“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/. Just as the title “Case in Point” suggest, the narrator’s argument is proved within the example itself. [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]. Apr 1, 2016 - June Jordan Forum Archives - The Feminist Wire She became the director of The Poetry Center at SUNY at Stony Brook and was an English professor there from 1978 to 1989. June Jordan addresses the trauma of rape from an intersectional perspective: she is a woman but she is also black. Black English was spoken by most of the African-American students in her classes but was never understood as its own language. Being a female African American, Jordan was well aware of the stereotypes and prejudices that stood in the way of her narrator. [30], Jordan makes us think of Akhmatova, of Neruda. From that time on, Jordan wrote with love. [11], Due to this disconnect with the predominantly male, white curriculum, Jordan left Barnard without graduating. "[21] Vacationing in the Bahamas, Jordan finds that the shared oppression under race, class, and/or gender is not a sufficient basis for solidarity. 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. Presented at The United Nations, August 9, 1978. But pathos is a difficult element to master, for the line between too much and too little is fine. [15] At Berkeley, she founded the "Poetry for the People" program in 1991. 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. 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. Stanza 2 describes the episode in graphic detail. [1], After the Harlem Riots of 1964, Jordan found that she was starting to hate all white people. Jordan uses irony to prevent such an occurrence. This form of struggle and protest poetry, written by June Jordan (Poem about My Rights, 2015) truly captures and speaks for the voice of the oppressed and silent women in South Africa. “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. Jordan does precisely that. 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. 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. The act is the same. Jordan began her teaching career in 1967 at the City College of New York. From this lesson, the students created guidelines for Black English. In 1967, after running poetry workshops for children in Harlem, Jordan began her teaching career at the City College of New York. Pathos evokes empathy. Born in New York City on July 9, 1936, June Jordan attended Barnard College. At about the same time, Jordan’s career began to take off. [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. She feels for all of us. June Millicent Jordan was a Caribbean-American poet, novelist, journalist, biographer, dramatist, teacher and committed activist. Between 1968 and 1978 she taught at Yale University, Sarah Lawrence College, and Connecticut College. June Jordan was born in Harlem in 1936 and grew up in Bedford-Stuyvesant, Brooklyn. [30], Whatever her theme or mode, June Jordan continually delineates the conditions of survival—of the body, and mind, and the heart. In her 1982 classic personal essay "Report from the Bahamas", Jordan reflects on her travel experiences, various interactions, and encounters while in The Bahamas. Jordan died of breast cancer at her home in Berkeley, California, on June 14, 2002, aged 65. 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. Jordan is regarded as one of the most significant and prolific black, bisexual writers of the 20th century. 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. If Jordan portrayed the narrator as exuding too much femininity, the argument would have lost credibility. [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. Jordan explores that, as human beings, we possess two very contrasting identities. The fact that this line proceeds the adverb “actually” makes the information regarding the second criminal was a “blackman” and “head of the local NAACP” have a peculiar note of surprise. 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. They may serve well as indicators of commonly felt conflict, but as elements of connection they seem about as reliable as precipitation probability for the day after the night before the day. She was included in Who's Who in America from 1984 until her death. Once again, Jordan enters into a grim topic through irony. (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. While the words themselves create a conversational tone, they serve the purpose of explaining an extreme scene of sexual violence. [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. Videotape collection of June Jordan, 1976-2002. Jordan published more than 25 works of poetry, fiction, and nonfiction, and she was also a … In addition to her writing for young writers and children, Jordan dealt with complex issues in the political arena. Jordan argues through ethos and pathos that rape is a case in point that proves that the patriarchy brutally silences women. Moore, Honor. 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! They selected her through a democratic process of research, debate, and voting. inspire a changed perspective. “Whiteman” and “balckman,” like the titles of two species, are the only indicators of distinction between perpetrators. 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. Nothing showed me how I might try to alter the political and economic realities underlying our Black condition in white America. She was an activist, poet, writer, teacher, and prominent figure in the civil rights, feminist, antiwar, and LGBTQ movements of the twentieth century. I am talking about a span of forty years of tireless activism coupled with and fueled by flawless art. "Nobody Mean More to Me Than You and the Future Life of Willie Jordan" opens On Call (1985), a collection of her essays. The NAACP was meant to protect the civil rights of black people. 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. 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". 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 … Rape is that example. 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. 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 “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. – 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 … Empathy catalyzes action. 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. By doing so, Jordan starts to achieve the ethos she needs in order to be heard and taken seriously. She received the Chancellor's Distinguished Lectureship from UC Berkeley and the PEN Center USA West Freedom to Write Award (1991).[29]. Through a casual tone, Jordan utilizes ethos to present the narrator as a credible source to a skeptical audience. The Occupation Stole My Words, June Jordan Helped me to Relocate Them By Darnell L. Moore on March 24, 2016. “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. June Millicent Jordan was a Caribbean-American poet and activist. 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. Jordan was known as "the Poet of the People". June Jordan, who died in 2002, lived and wrote on the frontlines of American poetry, political vision and moral witness. 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). She notes: "These factors of race and class and gender absolutely collapse.. .whenever you try to use them as automatic concepts of connection." Jordan's first published book, Who Look at Me (1969), was a collection of poems for children. ↑ 29 [5] When Jordan was five, the family moved to the Bedford-Stuyvesant area of Brooklyn, New York. Brought to you by the University of Massachusetts Amherst Departments of Women, Gender, Sexuality Studies and Afro-American Studies. 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. Brought to you by the University of Massachusetts Amherst Departments of Women, Gender, Sexuality Studies and Afro-American Studies. My “Rage for Girls” curriculum will assign you lots of June Jordan, the Black bisexual poet, activist, and feminist. [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. 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. Jordan tells the story of working with her students to see the structure that exists within Black English, and respect it as its own language rather than a broken version of another language. She also enrolled at the university but soon returned to Barnard, where she remained until 1957. 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. Its aim was to inspire and empower students to use poetry as a means of artistic expression. Jordan, June, 1936-2002. Jordan repeatedly grapples with the issue of privilege in both her poems and essays, emphasizing the term when discussing issues of race, class, and gender identity. 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." 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