339:. In this book, Wright "attempts to bridge past and present and meditates on feelings of exclusion from society or personal identity using geographical settings as backdrops for the autobiographical persona's spiritual, emotional, and intellectual growth." The poem that opens the volume, "Wednesday Night Prayer Meeting", has a narrator who is mostly detached from the scene described in the poem and then becomes ironically part of "the uncertain, inconclusive encounter between man and God in a Black church.". The poem suggests an ambiguous, questioning attitude towards traditional religion that is revealed in the congregants' Africanization of Christianity: "They have closed their night / with what certainty they could, / unwilling to change their freedom for a god." Critical reception of
320:, the language, imagery and sensibility have been described as romantic and conventional in nature. In other poems from this collection, however, the tone, style and subject matter are not dissimilar to those found in poems published many years later as regards their concern for religious experience and the exploration of African myth and religion.
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When he was in high school, Wright began to play bass, and when Neil Arditi met him in the late 1990s, Wright was still performing as a jazz bassist. Jazz music informs Wright's work and aesthetic in various ways, in poems such as "Wednesday Night Prayer
Meeting", "Billie's Blues", and "Twenty-Two
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Wright's family origins are emblematic of the multi-cultural nature of his literary work. His mother, Leona Dailey, was born in
Virginia and had both African and Native American ancestry, while his father, George Murphy, or Mercer Murphy Wright, as he was also known, claimed African, Cherokee and
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As a young man, Wright played minor-league baseball, appearing in 76 games over two seasons (1953–1954) with the
Mexicali Eagles of the Arizona-Texas League and the Fresno Cardinals of the California League. In 1954, Wright abandoned his baseball career to serve in the U.S. Army medical corps in
300:. Wright himself has disowned the book in print, saying that it was not intended as a unified work, but merely as "a group of poems selected from those had on hand". At the time the book was published, Wright was employed on a tour of black schools in the South for the
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hailed it as "a tense and memorable collection", in which Wright "is making his way among troubled alternatives", in search of an independent black voice. However, in contrast to Wright's later work, the themes of this book have been described as "conventional".
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Irish roots. Murphy held diverse blue-collar jobs, which included working construction, driving a jitney, and working as a handyman. However, Wright grew up in foster care in
Albuquerque, and moved to San Pedro, California, in his teens to live with his father.
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also contrasts the earlier volumes with the poet's later work, saying that one may "accept (and enjoy)" the earlier poems "with fewer questions", in contrast to the esoteric difficulty and rigor of the later poems. Charles H. Rowell associates the poems in
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sees a thematic and technical unity, describing these books as "so remarkably unified and consistent in subject, theme, tone, and technique that they might all constitute a single work." Indeed, Wright himself has suggested that his books up to
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with confessional poetry in its focus on personal, autobiographical experience in contrast to the later poetry, which he characterizes as less immediately personal and grounded more in books and scholarship than in lived experience.
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has argued that Wright's earlier poetry is more closely aligned with "the rebellious mood of the
Sixties", referring in particular to the poems "Death as History" and "A Plea for the Politic Man". In his review of the volume
175:, 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
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155:. 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
293:, which contained 15 poems, published in 1967 by Poets Press. Although this collection has never been republished, some of the poems were included in Wright's first full-length book,
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has termed the "cross-cultural imagination", inasmuch as it incorporates elements of
African, European, Native American and Latin American cultures. Following his receiving the
204:": "Cigarettes in my mouth / to puncture blisters in my brain. / My bass a fine piece of furniture. / My fingers soft, too soft to rattle / rafters in second-rate halls."
254:, has been read as "a virtual declaration of independence from BAM," addressed directly to LeRoi Jones (later Amiri Baraka), the founder of the Black Arts Movement.
219:. He received his BA from Berkeley in 1961, and his MA from Rutgers in 1967. In 1964, he taught English and medieval history for a year at the Butler Institute in
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223:, Mexico. After this experience, he returned to Rutgers to finish his MA and begin work on a PhD, but left before completing his doctoral degree.
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246:. Wright has been described as a member of the Black Arts Movement, although in a monograph dedicated to the movement, only Wright's first book,
415:) constitute a unified, ordered series, "a dramatic process, with all its tensions and resolutions." Furthermore, the back cover copy of 2007's
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As a student at
Rutgers, Wright lived in Harlem, where he met African-American writers associated with the
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in 2005, Wright is recognized as one of the principal contributors to poetry in the early 21st century.
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Wright, Jay (1987). "Desire's Design, Vision's
Resonance: Black Poetry's Ritual and Historical Voice".
