We are not particularly women anymore; we are parties to a transaction designed to set us against each other. Nor was I ever assigned a single woman to study as a thinker, or writer, or poet, or life force. “Stradling,” (Jordan, line16) unclear whether acting as a participle or a verb, and “forcing,” (Jordan, line 19) describing “his […] powerful left hand,” (Jordan, line 18) are both present sense and in action. For me, June Jordan stands as one of many black feminist thinkers whose resistance of institutional, generic, and disciplinary boundaries has been inspiring and instructive. In her piece "Nobody Mean More to Me Than You and the Future Life of Willie Jordan,"[19] Jordan criticizes the world's quickness to degrade the usage of Black English, or any other form considered less than "standard". She was also an essayist, columnist for The Progressive, novelist, biographer, and librettist for the musical/opera I Was Looking at the Ceiling and Then I Saw the Sky, composed by John Adams and produced by Peter Sellars. When people are invited to do something, often they are more inclined to accept. [9] Throughout her education, Jordan became "completely immersed in a white universe"[10] by attending predominantly white schools; however, she was also able to construct and develop her identity as a black American and a writer. For instance, she recounts how an Irish woman graduate student with a Bobby Sands bumper sticker on her car provided much needed assistance to a South African student who was suffering from domestic violence. Hence, the colors, “white” and “black” appear separate from the act. In thinking about these last few weeks in the strange ever shifting times of COVID-19, I need these quiet peaceful poems as well as the mournful and hopeful pieces. "[6], After attending Brooklyn's Midwood High School for a year,[4] Jordan enrolled in Northfield Mount Hermon School, an elite preparatory school in New England. Between 1968 and 1978 she taught at Yale University, Sarah Lawrence College, and Connecticut College. The narrator does not demand the audience’s attention nor does she invite the audience to listen; thus, her resolve and indifference tickles the audience’s curiosity and draws them into her words. Jordan describes the complexities of her early childhood in her 2000 memoir, Soldier: A Poet's Childhood. [1] She wrote:[1]. Through a casual tone, Jordan utilizes ethos to present the narrator as a credible source to a skeptical audience. No punctuation breaks these lines. June Jordan - 1936-2002 Commemoration of the 40,000 women and children who, August 9, 1956, presented themselves in bodily protest against the “dompass” in the capital of apartheid. Borderlands (1987) June Jordan (1936–2002) Jordan was an activist, writer, poet, and teacher. She became the director of The Poetry Center at SUNY at Stony Brook and was an English professor there from 1978 to 1989. [23], In 2004, the June Jordan School for Equity (formerly known as the Small School for Equity) in San Francisco was named after her by its first ninth grade class. (41). Interracial marriages faced considerable opposition at the time, and Jordan and her husband divorced after ten and a half years, leaving Jordan to support their son. Two more have been published posthumously: Directed By Desire: The Collected Poems of June Jordan (Copper Canyon Press, 2005), and the 1970 poetry collection SoulScript, edited by Jordan, has been reissued. I put myself into it 100 percent. [16], Jordan composed three guideline points that embodied the program, which was published with a set of her students' writings in 1995, entitled June Jordan's Poetry for the People: A Revolutionary Blueprint. (1942–2004) Anzaldua was a feminist and lesbian who was also writer, poet, scholar and activist who focuses on issues of race in both her writing and studies. She wrote: "There are three qualities of Black English— the presence of life, voice, and clarity—that intensify to a distinctive Black value system that we became excited about and self-consciously tried to maintain."[20]. She engaged topics "like race, class, sexuality, capitalism, single motherhood, and liberation struggles across the globe." She denounced "white English" as standard English, saying that in stark contrast to other countries, where students are allowed to learn in their tribal language, "compulsory education in America compels accommodation to exclusively White forms of 'English.' She merely “decided” that she has “something to say” and anyone is free to listen at their own will. The second is the individual identity that we have chosen[22] once we are given the chance and feel are ready to expose our true selves. [11], Due to this disconnect with the predominantly male, white curriculum, Jordan left Barnard without graduating. I must make the connection real between me and these strangers everywhere before those other clouds unify this ragged bunch of us, too late.