(As last month was Black History Month, and this month is Women’s History Month, I thought I’d do the two-birds, one-stone thing and offer a few reflections on four Black women who come to mind).
It is common knowledge, or should be, that last year marked the centennial anniversary of the adoption of the 19th Amendment to the Constitution, the amendment that recognizes the right of American women to vote. There was an anniversary three years before, however, that went unmarked, though it was certainly worth celebrating. It was the quasquicentennial anniversary of Anna Julia Cooper’s A Voice From The South, By A Black Woman Of The South, published in 1892. In briefly looking back at a few of Cooper’s words, mindful of recent politics in the South as well as the nation’s ongoing reckoning regarding the treatment of women in the workplace, one not only finds that her words maintain their relevance, it also is possible to see her words as preexisting metaphor for the art and activism of black women of subsequent generations.
Consider what happened in the South not quite three months ago. With all of his faults on full display, the then-incumbent President, running for re-election, came within three-tenths of a percentage point of winning. Until the very end, the outcome of that election remained an open question rather than a foregone conclusion. More than a century before, Cooper says about our political process that
[…]politics, and surely American politics, is hardly a school for great minds. Sharpening rather than deepening, it develops the faculty of taking advantage of present emergencies rather than the insight to distinguish between the true and the false, the lasting and the ephemeral advantage. Highly cultivated selfishness rather than consecrated benevolence is its passport to success. Its votaries are never seers. At best they are but manipulators – often only jugglers. It is conducive neither to profound statesmanship nor to the higher type of manhood.
Were Cooper here today to learn that, during his previous campaign, the aforementioned politician had the support of most evangelical Christians because they refused to believe ill of him, one wonders if she – a woman honored with a feast day by the Episcopal Church – would fervently or matter-of-factly inform them that “faith means treating the truth as true”
Although A Voice From The South, By A Black Woman Of The South, as essayist Jonathan Cape writes, “is widely viewed as one of the first articulations of Black feminism,” to limit it in such a way would do it a disservice, diminishing the chances of a wider audience discovering its power to provide varying degrees of astonishment, enlightenment, and inspiration. Both the book and the mind of the woman who created it are brilliant in the sense that brilliant things illuminate. As if anticipating the #MeToo movement that began sweeping the nation in 2017, Cooper writes that “a great want of the world in the past has been a feminine force; that that force can have its full effect only through the untrammeled [sic] development of woman.” Adding specificity to that notion of “a feminine force,” she holds that “[t]he American woman of to-day [sic] not only gives tone directly to her immediate world, but, her tiniest pulsation ripples out and out, down and down, till the outermost circles and the deepest layers of society feel the vibrations.”
It is not only Cooper’s thoughts on race, politics, and feminism to which continued attention should be paid. Her book is rich in history, philosophy, theology, and sociology. Throughout, she proves herself to be someone who has given deep thought to a number of questions and who has emerged from her contemplations in possession of profound answers. If this were not reason enough, consider that it is she who penned the line “No man can prophesy with another’s parable.” It is a commandment followed intentionally or instinctively by generations of black poets, playwrights, novelists, and essayists.
Zora Neale Hurston is one such writer, though she has ideas of her own about the use of “another’s parable.” In her 1934 essay, “Characteristics of Negro Expression,” Hurston writes that, while blacks lived in the midst of white culture, “everything he touches is reinterpreted for his own use.” Although it is common in academic circles to see in her work early examples of black feminism, one of the most striking features of Hurston’s telling of her parables is her use of a culture’s root – its language. This, no doubt, can be attributed not only to her skill as a writer, but to her ear as an anthropologist. Hurston, immersed in the Southern culture from which she sprang, is able to bring that culture to life. Though one reads Hurston, she makes a reader hear the drawls, the cadences, the emphasis on words, and, thus, discern the imagery of the lives of her characters. Lines like, “He ain’t fit tuh carry guts tuh a bear,” and “She don’t look lak a thing but a hunk uh liver wid hair on it,” from her short story, “Sweat,” are just a few by Hurston that highlight the language of the community she depicts. Hurston’s use of idiomatic language, as noted by writer Neal A. Lester, “…exalts an African tradition of storytelling over what Harlem Renaissance writer Jean Toomer calls “‘being hypnotized by literacy…’” Lester adds that the language of Hurston’s characters “is something that [she] aesthetically raises to high art.”