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242:. Wright would later write the introduction to Dumas' posthumously published collection of poetry,
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Tremblings of the
Postulant". The poet's experience as a jazz bassist is referenced in the poem "
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Okpewho, Isidore (1991). "From a Goat Path in Africa: An
Approach to the Poetry of Jay Wright".
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Smethurst, James. "The Black Arts Movement and Historically Black Colleges and Universities" in
250:, is discussed in connection with the group. Indeed, Wright's poem "Idiotic and Politic", from
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1540:"Kenneth Koch and Jay Wright reading their poems in the Coolidge Auditorium, Nov. 15, 1976"
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thought he ought to have a book of poems; therefore, she helped him publish the book with
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118:, 2006 American Book Award Lifetime Achievement Award from the Before Columbus Foundation.
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Rowell, Charles H. (1983). "'The Unraveling of The Egg' an Interview With Jay Wright".
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Transfigurations: Collected Poems. Baton Rouge: Louisiana State University Press. 2000.
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Germany until 1957; in this period he was able to travel in many countries in Europe.
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suggests that that volume, together with the eight volumes brought together in
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Pinckney, Darryl (2004). "You're in the Army Now". In Bloom, Harold (ed.).
1392:"The Homecoming Singer By Jay Wright. New York: Corinth Books. 95 pp. $ 3"
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Polynomials and pollen: parables, proverbs, paradigms, and praise for Lois
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While some critics argue for a change of direction in Wright's work after
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Upon returning from Europe, Wright studied comparative literature at the
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has called Wright "unequivocally, the greatest living American poet"."
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was positive, and Wright was immediately recognized as a major voice.
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327:, was published by Corinth Press. This book included poems including
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The Black arts movement: Literary nationalism in the 1960s and 1970s
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1154:"Dimensions of Jay Wright: An Appreciation : Parnassus Poetry"
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However, in discussing Wright's first five volumes of poetry, from
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Shaw, Robert B. (1988). "Review of Selected Poems of Jay Wright".
1451:. Bloom's Modern Critical Views. Chelsea House. pp. 27–35.
368:), others find instead continuity and unity in the poet's work.
136:
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Jay Wright's poetry focus of symposium at Washington University
1177:
Welburn, Ron (1993). "Jay Wright's Poetics: An Appreciation".
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The Dramatic Radiance of Number: Selected Plays of Jay Wright
459:, becoming the first African-American writer to be so honored
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The Concise Oxford Companion to African American Literature
323:
In 1971, Wright's first full-length collection of poetry,
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of Poets Press. In the poems that were not republished in
167:. Others associate Wright with the African-American poets
860:
Figurations and Dedications: Selected Plays of Jay Wright
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and historically black colleges and universities such as
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Gruen, Erich S. (1970). "Review of Plebs and Princeps".
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Wright, Jay (1991). "The Delights of Memory, II: Doss".
610:. Baton Rouge: Louisiana State University Press. 2007.
579:. Baton Rouge: Louisiana State University Press. 2000.
1505:. Baton Rouge: Louisiana State University Press. 1987.
650:. Champaign & London: Dalkey Archive Press. 2008.
630:. Champaign & London: Dalkey Archive Press. 2008.
546:(ed.) New Jersey: Princeton University Press. 1987.
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Over the years Wright has been poet in residence at
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862:. Vol. 2. Berkeley: Kenning Editions. 2022.
844:. Vol. 1. Berkeley: Kenning Editions. 2022.
1125:"A Different Center [by Dante Micheaux]"
965:The Vintage Book of Contemporary American Poetry
1586:People associated with the University of Dundee
919:. Princeton: Princeton University Press. 2023.
917:Soul and Substance: A Poet's Examination Papers
1266:Wright, Jay. "Introduction", in Dumas, Henry.
1014:"About Jay Wright | Academy of American Poets"
749:Wright, Jay (1987). "Daughters of the Water".
1534:Jay Wright Poetry Reading at Columbia College
434:John D. and Catherine T. MacArthur Foundation
8:
1300:. University of North Carolina Press, 2005.
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112:Fellowship of the Academy of American Poets
20:
1114:. Oxford University Press, 2001: 446–447.
285:Wright's first publication was a 22-page
724:Wright, Jay (1983). "Love's Equations".
1285:New thoughts on the Black arts movement
989:
1503:The Guide Signs: Book One and Book Two
1074:. New York: Infobase Publishing, 2011.
