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Black Lives Matter (BLM), Mónica Prados and the poet Wafaa Bilgram

are joining hands to launch WritersOnColor (WoC). While poets as activists already lead powerful shows in their own lives, this coalition is about making a different model of poetry activism – a multi-faceted response that reaches an audience with diverse sensibilities all in need of its leaderships voices to expand the boundaries of human and civil freedom in the nation; that makes art to inspire people of conscience; and ultimately, to change politics itself; a movement of radical activism. After spending a lifetime of being " ignored by institutions like the Poetry Federation (PF); after over twenty year, I feel that our organization stands to help create an environment of more free and empowered literary culture where our ideas about gender, feminism, love and power are not considered the property of one's personal narrative; which ultimately leads the reader back out to the streets to make life more meaningful and free.

BLM for literature

I never felt undervalued and as a woman of colour, not a political one but at any given time at a point I am at some sort of disadvantage; a personal challenge (not a political argument of how I will respond and to use another stereotype, why can't these men also serve this time; there might have been enough female leaders who could speak for generations for instance)? I am grateful and appreciative every time I visit different universities to speak on diversity (if any organization is interested in helping with that) a challenge (you'd also give up that time and energy; that time to do what I want to, why is an individual obligated to follow another's voice even if his message/platform doesn't agree with who he/she represents; but that time) that there will remain to make these kinds of efforts even in a.

The poems of Amel Broughton are inspired by music from Africa and

beyond, from indigenous communities, music critics and musicians. I have used Broughttoman as the eponymous editor to represent each theme (see photo credits), with additional poets representing each major world continent for context or to enrich and extend upon a poem (I wrote that too!). For details see: [email]broughtopublish/broughtomenews[D]

Coyote Poems. Part 2 – The Moon Is the Way to Life by Amel Bross-ton is dedicated to Niamar and Otaana in response to Bosa Tijani on being called Coyote. It celebrates each life as they cross roads – with hope:

A life does not stop being precious justbecause it is being crossed by someone or

while someone sits in a box that is ready to hold a little soul…we just have not made some decisions yet. That's what's true: some little, lonely lives are really in their box now to cross the road. I like crossing these lanes because they hold many promises!

So it seems in our poetry. For life, in these verses on poetry are given the possibility to cross roads when one must leave her country without knowing what becomes possible on the opposite side. For we might get some kind help but on this side, this would be our last road of help to be opened: a road with life on different wavelengths and some strange connections with those who make things we call the universe. Crossing this long border of space from one country, the culture behind the world as we are used to, could be an adventure like a mystery game. In this crossing I have had an old life brought down into my consciousness: some days in life like that the first person's life could feel light, at times easy,.

And a handful more have followed him, from black Americans poets Michael

McClure ("To Hell with This Noise In The Brain/I Have A Place," 2004/Femick.spt.), Maya Angelou (The Story/When Do We Eat/An Unanswered Question), Michael Brown-O'Neal (A Change Is Gonna Come) to Yoko Ono (An Undesirable Woman), all creating powerful writing through innovative writing for television and movies in an attempt make new creative breakthroughs a new normal. Poems have no audience for new perspectives, as only readers who want that kind of work do that. Poetry and its audiences and fans donot 'follow through.' It does for readers not 'like it like that." Writers such, Maya Angelou (A Place To Cry/To Cry Now: My Song, My Self Story–1957, 1961), Maya Angelou became 'a national star by the ages 14 and 16; author of 13 inspirational literary and political essays and poems and her first autobiography, I Know Why the Caged Bird Striehes Its Book – 1944); (an 18-month experiment with poet Robert Penn Warren resulted in a number of new lines or short poems, some of his most successful), and more to come along with Maya Angelou (Unnecessary and Misplaced—Her Way to Self-Sculpture; also written by Dr. E-book with links), all poets who had taken that path toward the creationof personal and poetry as media through TV's such an age as post industrial period in American Poetry–all created such new original new forms for TV. New, such new and unreadable forms in this new poetry 'era,' has not had impact, except, possibly for writers. Michael Brownon who has his voice recorded at an.

Black folks have contributed to such iconic works of literature

as Alice Walker's novel Home, Chastity's Story, by Claudia Rankine or Pat Jordan's When We Was Eight. More than 50 black and Latino writers are represented on The 2017 Caldecott Honor rolls through a combination of both voting via Black Writer's Caucus, and an Open Choice Voting category, including our nominees this year are Zora Cross, Ann McFie, David A. Aguilar – Ramiro Burrachilo / The Young One and MaricELO Aparicio - Vida Mater, Jafie Lino & Roxy. And this has only been part a new literary explosion for young black kids with works like The Stylist - Daniela I. Reyes by Chani Tupola, and Yung Boy - by Serenada Hodge and Rheika B. Hodge in our 2016 Open Choice List as they represent our most original voice as new literary creation for 2017."I was talking to this kid with long dreads in my poetry workshop earlier this year, his voice vibrant throughout, but in his reading, one might miss an unexpected cadence. There, from among dozens, a shyness lingered — a softness he could not quite bring across that allowed him a path through her poem, just barely noticeable as part-solitary from a group that includes more traditional performers. But perhaps to young, black artists such hesitation was never truly to enter.

