Showing posts with label E. Ethelbert Miller. Show all posts
Showing posts with label E. Ethelbert Miller. Show all posts

Monday, April 13, 2015

Reginald Dwayne Betts' Letter to Howard University on E. Ethelbert Miller's Termination After 40 Years

Dear Dr. Frederick:

A few days ago I was devastated to learn that Howard University is letting Ethelbert Miller go after a career and commitment to the institution that has lasted longer than the thirty-four years I’ve been alive. 

It would be simple to just recount the impact that Ethelbert has had on Howard University graduates. Many of my friends recall Ethelbert changing their lives. Friends who graduated from Howard as recently as five years ago and as long as twenty. But such a recitation of honors would not suffice. Instead I will tell you a story. When I got out of prison just over ten years ago, I met Yao Glover. I had just been hired at Karibu Books, an African-American institution that started as a book cart near Howard University. Yao knew that I was a poet. He also knew that prison is a troubling place and that coming home a young man like myself would need support. Yao would send me to a man who had a huge influence on his development as a poet and man of the community: Ethelbert Miller. 

I knew who Ethelbert Miller was. I’d been writing poetry for sometime and reading poetry for longer. Still, I did not know Ethelbert worked at Howard University. I’d been out of prison a little more than two months and had no sense of how the world of academia and arts worked. What I did know is the name Ethelbert. Years before he’d published my very first poem, a poem I typed on a prison type writer and mailed to Poet Lore with a stamp that bore the red mark of incarceration. I’ll never forget the day I received the acceptance letter and will never forget the day I went to meet Ethelbert.

Let me be frank, my affinity for Howard University as an institution begins with Ethelbert Miller. When I received a full tuition academic scholarship to attend Howard University, I wanted to go because I’d read Ethelbert’s memoir. And when the university rescinded my scholarship because I checked a box admitting that I have three felony convictions and spent time in prison, it crushed me. Not just because I wanted to be a Bison – but because the institution fundamentally seemed to respond to me in the exact opposite way that Ethelbert did. And I had always believed that Ethelbert represented all that was great about Howard University. In fact, in the face of that huge personal disappointment, it has only been Ethelbert’s connection to the institution that led to my continued support.

Probably, I should be able to think about this in a way that is not so personal. Probably, I should not think about the disservice that has been done to Ethelbert in a way that makes me talk about myself. But I can’t. At two very important moments of my life Ethelbert Miller was, in very real ways, the voice of the Black community that helped me understand and believe in my own worth. He did this with his presence. And I am fortunate that he did. Because as I have gone on to be accepted by a number largely white institutions, receiving a full tuition scholarship at the University of Maryland, a Radcliffe Fellowship at the Harvard’s Radcliffe Institute for Advanced Studies, and being admitted into the Yale Law School – as I have gone on to do these things, I do them remembering Ethelbert’s voice asking me if I’ve talked to my dad lately. I remember Ethelbert’s voice talking to me about fatherhood. Helping me to develop myself in a way that I once believed Howard was dedicated to as an institution. 

Sadly, it seems that I was mistaken about Howard.  There is a bitter irony that I write this letter from the Yale Law School, a legal institution that accepted me with all of my past failures and flaws. Here, they value their icons. The walls are littered with their faces. It saddens me that Howard does not do the same. I cannot bring myself to believe that financial concerns justify such a disservice.  

Sincerely,
Reginald Dwayne Betts
J.D. Candidate, 2016
Yale Law School 

Wednesday, November 17, 2010

Poem of the Week: E. Ethelbert Miller









Austerity


(for Temo)

We will all lose our jobs
if not today then tomorrow.

A writer calls me asking about
how to get published. Writers are having
a difficult time. I start to explain
the journey we are on, the poet's path.
The writer interrupts me and says -

Cut the metaphysical bullshit! I want
a Mercedes Benz.

What do you want?

Today I returned my poems to my lover.
I filed for unemployment.
My heart stopped.


- E. Ethelbert Miller

Used by permission.


E. Ethelbert Miller is the author of ten books of poems, two memoirs (most recently The 5th Inning ) and editor of four anthologies. He is Board Chair of the Institute for Policy Studies and the Director of the African American Resource Center at Howard University. He is also the editor of Poet Lore magazine.


Miller was a featured poet at the 2008 Split This Rock Poetry Festival and appeared on the panels "Reclamation, Celebration, Renewal, and Resistance: Black Poets Writing on the Natural World" and "What Makes Effective Political Poetry? Editors' Perspectives" at Split This Rock 2010.

Please feel free to forward Split This Rock Poem of the Week widely. We just ask you to include all of the information in this email, including this request. Thanks!

Split This Rock
www.splitthisrock.org
info@splitthisrock.org
202-787-5210

Tuesday, March 2, 2010

Dancing to the New Music: Upcoming Article in The Nation

The following is an excerpt of an upcoming article by E. Ethelbert Miller in The Nation. The full preview of the article, which will appear in the March 15 edition, is available here.