The year in which Hurston wrote “Characteristics of Negro Expression” is the same in which another writer was born in Birmingham, Alabama, a writer who picks up the black feminist gauntlet thrown down by Cooper: poet, playwright, and essayist Sonia Sanchez, a founder of and significant contributor to the Black Arts Movement of the 1960s and ’70s. As equally an important contribution to that movement as Sanchez’s art is her academic activism. That there are discussions in classrooms today on the subject of black literature or of a black aesthetic – including discussion of Cooper’s and Hurston’s work – is due to Sanchez’s activism. In “The Black Past: Remembered and Reclaimed,” Stasia Irons writes that
Sanchez was also a leader in the effort to establish the discipline of Black Studies at the university level. In 1966, while teaching at San Francisco State University she introduced Black Studies courses. Sanchez was the first to create and teach a course based on Black Women and literature in the United States and the course she offered on African American literature is generally considered the first of its kind taught at a predominately white university. She viewed the discipline of Black Studies as both a new platform for the study of race and a challenge to the institutional biases of American universities.
Another major contribution Sanchez made to the Black Arts Movement has particular resonance here amid the nation’s socio-cultural reckoning regarding how women are treated by men. It is a treatment continually egregious but might be even more so had Sanchez not been a “pioneering champion of black feminism alert to the bitter ironies of misogyny that often fueled the rhetoric of black ‘liberation.’” There is no reason to doubt such rhetoric could be found within the Black Arts/Black Aesthetics Movement as well, despite the fact that, as movement member Larry Neal writes, the Black Arts Movement was the “aesthetic and spiritual sister of the Black Power concept.”
Something Anna Cooper writes near the end of her book is epitomized by the life of a woman born thirteen years after Sanchez. Cooper tells a reader that “[t]he great, the fundamental need of any nation, any race, is for heroism, devotion, sacrifice; and there cannot be heroism, devotion, or sacrifice in a primarily skeptical spirit.” In her 1988 autobiography, Assata, by Assata Shakur, a reader discovers the heroism, devotion, and sacrifice of which Cooper writes. Dissatisfied with breathing “the stench of indifference,” she joins the Black Panther Party, helps found the Black Liberation Army, and becomes the first woman ever to appear on the FBI’s most wanted terrorist list when she escapes from prison in America to a self-imposed exile in Cuba after being convicted of murdering a police officer. In the poem, “Tradition,” one of several interspersed throughout the book, Shakur tells a reader that the followers of that tradition “leaped out and lanced the lifeblood / of would-be masters,” and that said tradition requires “Pitting shotguns against lynch mobs.” In lines made more meaningful by the last man in the Oval Office, Shakur’s poem, “Affirmation,” tells a reader:
“And, if i know anything at all,
it’s that a wall is just a wall
and nothing more at all.
It can be broken down.”
Shakur has the attributes and employs the tools of Cooper’s hero, declaring in her poem, “Leftovers-What is Left,” that “Love is my sword / and truth is my compass,” exemplifying Cooper’s belief “in the infinite possibilities of devoted self-sacrifice and in the eternal grandeur of a human idea heroically espoused.”
The heroism of black women is often acknowledged with celebrations that increasingly seem reduced to pageantries of greatest hits, the “hits” often being stories of the remarkable lives and careers of Sojourner Truth and Harriet Tubman, women born into slavery who later became abolitionists and women’s-rights activists. But, what of the woman born into slavery who goes on to earn a doctorate at the Sorbonne, who goes on to give this country A Voice From The South, By A Black Woman Of The South? In this current era when it is black women of the South who fueled the political defeat of a sitting-President and two incumbent senators, in this time when more and more women refuse to breathe “the stench of indifference,” it is worthwhile to revisit Cooper’s words. They have shown themselves to have a certain prescience, one that foresees the lifework of some who may be considered her progeny in spirit.