[22]. [citation needed], In June 2019, Jordan was one of the inaugural fifty American "pioneers, trailblazers, and heroes" inducted on the National LGBTQ Wall of Honor within the Stonewall National Monument (SNM) in New York City’s Stonewall Inn. Jordan began her teaching career in 1967 at the City College of New York. Although not widely recognized when first published in 1982, this essay has become central in the United States to women's and gender studies, sociology, and anthropology. Nonchalance allows the narrator to come across as non-threatening. Apr 1, 2016 - June Jordan Forum Archives - The Feminist Wire "Bisexuals Worthy of Celebration During Black History Month: June Jordan", https://en.wikipedia.org/w/index.php?title=June_Jordan&oldid=993630249, Lambda Literary Award for Lesbian Poetry winners, University of California, Berkeley College of Letters and Science faculty, Articles with incomplete citations from December 2018, Articles with unsourced statements from August 2015, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Michael Meyer (married 1955, divorced 1965), This page was last edited on 11 December 2020, at 16:54. Jordan explores that, as human beings, we possess two very contrasting identities. [1] Shortly before her death, she completed Some of Us Did Not Die, her seventh collection of political essays (and 27th book). She explores her complicated relationship with her father, who encouraged her to read broadly and memorize passages of classical texts, but who would also beat her for the slightest misstep and call her "damn black devil child". The fact that the following words, “and shouted out” (Jordan, line 24) continue with the same pace and tense indicate that the question the man shouts and the silence that follows is too part of the rape. When asked about the writing process for the libretto of the opera, Jordan said: The composer, John [Adams], said he needed to have the whole libretto before he could begin, so I just sat down last spring and wrote it in six weeks, I mean, that's all I did. The narrator, a woman of color, is supposed to trust this organization and those who lead said organization. Not even a period concludes this stanza. Once again, Jordan enters into a grim topic through irony. Jordan died of breast cancer at her home in Berkeley, California, on June 14, 2002, aged 65. – June Jordan Learn more about June Jordan here: https: ... Jan 5 - Quote: “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 … [4] Jordan credits her father with passing on his love of literature, and she began writing her own poetry at the age of seven. She says that there should be no thought of privilege because all oppression and oppressors should be viewed at an equal standpoint. They sell and I buy or I don't. If Jordan portrayed the narrator as exuding too much femininity, the argument would have lost credibility. She notes: "These factors of race and class and gender absolutely collapse.. .whenever you try to use them as automatic concepts of connection." She was an activist, poet, writer, teacher, and prominent figure in the civil rights, feminist, antiwar, and LGBTQ movements of the twentieth century. She presented it to them for the first time in a professional setting where they ordinarily expected work in English to be structured by "white standards." Born in New York City on July 9, 1936, June Jordan attended Barnard College. Jordan received numerous honors and awards, including a 1969–70 Rockefeller grant for creative writing, a Yaddo Fellowship in 1979, a National Endowment for the Arts fellowship in 1982, and the Achievement Award for International Reporting from the National Association of Black Journalists in 1984. From that time on, Jordan wrote with love. When people are told something is going to happen and they are not commanded to join nor offered an invitation, often, curiosity and the human desire for inclusion leads them into action whether they realize it or not. The act is the same. June Millicent Jordan (July 9, 1936 – June 14, 2002) was a Jamaican American, bisexual poet, essayist, teacher, and activist. She turns to her own voice. [17], Jordan felt strongly about using Black English as a legitimate expression of her culture, and she encouraged young black writers to use that idiom in their writing. The Occupation Stole My Words, June Jordan Helped me to Relocate Them By Darnell L. Moore on March 24, 2016. "[In 'Report from the Bahamas'] Jordan describes the challenges of translating languages of gender, sexuality, and blackness across diasporic space, through the story of a brief vacation in the Bahamas. Listen: “I do not believe that we can restore and expand the freedoms that our lives require unless and until we embrace the