Amiri Baraka Quotes
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I had a little portable typewriter. I call it my Harlem Literary Fellowship.
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My family came to Newark in the '20s. We've been there a long, long time. My father's name was LeRoi, the French-ified aspect of it, because his first name was Coyette, you see. They come from South Carolina.
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The man who buried Malcolm X - my Muslim imam, priest - he, after I got beat up by police... came to me, and he said, 'You don't need this American name.' And I was susceptible to it at the time because, God knows, I had just gotten whipped near to death. So he gave me an Arab name; he gave me the name Amir Barakat.
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I always liked jazz. And my people liked the old blues, race records and the doo-wop and all that.
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Mao Zedong was a revolutionary. He made a revolution.
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There will be, and should be, reams and reams of analysis, even praise, for our friend but also even larger measures of non-analysis and, certainly, condemnation for James Baldwin, the Negro writer.
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As a political artist, I think you have to learn how to create art, no matter what your ideology is.
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'Griot' is a French word which means, you know, really, literally, 'cry.' You know, like the town crier. You know, they come in and say, you know, 'It's nine o'clock; everything is cool.' You know, 'President Bush is a fool.' I mean, stuff like that just to tell you. But for the kind of, the African thing is called djali.
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I changed my name when we became aware of the African revolution and the whole question of our African roots.
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I had just been in some repressive situations - the black middle-class college scene and the crazy United States Air Force - and so I just felt like getting out of that. I thought, now, that I wanted to be a writer. I had something that I wanted to do, that I was interested in doing, so I wanted to pursue that.
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Jimmy Baldwin was the creator of contemporary American speech even before Americans could dig that. He created it so we could speak to each other at unimaginable intensities of feeling, so we could make sense to each other at yet higher and higher tempos.
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I'm trying to make the poems as musical as I can - from the inception. So that whether they're read on the page, or people read them aloud, or I read them aloud, the musicality will be kind of a given.
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The poet is someone, I think, who's interested in registering experience immediately or giving you the sense of immediacy and directness.
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The black artist's role in America is to aid in the destruction of America as he knows it.
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If the flag of an armed enemy of the U.S. is allowed to fly over government buildings, then it implies that slavery, or at least the threat of slavery, is sanctioned by that government and can still legally exist.
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It seems natural to me that as a writer, you should have some kind of, you know, there should be some kind of projection that you actually have influenced people who are closest to you.
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Howard University shocked me into realizing how desperately sick the Negro could be, how he could be led into self-destruction, and how he would not realize that it was the society that had forced him into a great sickness.
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I came to my Marxist view as a result of having struggled as a nationalist and found certain dead ends theoretically and ideologically, as far as nationalism was concerned, and had to reach out for a communist ideology.