Callaloo (literary magazine)

Last updated

History

Charles H. Rowell initially conceived the idea for Callaloo in 1974 out of necessity for a Black South forum. Rowell was first inspired to create a Black South forum when writing an article on a recent interview he had with Sterling Brown, a poet and critic at Howard University. Rowell was impressed by all that Brown had done to preserve, promote, and celebrate African-American culture and literature. Wanting to further advance the sphere of African-American literature, particularly in the South, Rowell sought to create an independent venue for Black writers in the South. [4] In the wake of the Black Arts Movement, which according to Rowell pushed a narrow political ideology associated with northern urban communities, there was a severe lack of Black Southern literature. In addition, the presence of systemic discrimination against Black people in the South created a barrier from Black writers works being published. Rowell sought to fix this by creating a "Black South forum" to allow Black writers in the South to have their voices heard. With the help of colleagues, students, and fundraising at Southern University, Callaloo's first issue was published in 1976 in Baton Rouge, Louisiana, as a Black South literacy forum. [4]

After Callaloo's initial publication in 1976, it quickly grew beyond the initial concept of it being a Black Southern forum. In 1977, Rowell moved to the University of Kentucky, where he published Callaloo's second issue from his academic office. [4] After the journal gained a university affiliation, it lost two of its original three editors –

Tom Dent and Jerry Ward – which, according to Margo Natalie Crawford, is when the journal blossomed into what it is now: an acclaimed journal for black diasporic art and literature. [5]  In its early years, Callaloo included short stories from Rita Dove, a novel by Nathaniel Mackey, and poetry by Melvin Dixon, Brenda Marie Osbey, Gerald Barrax, and Jay Wright. In 1986, Charles Rowell moved to the University of Virginia, which is when Johns Hopkins University began publishing the magazine. At the University of Virginia, Rowell and his staff sought to extend readership not only nationally, but also internationally. Callaloo was no longer just for Black writers in the South; it evolved into its own epicenter to promote Black voices and culture across the African diaspora. In order to accomplish this task, Rowell and his staff traveled to various Universities and libraries to hold international readings and workshops to bring together writers and artists from various backgrounds across the African diaspora. According to Rowell, these initiatives proved successful, and after his move to Texas A&M University, Rowell and his team continued to receive ample support from the university to sponsor workshops and competitions to bring black artists together from a variety of backgrounds and cultures. Through writing competitions, developing writers and their potential were recognized; as a result, many upcoming writers were sponsored by the university, and received help with their first publications, some of which were even included in Callaloo, such as the Pulitzer Prize-winning poet Natasha Trethewey. [4] 

At Texas A&M University, Rowell worked on a project to investigate histories of African descent in different areas of the Caribbean and South and Central America. The region's history, life, literature, and culture were of particular interest to the project. [4] According to Carrol F. Coates, who has worked with Callaloo to maintain the presence of Haitian literature in the journal, Rowell would make one or more visits to each Caribbean island in order to meet and interview writers of African descent and gather visual impressions along with manuscripts. [6] As a result, Callaloo, over its history, has published various special issues about Brazil, Haiti, Cuba, Surinam, and Mexico. Prominent writers from these areas have also been published, including Maryse Condé, Nicolas Guillén, Derek Walcott, and Nancy Morejón. The journal has also represented many languages from the Caribbean, and South and Central America, including English, Spanish, French, Haitian Kreyol, Portuguese, and Dutch. [6]

Influence and significance

Callaloo's impact has been its ability to bring the African Diaspora together in one location, both through text, and through literary and cultural activities. It is described as serving as the arbiter for intercultural communication. [5] Margo Natalie Crawford's 2017 book Black Post-Blackness examines the practice of diaspora in the Callaloo: it is a mixing and remixing of different frames of mind into ideas that are entirely new, which work to progress the knowledge of African Diaspora literature. [5] The journal's name reflects this, as "Callaloo" is a type of Jamaican dish that mixes various vegetables into one soup. In Callaloo's 30th-celebration issue, Charles Rowell describes the significance and uniqueness of the journal:

The forum I founded and first published in 1976 is today the only American literary journal to organize and coordinate literary and cultural activities throughout the African Diaspora. [...] Perhaps, and most importantly, the journal, from its beginning in 1976, continues to be the sole North American cultural enterprise that not only identifies and encourages new African-American writers, but also publishes them right along with established writers. [4]

Callaloo and the Black Arts Movement

In the wake of the Black Arts Movement, Callaloo helped redefine the Black aesthetic. Rowell wanted a journal that was removed from what he saw as a prescriptive and limited Black aesthetic that was overly intertwined with the North and the Black Arts Movement. [4] Rowell sees the innovation in post-Black Arts Movement artists as much more representative of his view of the Black aesthetic compared to what he saw as the "programmatic nature" of the Black Arts Movement. [7] Callaloo, to Rowell and his supporters, represents the spirit of Black aesthetics. Margo Natalie Crawford describes the aesthetic in Callaloo as "the power of becoming", which has done a great deal to change conceptions about the Black aesthetics following the Black Arts Movement. [5]