justice of our rage,” June Jordan wrote in a column in 1989 for the Progressive magazine. [30], Whatever her theme or mode, June Jordan continually delineates the conditions of survival—of the body, and mind, and the heart. After reliving the entire traumatic incident, the narrator returns immediately to a matter-of-fact tone. The first identity is the common identity, which is the one that has been imposed on us[22] by a long history of societal standards, controlling images, pressure, a variety of stereotypes, and stratification. I didn't do laundry, anything. Notify me of new comments via email. She refuses to privilege oppressors who are similar to or more like certain people than other oppressors might be. Feminist Poetics: Legacies of June Jordan A symposium celebrating the work of feminist poet, scholar and activist June Jordan, and her legacies in contemporary feminist poetics. Action prompts change. In 1967, after running poetry workshops for children in Harlem, Jordan began her teaching career at the City College of New York. “I have decided I have something to say” is a declarative sentence, presenting only the fact that the narrator has “something to say” and will most likely say it. The languid pace weighs down the final lines; their significance becomes unavoidable and sobering. Jordan does precisely that. Jordan achieves ethos in this line. [7] Jordan's mother died by suicide, as is mentioned in On Call: Political Essays. She received the Chancellor's Distinguished Lectureship from UC Berkeley and the PEN Center USA West Freedom to Write Award (1991).[29]. In her 1982 classic personal essay "Report from the Bahamas", Jordan reflects on her travel experiences, various interactions, and encounters while in The Bahamas. Poet, activist, teacher, and essayist, she was a prolific, passionate and influential voice for liberation. [30], In a borough that has landmarks for the writers Thomas Wolfe, W. H. Auden, and Henry Miller, to name just three, there ought to be a street in Bed-Stuy called June Jordan Place, and maybe a plaque reading, 'A Poet and Soldier for Humanity Was Born Here. inspire a changed perspective. Just as the title “Case in Point” suggest, the narrator’s argument is proved within the example itself. Jordan proves that the narrator is not an unstable little girl whining about a man hurting her, but a clear-headed adult, stating the facts of her case. But pathos is a difficult element to master, for the line between too much and too little is fine. Nothing that I learned, here, lessened my feeling of pain or confusion and bitterness as related to my origins: my street, my family, my friends. She continued to influence young writers with her own published poetry, such as her collections, Dry Victories (1972), New Life (1975), and Kimako's Story (1981).[18]. Jordan argues through ethos and pathos that rape is a case in point that proves that the patriarchy brutally silences women. She is the universal poet. In her 1982 classic personal essay "Report from the Bahamas", Jordan reflects on her travel experiences, various interactions, and encounters while in The Bahamas. Her argument being that rape is an example of society’s depravity. She used her writing and teaching to provide a voice for the oppressed, highlighting the issues around race, gender, sexuality and Third World politics. [1], After the Harlem Riots of 1964, Jordan found that she was starting to hate all white people. Writing in narrative form, she discusses both the possibilities and difficulties of coalition and self-identification on the basis of race, class, and gender identity. Jordan wrote over twenty five book-length works of poetry, fiction, memoir, and critical prose, each engaging crucial questions of race, sexuality, class, imperialism, and power. My “Rage for Girls” curriculum will assign you lots of June Jordan, the Black bisexual poet, activist, and feminist. June Jordan (1936-2002) was a poet, essayist, journalist, dramatist, activist, and educator known for challenging oppression through her inspirational words and actions. Brought to you by the University of Massachusetts Amherst Departments of Women, Gender, Sexuality Studies and Afro-American Studies. [24] A conference room was named for her in the University of California, Berkeley's Eshleman Hall, which is used by the Associated Students of the University of California. Jordan was inducted on the National LGBTQ Wall of Honor within the Stonewall National Monument in 2019. June Jordan. Such compassion was at odds with Jordan's experience in her neighborhood of being terrorized by ethnic Irish teenagers hurling racial epithets. Her title, “Case in Point,” uses legal language to state her point that the patriarchy’s depravity uniquely cripples women, especially women with intersectional identities, through a … Black English was