As a poet and writer, I deeply love and I deeply hate words. I love the infinite evidence and change and requirements and possibilities of language; every human use of words that is joyful, or honest or new, because experience is new... But as a Black poet and writer, I hate words that cancel my name and my history and the freedom of my future: I hate the words that condemn and refuse the language of my people in America.
Interpretation
This quote expresses a profound love for the power of words while simultaneously lamenting the oppressive nature of language that can erase identity and history.
June Jordan's quote captures the duality of language as both a source of creativity and a tool of oppression. As a poet, she appreciates the beauty, potential, and transformative power of words, recognizing how they can convey joy and honesty. However, as a Black poet, she is deeply aware of the language that marginalizes her identity and history, feeling a visceral hatred towards the words that dismiss or devalue her experience and the legacy of her people. This juxtaposition highlights the complexities of language in shaping individual and collective identity.
In practice
In a discussion about the importance of language in literature festivals.
I am a feminist, and what that means to me is much the same as the meaning of the fact that I am Black: it means that I must undertake to love myself and to respect myself as though my very life depends upon self-love and self-respect.
Anytime you see white men suppose to fight each other an you not white, well you know you got trouble, because they blah-blah loud about Democrat or Republican an they huffing an puff about democracy someplace else but relentless, see, the deal come down evil on somebody don have no shirt an tie, somebody don live in no whiteman house no whiteman country.
In America, the traditional routes to black identity have hardly been normal. Suicide (disappearance by imitation, or willed extinction), violence (hysterical religiosity, crime, armed revolt), and exemplary moral courage; none of these is normal.
Good poetry and successful revolution change our lives. And you cannot compose a good poem or wage a revolution without changing consciousness unless you attack the language that you share with your enemies and invent a language that you share with your allies.
I am the history of the rejection of who I am
We need everybody and all that we are. We need to know and make known the complete, constantly unfolding, complicated heritage that is our black experience. We should absolutely resist the superstar, one at a time mentality that threatens the varied and resilient, flexible wealth of our Black future.
When I work, I'm just translating the world around me in what seems to be straightforward terms. For my readers, this is sometimes a vision that's not familiar. But I'm not trying to manipulate reality. This is just what I see and hear.
Poetry is a fireplace in summer or a fan in winter.
I started being interested in acting when I heard the voices of Sir Laurence Olivier and Sir John Gielgud and Sir Alec Guinness. Ive had the great privilege of working with Sir Derek Jacobi and Sir Anthony Hopkins. These are people who inspire the work that I do.
When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that. So the director's task is just that β to direct, to point the way. Then the actor takes over. And he must be allowed the space, the freedom to express himself in the role. Without that space, an actor is no more than an unthinking robot with a chest-full of push-buttons.
Pop culture was in art _x000D_ Now, art's in pop culture in me
Comics are expensive. Donβt make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters β preferably both β and every panel that does neither is a sloppy waste of space.
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