Kimberly W Benston
Biographic Data
| ID | 1032142 |
|---|---|
| NAME | Kimberly W Benston |
| GIVEN NAMES | Kimberly W |
| FAMILY NAME | Benston |
| SIGNATURE | BENSTON K W |
| AFFILIATIONS | Haverford College |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1975 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 2 |
I Yam What I Am
667 African American Review 50.4 (Winter 2017): 667-675© 2018 Johns Hopkins University Press and Saint Louis University Benston_Benston 2/14/2018 5:07 PM Page 667 668 AFRICAN AMERICAN REVIEW Benston_Benston 2/14/2018 5:07 PM Page 668 KIMBERLY W. BENSTON 669 Benston_Benston 2/14/2018 5:07 PM Page 669 670 AFRICAN AMERICAN REVIEW Benston_Benston 2/14/2018 5:07 PM Page 670 KIMBERLY W. BENSTON 671 Benston_Benston 2/14/2018 5:07 PM Page 671 672 AFRICAN…
I yam what I am
The Word and the contradiction of the Word, to paraphrase Ralph Ellison, is, to a substantial degree, Frederick Douglass's primary theme and, quite understandably, his obsession. To be sure, Douglass was also attracted to other features of the Creole affair, one such feature being the heroic role played by the British government in Nassau when it freed American slaves who had revolted. Douglass might very possibly have been attracted to Washingto…
Preface to a Twenty Volume Critical Note
Preface to a Twenty Volume Critical NoteFor Amiri, Ghost of the Future Kimberly W. Benston (bio) Amiri Baraka will for me be forever entwined with Larry Neal. I had read much of Baraka’s work by the time I enrolled in Larry’s class “Black Power and the Black Arts” in 1972, but Larry made vivid the living context in which so much of Baraka’s most stirring work had its dramatic effect. In that class, the work wasn’t embalmed as historical artifact …
Listen Br'er Sterling
Callaloo - Volume 21, Number 4, Fall 1998
"The Changing Same"
The veil of black
Speaking for You
Traces of the Other Scene
From what space, in what voice, do David Miller's pictures solicit attention and response? My task, my desire, to describe the pieces' meaning, purpose, and effect doubles their own uncertain notice, their cryptic location between image and story, stasis and motion, silence and expressivity, purity and process. Where and when do these photographs take place, and to whom are they addressed? Such questions already alert us to the meta-representatio…
"I Yam what I Am"
Several years ago-so the story goes-Malcolm X was engaged in a heated debate with a prominent black academic. Sensing that they had reached a moment of absolute impasse, Malcolm paused briefly, then queried his antagonist: Brother Professor, do you know what they call a black man with a Ph.D.? No. What? came the reply, to which Malcolm answered simply: Nigger. The story, whatever it might suggest about the often internecine dynamics of contempora…
Sterling Brown's After-Song
Ellison, Baraka, and the Faces of Tradition
Amiri Baraka
Baraka
Tragic Aspects of the Blues
T HE DUALITY OF American mythology a dream of social success and perfection on one hand and the fear of failure so strong as to produce on the otheris the conflict essential to our indigenous tragedy. The reality of this conflict is seen at every level of our experience. The process of such conflict produces a double image of reality which we might call, in the language of Oscar Mandel, the tragic facts' of experience. Death, of the individual or…
Tragic Aspects of the Blues
T HE DUALITY OF American mythology a dream of social success and perfection on one hand and the fear of failure so strong as to produce on the otheris the conflict essential to our indigenous tragedy. The reality of this conflict is seen at every level of our experience. The process of such conflict produces a double image of reality which we might call, in the language of Oscar Mandel, the tragic facts' of experience. Death, of the individual or…
Baraka
Ellison, Baraka, and the Faces of Tradition
Amiri Baraka
"I Yam what I Am"
Several years ago-so the story goes-Malcolm X was engaged in a heated debate with a prominent black academic. Sensing that they had reached a moment of absolute impasse, Malcolm paused briefly, then queried his antagonist: Brother Professor, do you know what they call a black man with a Ph.D.? No. What? came the reply, to which Malcolm answered simply: Nigger. The story, whatever it might suggest about the often internecine dynamics of contempora…
Sterling Brown's After-Song
Speaking for You
Traces of the Other Scene
From what space, in what voice, do David Miller's pictures solicit attention and response? My task, my desire, to describe the pieces' meaning, purpose, and effect doubles their own uncertain notice, their cryptic location between image and story, stasis and motion, silence and expressivity, purity and process. Where and when do these photographs take place, and to whom are they addressed? Such questions already alert us to the meta-representatio…
The veil of black
"The Changing Same"
Listen Br'er Sterling
Callaloo - Volume 21, Number 4, Fall 1998
Preface to a Twenty Volume Critical Note
Preface to a Twenty Volume Critical NoteFor Amiri, Ghost of the Future Kimberly W. Benston (bio) Amiri Baraka will for me be forever entwined with Larry Neal. I had read much of Baraka’s work by the time I enrolled in Larry’s class “Black Power and the Black Arts” in 1972, but Larry made vivid the living context in which so much of Baraka’s most stirring work had its dramatic effect. In that class, the work wasn’t embalmed as historical artifact …
I yam what I am
The Word and the contradiction of the Word, to paraphrase Ralph Ellison, is, to a substantial degree, Frederick Douglass's primary theme and, quite understandably, his obsession. To be sure, Douglass was also attracted to other features of the Creole affair, one such feature being the heroic role played by the British government in Nassau when it freed American slaves who had revolted. Douglass might very possibly have been attracted to Washingto…
I Yam What I Am
667 African American Review 50.4 (Winter 2017): 667-675© 2018 Johns Hopkins University Press and Saint Louis University Benston_Benston 2/14/2018 5:07 PM Page 667 668 AFRICAN AMERICAN REVIEW Benston_Benston 2/14/2018 5:07 PM Page 668 KIMBERLY W. BENSTON 669 Benston_Benston 2/14/2018 5:07 PM Page 669 670 AFRICAN AMERICAN REVIEW Benston_Benston 2/14/2018 5:07 PM Page 670 KIMBERLY W. BENSTON 671 Benston_Benston 2/14/2018 5:07 PM Page 671 672 AFRICAN…
Art (12 works) · History (9 works) · Race, History, and American Society (6 works) · Art history (5 works) · Literature (5 works) · History (4 works) · Philosophy (4 works) · American and British Literature Analysis (3 works) · Latin American and Latino Studies (3 works) · Linguistics (3 works)