spoken by most of the African-American students in her classes but was never understood as its own language. June Jordan addresses the trauma of rape from an intersectional perspective: she is a woman but she is also black. A symposium celebrating the work of feminist poet, scholar and activist June Jordan, and her legacies in contemporary feminist poetics. Moore, Honor. Jordan begins the final stanza with the shortest sentence in the entire poem: “he was being rhetorical” (Jordan, line 35).This quippy line follows a lengthy description of a horrifying incident, and in the context of the preceding question, “d’ya want to swallow my big dick; well, do ya?” (Jordan, lines 23-4) the line appears to state the obvious, but it serves a much greater purpose. The first evidence of such occurs on lines five and six: “there is no silence peculiar / to the female” (Jordan, lines 5-6). Because Jordan the narrator’s credibility, so too is her argument made credible, thus, audience becomes inclined to pay attention. Library of America, 2009. When asked about the role of the poet in society in an interview before her death, Jordan replied: ?The role of the poet, beginning with my own childhood experience, is to deserve the trust of people who know that what you do is work with words."[18]. “Stradling” and “forcing” speed up the scene until “while” (Jordan, line 20) breaks the rhythm and the past tense verbs “rammed,” “described,” and “shouted” reduce the last lines to a crawl. This Instant: June Jordan and a Black Feminist Poetics of Architecture - Free download as Word Doc (.doc), PDF File (.pdf), Text File (.txt) or read online for free. June Millicent Jordan was a Caribbean-American poet and activist. [5] When Jordan was five, the family moved to the Bedford-Stuyvesant area of Brooklyn, New York. Although not widely recognized when first published in 1982, this essay has become central in the United States to women's and gender studies, sociology, and anthropology. Jordan reveals several issues as well as important terms regarding race, class, and gender identity. [18] Passionate about feminist and Black issues, Jordan "spent her life stitching together the personal and political so the seams didn't show." [1][2], Jordan was passionate about using Black English in her writing and poetry, teaching others to treat it as its own language and an important outlet for expressing Black culture.[3]. Its aim was to inspire and empower students to use poetry as a means of artistic expression. “The Occupation Stole My Words, June Jordan Helped Me to Relocate Them.” The Feminist Wire, https://thefeministwire.com/2016/03/june-jordan-and-israeli-occupation/. And it matters because June Jordan’s architecture, her development of a black feminist practice that centers how we create and transform space is a key part of her contribution to our political imaginary and challenges all of those who recognize and celebrate and live inside her legacy to think and act rigorously when it comes to space. She feels for all of us. Rape is that example. FAVORITE (0 fans) Discuss this June Jordan quote with the community: 0 Comments. In 2005, Directed by Desire: Collected Poems, a posthumous collection of her work, had to compete (and won) in the category "Lesbian Poetry" at the Lambda Literary Awards, even though Jordan identified as bisexual. Finally, through various poetic devices, Jordan utilizes pathos to let the reader’s emotions. June Jordan addresses the trauma of rape from an intersectional perspective: she is a woman but she is also black. This document includes all 4 parts of a 4 part meditation on black feminist architecture as informed by the black feminist poet and architect June Jordan. Jordan was born in 1936 in Harlem, New York, as the only child of Jamaican immigrant parents, Granville Ivanhoe and Mildred Maud Jordan. In it she describes how her early marriage to a white student while at Barnard College immersed her in the racial turmoil of America in the 1950s, and set her on the path of social activism. When people are commanded to do something, often their first impulse is to rebel against it. ↑ 28: Alexis Pauline Gumbs, “June Jordan Solves the Energy Crisis: Love is Lifeforce” in The Feminist Wire, March 23, 2016. She was the founder of Poetry for the People at the University of California, Berkeley, where she taught for many years. ... it came to me that this condition, if it lasted, would mean that I had lost the point: not to resemble my enemies, not to dwarf my world, not to lose my willingness and ability to love. These radiant histories will be broadcast through a three-month series of seven online public dialogues on the lives of Toni Cade Bambara, June Jordan, and Audre Lorde; explorations in Black~Puerto Rican~Third World Feminist Studies at CUNY now; histories of how CUNY movements created