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Universalizing the Particular in Unbroken Circles: Sonia Sanchez within the Academy

by Dr. Frenzella Elaine DeLancey

(excerpt)

        

      "I’ve always known that if you write from a black experience, you’re writing from a universal experience as well . . . I know you don’t have to whitewash yourself to be universal. . . . .All poets, all writers are political. They either maintain the status quo, or they say, 'Something’s wrong, let’s change it for the better.' That’s what my life has really been about."

-- Sonia Sanchez.

 

". . . Sonia Sanchez taught  her first college course. . .  at a place called San Francisco State College (1967-69).  She was part of the  initial group to form the first Black Studies Institute in the U.S.A.  Along with Amiri Baraka, Ed Bullins and Marvin X, she helped to launch the Black Arts Movement West in San Francisco.  From there  she went on to the University of Pittsburgh, where she developed a pioneering course on the Black Woman.  She . . . also taught at Rutgers University, Manhattan Community college, Amherst College and the University of Pennsylvania. Her longest tenure has been at Temple University . . .”

-- James Spady.

 

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            Various media attest to Sonia Sanchez’s dynamic presence in American society. References to her work now appear everywhere from television commercials to cyberspace. Her presence in the latter sphere—the 'Information Superhighway' that has come to epitomize postmodern technological advancement—mirrors her public status, in that it, too, has evolved with astonishing rapidity. Any Internet search engine will uncover a plethora of  Sanchez-themed web pages, from fans' paeans to the poet, to publishers' and  book distributors' assessments of her ever-increasing commercial value. Although this continuing presence is impressive, more impressive—indeed startling—is  the  manner in which  Sanchez’s body of work has evolved within the halls of academe. Sanchez's writing exists in several dimensions, simultaneously meeting and confounding conventional expectations, and fusing the cosmology of the streets with the formal gaze of the Ivory Tower. This essay explores that synergy. In so doing, the essay reflects both journalistic objectivity (sometimes even unqualified hagiography) and experience-based accounts of encounters with the artist and her work—including the perceptions of undergraduate students reading Sanchez's poetry and prose for the first time. . . .

          -- See B.Ma: SSLR, 8.1 for the full text of this essay.

     

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MODIFIED: 1 October 2007

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