The first Split This Rock Poetry Festival was held in 2008. I was a participant, along with poets like Martín Espada and Naomi Shihab Nye. I consider us to be believers in the expression of speaking truth to power. On the last day of the festival a number of writers walked down to the White House to protest the war in Iraq. I'm certain that poets visiting Washington in March will have something to say about the foreign policy of the Obama administration and the war in Afghanistan. Our poems--and yes, our chants--always seem to be on call. Once again, our New Year's resolutions contained prayers for peace. The year 2010 represents not just the start of a new year but also the beginning of a new decade. Might it be a prelude to the "terrible teens" of this century? If so, what might poets and writers be doing? What do the times demand?

Monday, February 15, 2010

E. Ethelbert Miller's 1 Question Interview with Jan Beatty

The Little e-Note is 2008 featured poet and Split This Rock Advisory Board Member E. Ethelbert Miller's blog. The following is his 1 Question Interview with Jan Beatty, 2010 Split This Rock featured poet, and author of Red Sugar. Reposted with permission.


THE QUESTION: What are the politics behind the sex in your poetry?

I’m writing poems about eating the world, about stripping off the easy—down to the metal inside us. I’m writing the inside of the body as the ultimate domestic space. I’m writing a football field, what football is: it’s the hitting, the loving the game, the brutality and the intimacy of my body against yours. I’m writing poems to other writers, poems to musicians who drive me: George Clinton walking through Houston, the restaurant he’s in, the black history there that’s now a gated community—I’m continuing this: after the narrowing, the map & the rope, I cross the lake into view. What comes after the lake of the body? I want Frankie Lymon, P-Funk, and Spanka-Vision. I’m writing the stripping of easy moves, the familiar, a moving into, inside of the new thing seen: what is it? It feels like landscape, not machine, but land, sky, view—organic, not man-made. The long view, seeing far. I’m writing life, the integration of movement, pressure, hydraulics—rather than either/or—manic or relaxed. I’m finding a place, a speed I can live with, but still, always, time away for big sky. I’m writing the big, radiant failures, the tower falling, the new world. The muscle car and the body inside. I’m writing the vast, lonely spaces of the American West that tattoo me, fill my empty spaces. I’m writing poems to send out, poems to publish, I’m stuck in the Charlotte airport. I’m writing the airport trash talk with the construction workers there. The sex is the politics in my poems. It’s the speaking it, bold & varied in its representations. It’s about putting the body in, putting the body of a woman on the page, but writing it complicated: in a range of voices, with different looks and levels of intensity. With cunts and deep voices and vulnerabilities. It’s political in that a woman is writing a woman on the page, and she’s sexual, alive, not always sweet—in fact, rarely sweet and nice. She’s brought out her tools and she’s butch and she’s building new worlds on the page.

Monday, December 7, 2009

Poems for Peace and Protest

Split This Rock offers the following poems for your vigils, demonstrations, and actions. Feel free to read one or many during your event, but please always remember to say the poet's name when you read his or her poem. For more information and more poems of provocation and witness: info [at] splitthisrock [dot] org. For more poems, check out the Foreign Policy in Focus article including the poems.









First Poem

The first poem at a reading
Should always shock and awe

It should be a love poem
Of overwhelming force

Maybe the mother
Of all poems

War reduces everything
To silence

Every soldier's grave a place
Too loud for sleep

E. Ethelbert Miller
From D.C. Poets Against the War (Argonne House Press, 2004). Used with permission.

Wednesday, May 27, 2009

E. Ethelbert Miller Interview on The Bob Edwards Show

2008 featured poet and literary activist E. Ethelbert Miller was on the Bob Edwards Show earlier this week to discuss his new book, The Fifth Inning, which uses baseball as a metaphor for exploring his life. To hear the interview, follow the link below.
E. Ethelbert Miller on the Bob Edwards Show

Thanks to the Writer's Center for the link.

Thursday, July 10, 2008

Opening Remarks by E. Ethelbert Miller at Split This Rock Poetry Festival

In Toni Cade Bambara'a 1980 novel The Salt Eaters, the healer Minnie Ransom asks Velma Henry, "Are you sure, sweetheart, that you want to be well?"

This is a question that we might want to ask America in 2008.

The sickness of war surrounds us.

Do we want to be well?

One would hope that poets can be healers like Minnie Ransom.

We know the power of the word.
Many of us have been touched by the word.
It's language that holds us together.

It's an honor to be invited to read at Split This Rock Poetry Festival; to read at this historical moment.

I gave my very first poetry reading back in 1969, just down the street at All Soul's Church. I read with poets Ebon and Carolyn Rogers. The musician Marion Brown was there. Brown had once played with John Coltrane.

We were all witnesses back then; artists giving testimony to a new consciousness.

Today poets gather at Split This Rock to voice opposition to war. To proclaim the wellness that flows from peace.

We lift our voices to sing.

And to quote Prince - "This is what it sounds like when doves cry."