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Transcription: [00:11:18]
{SPEAKER name="Eugene B. Redmond"}
Gwendolyn Brooks still writing. You have a Jay Wrights still writing. You have a Mari Evans, a Julia Feels[?], a June Jordan, the "Things I do in the Dark" she was the title of her latest book still writing.
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You have younger writers like E Ethelbert Miller at Howard University. You have a Jodi Braxton, "Sometimes I Think of Maryland" is the name of her book. You have a fine young women poet named Elouise Loftin, "Jumbish" naming one of her works.
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We have literally developed the idea to the point the idea of a black writer to the point that little children are beginning to think more naturally about writing as a career about being a poet.
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When I was a child, black and poet didn't go together, they rarely went together and historically the words black and poet
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{SPEAKER name="Brooks B. Robinson"}
Or black and writer
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{SPEAKER name="Eugene B. Redmond"}
Or black and writer have not gone together, you know, have not been a comfortable thing. Now, they have always been there because black people have always gone and heard the poet in church,
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the poet in the blues hall,
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the poet in the barber shop,
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the poet in the beauty shop,
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the poet in the pool room,
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the poet on the corner,
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the poet in the corn field
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{SPEAKER name="Brooks B. Robinson"}
The poets everywhere
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{SPEAKER name="Eugene B. Redmond"}
The poet driving spikes, you know right driving cabs, but in the packing house, you know, slaughtering hogs, but we had to spell it out so that,
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they Grio-poet, oral historian all the same, they are all the same.
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{SILENCE}
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{SPEAKER name="Brooks B. Robinson"}
I Can Never Unlove You
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To not want is to not exist
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It is to be de-minded
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It is to be disembodied
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Is to be dis-impersoned
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and float like an apparition
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Into the none where
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Into the grey whim of limbo
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And that is why I can never unlove you
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Why I can never disemantle

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