Open Admissions and Ethnic Studies; and present efforts to decolonize CUNY and New York … While the lines “he rammed / what he described as his quote big dick / unquote into my mouth” (Jordan, line 20-23) explains the rape literally. The repeated enjambment makes the last line of mere description appear to be an after-thought. '[31], American poet, essayist, playwright, feminist, bisexual activist, June Jordan, "On Bisexuality and Cultural Pluralism", in, I Was Looking at the Ceiling and Then I Saw the Sky, Associated Students of the University of California, National Association of Black Journalists, Lila Wallace Reader's Digest Writers Award, "June Jordan, 65, Poet and Political Activist", "Nobody Mean More to Me Than You and the Future of Willie Jordan", "San Francisco Unified School District, Superintendent's Proposal", "National LGBTQ Wall of Honor unveiled at Stonewall Inn", "National LGBTQ Wall of Honor to be unveiled at historic Stonewall Inn", "Groups seek names for Stonewall 50 honor wall". Audio collection of June Jordan, 1970-2000. June Jordan, who died in 2002, lived and wrote on the frontlines of American poetry, political vision and moral witness. Jordan's concluding lines emphasize the imperative to forge connection actively rather than assuming it on the basis of shared histories: I am saying that the ultimate connection cannot be the enemy. I am talking about a span of forty years of tireless activism coupled with and fueled by flawless art. Writing in narrative form, she discusses both the possibilities and difficulties of coalition and self-identification on the basis of race, class, and gender identity. I am a feminist, and what that means to me is much the same as the meaning of the fact that I am Black: ... June Jordan. Jordan was known as "the Poet of the People". June Jordan is an ancestral Black feminist bisexual spirit whose radical anti-sexual violence work is one of the bedrocks of my own life’s work to break the silence and work towards ending the sexual violence committed against children, women and QTPOC (queer, trans* people of color). Jordan uses irony to prevent such an occurrence. “June Jordan, Genre Fiction, and Publishing for the People.” The Feminist Wire, https://thefeministwire.com/2016/03/poetry-for-people/. [1] She also identified as bisexual in her writing, which she refused to deny, even when this status was stigmatized.[1][13]. June Jordan, “The Creative Spirit and Children’s Literature” in Revolutionary Mothering: Love on the Front Lines (PM Press, 2016). “I was raped for the second / time in my life the first occasion / being a whiteman and the most recent / situation being a blackman actually / head of the local NAACP” (Jordan, lines 10-4). Poetry for the People is the arduous and happy outcome of practical, day-by-day, classroom failure and success. Poetry and the Second Wave: Student Curatorial Project, Treading Water: How Small Feminist Periodicals Survived a Financial Crisis, Breaking the Silence: Second Wave Poets and Rape, Dedicated to Our Mothers: Jewish Feminist Literature of the Second Wave, Mitsuye Yamada: A Focused View of Asian-American Second Wave Poetry, Third World Women: Community and Dissonance in the Feminist Poetry Movement, “One of my heroes… is a tennis player:” Female Athletes and Feminism’s Second Wave, This Bridge Called My Back: Restoring the Voices of Women of Color. It was published posthumously. Stanza 2 describes the episode in graphic detail. I risk going broke on my first vacation afternoon. Oct 1, 2016 - #100days100women Day 48: June Jordan Poet, activist, teacher and feminist, Jordan made important contributions to feminist and civil rights dialog and authored more than two dozen books. 1936–2002. In 1958, Jordan gave birth to the couple's only child, Christopher David Meyer. She was included in Who's Who in America from 1984 until her death. However, BiNet USA led the bisexual community in a multi-year campaign eventually resulting in the addition of a Bisexual category, starting with the 2006 Awards. [18] Her poetry, essays, plays, journalism, and children's literature integrated these issues with her own experience, offering commentary that was both insightful and instructive. Jordan published more than 25 works of poetry, fiction, and nonfiction, and she was also a … Jordan was dedicated to respecting Black English (AAVE) and its usage (Jordan 1). Reflecting on how she began with the concept of the program, Jordan said: I did not wake up one morning ablaze with a coherent vision of Poetry for the People! This Instant: June Jordan and a Black Feminist Poetics of Architecture “This instant and this triumph We were never meant to survive.”