Awards

In addition to receiving grants of support from agencies such as the Lannan Foundation and the National Endowment for the Arts, the magazine has garnered a number of honors, including the best special issue of a journal from the Council of Editors of Learned Journals for "The Haitian Issues" in 1992 (volume 15.2 & 3: Haiti: the Literature and Culture Parts I & II); an honorable mention for the "Best Special Issue of a Journal" in 2001 from the Professional/Scholarly Publishing Division of the American Association (volume 24.1: The Confederate Flag Controversy: A Special Section); and recognition for the Winter 2002 issue from the Council of Editors of Learned Journals as one of the best special issues of that year (volume 25.1: Jazz Poetics). Callaloo also ranked 13th in Every Writer's Resource's Top 50 Literary Magazines in 2018.

Abstracting and indexing

Callaloo is abstracted and indexed in the following bibliographic databases: [8]

According to Scopus, Callaloo has a 2018 CiteScore of 0.04, ranking 479/736 in the category "Literature and Literary Theory". [9]

See also

Related Research Articles

Négritude is a framework of critique and literary theory, developed mainly by francophone intellectuals, writers, and politicians of the African diaspora during the 1930s, aimed at raising and cultivating "Black consciousness" across Africa and its diaspora. Négritude gathers writers such as sisters Paulette and Jeanne Nardal, Martinican poet Aimé Césaire, Abdoulaye Sadji, Léopold Sédar Senghor, and Léon Damas of French Guiana. Négritude intellectuals disavowed colonialism, racism and Eurocentrism. They promoted African culture within a framework of persistent Franco-African ties. The intellectuals employed Marxist political philosophy, in the Black radical tradition. The writers drew heavily on a surrealist literary style, and some say they were also influenced somewhat by the Surrealist stylistics, and in their work often explored the experience of diasporic being, asserting one's self and identity, and ideas of home, home-going and belonging.

<span class="mw-page-title-main">Black Arts Movement</span> 1960s–1970s art movement

The Black Arts Movement (BAM) was an African American-led art movement that was active during the 1960s and 1970s. Through activism and art, BAM created new cultural institutions and conveyed a message of black pride. The movement expanded from the incredible accomplishments of artists of the Harlem Renaissance.

Jay Wright is a poet, playwright, and essayist. Born in Albuquerque, New Mexico, he lives in Bradford, Vermont. Although his work is not as widely known as other American poets of his generation, it has received considerable critical acclaim, with some comparing Wright's poetry to the work of Walt Whitman, T. S. Eliot and Hart Crane. Others associate Wright with the African-American poets Robert Hayden and Melvin B. Tolson, due to his complexity of theme and language, as well as his work's utilization and transformation of the Western literary heritage. Wright's work is representative of what the Guyanese-British writer Wilson Harris has termed the "cross-cultural imagination", inasmuch as it incorporates elements of African, European, Native American and Latin American cultures. Following his receiving the Bollingen Prize in Poetry in 2005, Wright is recognized as one of the principal contributors to poetry in the early 21st century. Dante Micheaux has called Wright "unequivocally, the greatest living American poet"."

<span class="mw-page-title-main">Léon Damas</span>

Léon-Gontran Damas was a French poet and politician. He was one of the founders of the Négritude movement. He also used the pseudonym Lionel Georges André Cabassou.

<span class="mw-page-title-main">Peter Nazareth</span> Literary critic and writer

Peter Nazareth is a Ugandan-born literary critic and writer of fiction and drama.

Umbra was a collective of young black writers based in Manhattan's Lower East Side that was founded in 1962.

<span class="mw-page-title-main">Keorapetse Kgositsile</span> South African poet and political activist (1938–2018)

Keorapetse William Kgositsile, also known by his pen name Bra Willie, was a South African Tswana poet, journalist and political activist. An influential member of the African National Congress in the 1960s and 1970s, he was inaugurated as South Africa's National Poet Laureate in 2006. Kgositsile lived in exile in the United States from 1962 until 1975, the peak of his literary career. He made an extensive study of African-American literature and culture, becoming particularly interested in jazz. During the 1970s he was a central figure among African-American poets, encouraging interest in Africa as well as the practice of poetry as a performance art; he was well known for his readings in New York City jazz clubs. Kgositsile was one of the first to bridge the gap between African poetry and African-American poetry in the United States.

Thomas Sayers Ellis is an American poet, photographer and band leader. He previously taught as an associate professor at Case Western Reserve University in Cleveland, Bennington College in Vermont, and also at Sarah Lawrence College until 2012.

Houston Alfred Baker Jr. is an American scholar specializing in African-American literature and Distinguished University Professor of English at Vanderbilt University. Baker served as president of the Modern Language Association, editor of the journal American Literature, and has authored several books, including The Journey Back: Issues in Black Literature and Criticism, Modernism and the Harlem Renaissance, Blues, Ideology, and Afro-American Literature, and Workings of the Spirit: The Poetics of Afro-American Women's Writing. Baker was included in the 2006 textbook Fifty Key Literary Theorists, by Richard J. Lane.

