An organ opens sweetlyâtexturing the space of the song, accompanied by backup singers and other instrumentalsâbefore the voice of Barbara Lewis, nineteen at the time of the initial recording in Chicagoâs famous Chess Records studio, begins. It is from this song, âIt Seems Like a Mighty Long Timeâ âwarm, full, and nostalgicâthat poet Angela Jackson fittingly takes the title of her newest poetry collection, which explores the intersection of emotion, memory, and politics.
On Saturday, February 21, the Logan Center for the Arts, the University of Chicagoâs Arts + Public Life, and the UofCâs Center for Study of Race, Politics & Culture co-sponsored a party and reading celebrating the bookâs release. In some ways, the event became a retrospective of Angela Jacksonâs work and life more broadly, as a series of speakers emphasized the poet and playwrightâs importance as a mentor for successive generations of black Chicagoans.
Speaking immediately preceding Jacksonâs reading was Haki R. Madhubuti, a Black Arts Movement contributor and author. Madhubuti is the founder of Third World Press, the largest independent black-owned press in the United States, located in Chatham. He spoke to Jacksonâs lifelong interest in creating and promoting black art; they met over forty years ago, when eighteen-year-old Jackson joined the Organization of Black American Culture as a freshman at Northwestern University. It is Madhubutiâs press that published Jacksonâs first book, Voodoo Love Magic. When Jackson followed him onstage, she spoke fondly of the quintessentially Chicago arts scene that she has lived in: her forbears and her descendants together form what Madhubuti called a âcultural family.â
This interest in history and literary inheritance runs deep in It Seems Like a Mighty Long Time. The only titled section of the work, âSuite: Ida,â is named for Ida B. Wells-Barnett, whose journalistic efforts in documenting lynching in the Jim Crow South are refracted throughout the sectionâs poems, depicting a cultural landscape preoccupied with violence against black bodies. The poems also include repeated reference to Billie Holidayâs âStrange Fruitsâ, the blues singer Bessie Smith, Gwendolyn Brooks, Aretha Franklin, and, eventually, W.E.B. Du Bois.
One way that Jackson engages with her predecessors is through their writings, most strikingly displayed in âThe Smoke Queen,â a sharp response to Du Boisâs famous âSong of the Smokeâ regarding gendered experience of race. She engages with the legacy of prior black creators, giving Gwendolyn Brooks a stirring eulogy (âWho can remember a time when your language / Did not dignify what or who was diminished?â). Neither does Jackson shy away from the private corners of cultural figuresâ livesâone poem, âDid Ida B. Wells Ever Pass Bessie Smith on the Boulevard?â plays with the physical proximity of both women as an access point to the indignity Jackson finds in their deaths, each reflecting a âfinal violence.â
Jacksonâs own familyâher parents, cousins, nieces, and eight siblingsâreceive heavy attention in the first sections of It Seems Like a Mighty Long Time, and this composed the majority of the material she read at the collectionâs release. Her voice curved over and across words, reminiscent of the blues, the trill something like Bessie Smith in her most famous recording, âNobody Knows When Youâre Down.â Jackson has a poetâs cadence, careful and sharp, that highlighted the lyricism of these visual and evocative reflections, particularly of âPerfect Pearsâ and âThe Fabric of Our Lives,â each deriving power from the specificity of its scene.
That specificity speaks to one of the greatest strengths of It Seems Like a Mighty Long Time. The politicalâespecially inequality rooted in gender and racial differenceâis more than polemical. A strong indictment of âAmerican Justiceâ (a poem in which Jackson harkens back to Maya Angelou by declaring as chorus-line âI sing because I am not freeâ) is so effective because it is rooted in the personal and concrete. The epidemic of young black men dying becomes the story of a student of Jacksonâs, presumably from Kennedy-King College, where she taught until retirement. Flawed societal conceptions of rape are also illuminated in the image Jackson paints of uncomprehending observers on an âLâ platform, giggling âat the sight of public sexâ despite the womanâs âmouth stretched wide as the river she was drowning in.â
Perhaps most compellingly, Jackson cannot distance herself from the tragedies she notesâthe scene of the rape causes her to ask, finally, âDid she look like me?â Another poem describes the aftermath of Emmett Tillâs death with a particular interest in his mother, whom the speaker empathizes with: âHow articulate was this wrecked flesh! / The remains of her boy, once beautiful. / Then ruined. / She left the casket opened.â The line between the motherâs sorrow and her own sadness blurs, pulling the reader into the grief, horror, and defiance. This is emotional honesty backed up in full by righteous anger.
Personal and collective memory intermingle freely in Jacksonâs verse. In âHer Memory Coming Home,â the poet recalls a relationship as a âknot of time.â Jackson runs with this stance on the histories richly outlined in the collection, treating poems as individual threads entangled with other experiences, formative historical events, and literary predecessors. It is this knotted heart of the collection that grants it strength.
Though often lovely as individual threads, It Seems Like a Mighty Long Time gains power through its obsessive tanglesâthe constant revisiting of Mississippi, of Chicago, of Gwendolyn Brooks and Ida B. Wells, and our own âlopsided land:â fruitful territory for a collection of startling political and emotional poignancy.