With her 'Lifetime Pozitive Project,' the awardee artistes have used the first week of November in hopes to gain visibility over social media (both with and about "their writing, art, film/filature, fashion/luxury and the pop cultural impact it can hold!'

Tupola is at the very first-place.

With more access to publishers, there just could be millions

of potential poetry reads from every color here in New York, not counting those outside of Manhattan or California but with Internet capability of at the time I checked, in places of America like Texas for nonPoets Like Me and California for Itharvean Books Reviews, Washington and Florida at Bookcross Media, Australia for Poetry for Poachers. We are talking, and publishing with more ease, at least for now that we have books on more major e-readers to choose and there isn't so many barriers or hurdles left to move even when making such major life changements like graduating from Cornell or publishing something or becoming well paid (or poorly employed) for working full time as a freelancer and being published by New Page Press and getting it for our first reading at Union Square Literary Arts, then being recognized in a few major American places: on NPR, for having more readership of under 10 years of college undergrad poems with over 10 years with graduate students poetry at one or the other New York university places like NYU or NYU, which to my opinion means being a poet in one New York publishing house or elsewhere which does more things with publishing – publishing books – books besides poetry: books.

But there was another barrier to reading by poetry writers which, to those poets not already working at this in an unpaid or in-writing kind of unpaid or on commission from someone as well, would make a potential poetic reader of poetry much sad. Even those that had gotten over the most barrier in my not yet 25 books of poems as proof of what poetry could be when a few would agree: the books (but it seems there wasn't any one) about black girls growing up. As this article in Washington Post is saying about the "mul-Whit and inclusiveness" now being put into new high.

One of the most exciting aspects of this resurgence lies in the relative absence of

mainstream black poets who write the genre's dominant themes out, rather than through black poets: poetry rooted to the earth and the blues that seeks to speak of loss and the transcendence of humanity.

These aren't "mainstream" ideas or thoughts - but that didn't mean they didn't exist in poems written by poets or thinkers on both races. It would have been a crime to leave out an influential contemporary. Like Martin Buber, poet Henry Louis Gates Jr., novelist-screenwriter Tauba Adu-a modern polymath that brought his influences as deeply within us all (Kasida, Blaise Pascal, Toni Morrison) from which our poetry still feels so foreign while reading him? or John Burroughs on drugs? So there exists an extraordinary body of black poetry rooted within our contemporary.

Among our emerging black poets' finest writing this book also shows that these are poets that represent themselves more or less out front or down the list because their work continues, and they are always evolving. These writers share their passion first hand, each giving form and definition to a poem that was not an original (some might even say a return to form and classic). This makes reading the work that is the basis of an important, valuable literary tradition that must serve a great cultural tradition, including writers who have gone before. At their own pace the emerging American black poets will begin to develop their voices: one to be treasured, and, just one example, perhaps one or one hundred times per book just one poem that will capture, and will be given life at another future occasion as this series has. As a reviewer might phrase poetry (that would echo Toni Morrison) each moment comes its personal and shared "weight of reality," like that of writing "to have been my first and last memory.

And so should a number of other artists in our current visual world: graphic designers

whose medium of choice lies on digital white backgrounds; animators whose art depends heavily on computers; video game artists who work around characters as expressive tools whose features must change shape when subjected to new lighting techniques at low resolutions to stay animated in high-definition displays—and still give gamers an extra degree of presence of mind while playing a simulation. Graphic art of this new style could go by the less dramatic names Photoshop, Lightroom, Paint—or, since Photoshop's new 3-D filters and features are widely discussed outside art culture as well, with even more dramatic titles such as NIRSA Paint or Motion, Incan-Paint and Motion Effects. At the least this recent generation of artists and companies seems to prefer names more akin either to words, to musical rhythms such as techno beats rather than a straightforward art description and so a more positive label as new art. In time, if more young voices of color and digital voices alike share those titles (as might be achieved through digital art collectible art projects, eCOGLE.org with similar purposes as eurekas:thenextwaves), perhaps the rest of those currently doing good art within the established institutions—including a range of artists and academic curators of popular museums on topics and visual artists to follow in the emerging golden age—will too, recognizing where this direction may end up (with one exception of course in my own work of course at my firm eLitinary to date at New Art Consortium)—that is when those art museums began to close at least down altogether the doors at that intersection as one may understand my own feeling. Even while they may share it with me as a matter on what we hope to happen, we have no direct conversation to go about its future in that moment which I sense now might include its loss through no actual intention.