Haitian literature has been closely intertwined with the political life of Haiti. Haitian intellectuals turned successively or simultaneously to African traditions, France, Latin America, the UK, and the United States. At the same time, Haitian history has always been a rich source of inspiration for literature, with its heroes, its upheavals, its cruelties and its rites.

<span class="mw-page-title-main">Samiya Bashir</span> American writer

Samiya A. Bashir is an American lesbian poet and author. Much of Bashir's poetry explores the intersections of culture, change, and identity through the lens of race, gender, the body and sexuality. She is currently associate professor of creative writing at Reed College in Portland, Oregon.

<span class="mw-page-title-main">Jeffery Renard Allen</span> American poet

Jeffery Renard Allen is an American poet, essayist, short story writer and novelist. He is the author of two collections of poetry, Harbors and Spirits and Stellar Places, and four works of fiction, the novel Rails Under My Back, the story collection Holding Pattern a second novel, Song of the Shank, and his most recent book, the short story collection “Fat Time and Other Stories”. He is also the co-author with Leon Ford of “An Unspeakble Hope: Brutality, Forgiveness, and Building A Better Future for My Son”.

David Henderson is an American writer and poet. Henderson was a co-founder of the Black Arts Movement in the 1960s. He has been an active member of New York’s Lower East Side art community for more than 40 years. His work has appeared in many literary publications and anthologies, and he has published four volumes of his own poetry. He is most known for his highly acclaimed biography of rock guitarist, Jimi Hendrix, which he revised and expanded for a second edition which was published in 2009.

Bruce Morrow is an American, LGBTQ writer and editor living in New York City.

Miriam Aparecida Alves is a Brazilian writer, activist and poet.

LaShonda Katrice Barnett is an American author, playwright, and former radio host. She has published short stories, edited books on African-American music, and written a trilogy of full-length plays.

Trudier Harris is an American literary scholar, author, and Professor Emerita at the University of Alabama. She was the J. Carlyle Sitterson Distinguished Professor at University of North Carolina at Chapel Hill.

Carole Boyce Davies is a Caribbean-American professor of Africana Studies and English at Cornell University, the author of the prize-winning Left of Karl Marx: The Political Life of Claudia Jones (2008) and the classic Black Women, Writing and Identity: Migrations of the Subject (1994), as well as editor of several critical anthologies in African and Caribbean literature. She is currently the Frank H. T. Rhodes Professor of Humane Letters, an endowed chair named after the 9th president of Cornell University. Among several other awards, she was the recipient of two major awards, both in 2017: the Frantz Fanon Lifetime Achievement Award from the Caribbean Philosophical Association and the Distinguished Africanist Award from the New York State African Studies Association.

Joan Anim-Addo is a Grenadian-born academic, poet, playwright and publisher, who is Emeritus Professor of Caribbean Literature and Culture in the English and Creative Writing Department at Goldsmiths, University of London.

Danielle Legros Georges is a Haitian-born American poet, essayist and academic. She is a professor of creative writing in the Lesley University MFA Program in Creative Writing. Her areas of focus include contemporary American poetry, African-American poetry, Caribbean literature and studies, literary translation, and the arts in education. She is the creative editor of sx salon, a digital forum for innovative critical and creative explorations of Caribbean literature.

References

  1. "Top 50 Literary Magazine". Every Writer's Resource. January 12, 2023. Retrieved August 17, 2015.
  2. "Eminent African American Literary journal Celebrates 25th Year", CLMP Newswire, Volume 1, Number 1, March 15, 2001. Archived September 28, 2011, at the Wayback Machine . CLMP Newswire.
  3. "Callaloo". aalbc.com. Retrieved November 5, 2022.
  4. 1 2 3 4 5 6 7 8 Rowell, Charles H. (2007). "Making Callaloo : Past, Present, and Future". Callaloo. 30 (1): 402–405. doi:10.1353/cal.2007.0170. ISSN   1080-6512. S2CID   161278511.
  5. 1 2 3 4 Crawford, Margo Natalie (May 12, 2017). Black post-blackness : the black arts movement and twenty-first-century aesthetics. Urbana: University of Illinois Press. ISBN   978-0-252-09955-7. OCLC   1032364473.
  6. 1 2 Coates, Carrol F. (2007). "Callaloo 's Thirtieth: Haiti, the Caribbean, and Elsewhere". Callaloo. 30 (1): 179–181. doi:10.1353/cal.2007.0112. ISSN   1080-6512. S2CID   162316068.
  7. Rowell, Charles Henry, ed. (2013). Angles of Ascent: A Norton Anthology of Contemporary African American Poetry. New York: W.W. Norton & Co. pp. 28–38.
  8. "Callaloo". MIAR: Information Matrix for the Analysis of Journals. University of Barcelona . Retrieved August 5, 2018.
  9. "Scopus preview - Scopus - Sources". www.scopus.com.