 

In a few words, A. K. Toney is a poet, writer and performance artist. For almost 20 years Toney has been an active member of the renowned cutting-edge African American arts enclave World Stage Performance Gallery’s Anansi Writer’s Workshop in Leimert Park Village (Los Angeles), Ca. As a member of the World Stage Toney had the honor to be mentored under the tutelage of Community leaders and Jazz greats such as Billy Higgins (founder of the World stage). Since 1993 Toney’s skills as a performance artist have lead him across the nation and abroad. While studying through various workshops he was given the opportunity as a part of the Mellon/Pew Grant Series to lecture about Performance Art at the California Institute of the Arts. Empowered by teaching A. K. became a Literacy Coordinator in 2005 creating a literacy program called Reading Is Poetry. Toney has dedicated his life to teaching people how to express their truth through poetry and literacy. His work has been anthologized in the following books:

Tough Love: Cultural Criticism and Familial Observations on the Life and Death of Tupac Shakur, Edited by Michael Datcher and Kwame Alexander 1996

Catch the Fire: Cross Intergenerational Anthology, Edited by Derrick Gilbert aka D-Knowledge 1998

Black Love: An Anthology, based from writing workshops and publication through Beyond Baroque Literary Art Center, Edited by Michael Datcher 1999

Drum Voices Revue: A Confluence of Literary Culture and Vision Arts, Edited by Eugene B. Redmond 1999

Raising Fences: A Black Man’s Love Story, Written by Michael Datcher 2001

Caprice, Mischief, and Other Poetic Strategies: An Anthology of Poems Based on Twenty Little Poetry Projects, Edited by Terry Wolverton 2004

Catching Hell in the City of Angels, Life and Meanings of Blackness in South Central Los Angeles, Written by Joao H. Costa Vargas 2006