647:The Presentable Art of Reading Absence
608:The Guide Signs: Book One and Book Two
559:. University of Virginia Press. 1988.
417:The Guide Signs: Book One and Book Two
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466:Lifetime Achievement Award from the
447:L. L. Winship/PEN New England Award
423:, should be read as a single work.
944:The Oxford Book of American Poetry
572:. Princeton University Press. 1991
213:University of California, Berkeley
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1390:Kalstone, David (July 30, 1972).
1321:The American Journal of Philology
1287:. Rutgers University Press, 2006.
1270:. Random House, 1974: xvii–xxiii.
830:. Chicago: Flood Editions. 2019.
803:Wright, Jay (2006). "Axiomatic".
700:. Chicago: Flood Editions. 2021.
687:. Chicago: Flood Editions. 2019.
670:. Chicago: Flood Editions. 2013.
577:Transfigurations: Collected Poems
530:. University of Texas Press. 1980
451:Transfigurations: Collected Poems
421:Transfigurations: Collected Poems
411:(excluding the disowned chapbook
337:"An Invitation to Madison County"
883:"Introduction" in Dumas, Henry.
596:Chicago: Flood Editions. 2007.
493:. New York: Corinth Books. 1971
536:. University of Virginia. 1984
306:National Endowment of the Arts
244:Play Ebony, Play Ivory: Poetry
1:
1591:People from Bradford, Vermont
1524:Book Review: Transfigurations
962:J. D. McClatchy, ed. (2003).
718:Balloons: A Comedy in One Act
386:and in the second section of
540:Selected Poems of Jay Wright
534:Explications/Interpretations
528:The Double Invention of Komo
409:Explications/Interpretations
400:The Double Invention of Komo
375:Selected Poems of Jay Wright
333:"The End of an Ethnic Dream"
93:Explications/Interpretations
89:The Double Invention of Komo
1566:American Book Award winners
1012:Academy of American Poets.
947:. Oxford University Press.
667:Disorientations: Groundings
500:. Seven Woods Press. 1976.
487:New York: Poets Press. 1967
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1576:Bollingen Prize recipients
941:David Lehman, ed. (2006).
698:Thirteen Quintets for Lois
468:Before Columbus Foundation
202:The End of an Ethnic Dream
1296:Smethurst, James Edward.
594:Music's Mask and Measure.
457:Bollingen Prize in Poetry
441:Academy of American Poets
275:Texas Southern University
181:Bollingen Prize in Poetry
135:(born May 25, 1934) is a
116:Bollingen Prize in Poetry
16:American poet (born 1934)
1129:The Best American Poetry
1072:African-American Writers
439:1996: Fellowship of the
436:(or "Genius") Fellowship
1519:Bollingen Prize website
329:"The Homecoming Singer"
149:Albuquerque, New Mexico
47:Albuquerque, New Mexico
1542:. Library of Congress.
1268:Play Ebony: Play Ivory
885:Play Ebony: Play Ivory
824:The Geometry of Rhythm
887:. Random House. 1974.
828:The Prime Anniversary
720:. Baker's Plays, 1968
685:The Prime Anniversary
515:Dimensions of History
498:Soothsayers and Omens
491:The Homecoming Singer
388:Soothsayers and Omens
384:The Homecoming Singer
366:Soothsayers and Omens
341:The Homecoming Singer
325:The Homecoming Singer
318:The Homecoming Singer
252:The Homecoming Singer
248:The Homecoming Singer
85:Dimensions of History
1104:Frances Smith Foster
263:University of Dundee
108:MacArthur Fellowship
1571:American male poets
1131:. September 4, 2010
1100:Andrews, William L.
464:American Book Award
364:(and some parts of
228:Black Arts Movement
1396:The New York Times
1230:Baseball Reference
1052:. February 7, 2021
346:The New York Times
217:Rutgers University
191:Life and education
1581:MacArthur Fellows
1538:Audio recording:
1458:978-0-7910-7661-3
1050:Poetry Foundation
975:978-1-4000-3093-4
968:. Vintage Books.
954:978-0-19-516251-6
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617:978-0-8071-3265-4
586:978-0-8071-2630-1
507:978-0-913282-10-6
485:Death as History.
362:Homecoming Singer
298:Homecoming Singer
267:Talladega College
153:Bradford, Vermont
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221:Guadalajara
161:T. S. Eliot
126:Lois Wright
63:Nationality
1550:Categories
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232:Larry Neal
165:Hart Crane
147:. Born in
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37:1934-05-25
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712:Plays
106:1986
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