-Audre Lorde, “A Litany for Survival” “Black women’s geographies and poetics challenge us to stay human by invoking how Black spaces and places are integral to our planetary June Jordan and a Black Feminist Jordan is regarded as one of the most significant and prolific black, bisexual writers of the 20th century. Interspersing reflections of her trip with examples her role as a teacher advising students, Jordan details how her own expectations are constantly surprised. Videotape collection of June Jordan, 1976-2002. From this lesson, the students created guidelines for Black English. When reading this poem, I was inspired and shaken by how powerful and moving it was, and how Jordan managed to get such a graphic and empowering message across through the reading of her poem. It was followed by 27 more books in her lifetime, and one (Some of Us Did Not Die: Collected and New Essays) of which was in press when she died. June Millicent Jordan was a Caribbean-American poet, novelist, journalist, biographer, dramatist, teacher and committed activist. [30], Jordan makes us think of Akhmatova, of Neruda. Empathy catalyzes action. [25][26] The SNM is the first U.S. national monument dedicated to LGBTQ rights and history,[27] and the wall’s unveiling was timed to take place during the 50th anniversary of the Stonewall riots.[28]. This entire scene, the ebb and flow of the cadence and the crushing progression of violence brought to life with each poetic device, throws the reader into the scene with the rape victim. A symposium celebrating the work of feminist poet, scholar and activist June Jordan, and her legacies in contemporary feminine poetics. that another one of my poetic sheroes, the great June Jordan, founder of Poetry for the People writes in her tender poem, Poem for My Love. The NAACP was meant to protect the civil rights of black people. June Jordan emerged as a poet and political activist when black female authors were beginning to be heard. But the rape breaches her trust. Poet, educator, activist, and feminist June Jordan wrote the above lines, which powerfully close her “Poem for South African Women.” First delivered at the United Nations on August 9, 1978, the poem commemorates the 40,000 women and children who, on August 9, 1956, marched against pass laws, a form of systemic racism that limited the movement and migrant labor force of many people in … [1] She subsequently followed her husband to the University of Chicago,[1] where she pursued graduate studies in anthropology. ↑ 29 June Jordan was born in Harlem in 1936 and grew up in Bedford-Stuyvesant, Brooklyn. June Jordan (1936–2002)—an award-winning writer and social and political activist—was an influential voice of liberation in the civil rights, feminist, antiwar, and gay and lesbian rights movements. Presented at The United Nations, August 9, 1978. “I have decided I have something to say” (Jordan, line 7) breaks the silence in a matter of fact voice that is both nonchalant and definitive. [6] In her 1986 essay "For My American Family", Jordan explores the many conflicts in growing up as the child of Jamaican immigrant parents, whose visions of their daughter's future far exceeded the urban ghettos of her present. Jordan was active in the civil rights, feminist, antiwar and gay and lesbian rights movements, even as she became known as a writer. From 1989 to 2002 she was a full professor in the departments of English, Women's Studies, and African American Studies at the University of California, Berkeley. The natural intermingling of my ideas and my observations as an educator, a poet, and the African-American daughter of poorly documented immigrants did not lead me to any limiting ideological perspectives or resolve. - June Jordan quotes from BrainyQuote.com "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." Her title, “Case in Point,” uses legal language to state her point that the patriarchy’s depravity uniquely cripples women, especially women with intersectional identities, through a demonstrative example. "[21] Vacationing in the Bahamas, Jordan finds that the shared oppression under race, class, and/or gender is not a sufficient basis for solidarity. Brought to you by the University of Massachusetts Amherst Departments of Women, Gender, Sexuality Studies and Afro-American Studies. This poem crystallizes this devastating moment in a way only poetry can. They selected her through a democratic process of research, debate, and voting. [1] The couple divorced in 1965, and Jordan raised her son alone. “Whiteman” and “balckman,” like the titles of two species, are the only indicators of distinction between perpetrators. Poems from the Women’s Movement. Nothing showed me how I might try to alter the political and economic realities underlying our Black condition in white America. "Nobody Mean More to Me Than You and the Future Life of Willie Jordan" opens On Call (1985), a collection of her essays. They risk not eating. 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