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When ya Salaam asked me in 1996 why I was compiling a bibliography of his works, I simply replied

“Because it is necessary.” I would now amplify such a response to say “Because it is necessary that we examine

the uncanonized (or having finding aids for doing so) in order to understand Southern literature as an institution.”



Books by Kalamu ya Salaam


The Magic of JuJu: An Appreciation of the Black Arts Movement  /   360: A Revolution of Black Poets

Everywhere Is Someplace Else: A Literary Anthology  /  From A Bend in the River: 100 New Orleans Poets

Our Music Is No Accident   /  What Is Life: Reclaiming the Black Blues Self

My Story My Song (CD)


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Kalamu ya Salaam: A Primary Bibliography

(in Progress)

By  Jerry W. Ward Jr.


Contemporary technologies do more than affect how we conceptualize and gain access to new knowledge. They have begun to have a telling impact on how we regard the knowledge we possess, let us say, about the history and continuing production of Southern literature. They determine, in part, how we decide to document and transmit that knowledge to a future. My conversations with a few scholars who know much about Southern and African-American literature have revealed, not surprisingly, that they know little about the work that Kalamu ya Salaam has produced since the late1960s, the importance of his role as editor of the Black Collegian (1970–1983), or the relationship of his ideological positions to his exploring the aesthetic possibilities of genre.

The reason is not far to seek: very little has been written about Salaam as a contemporary Southern writer or the rich index his work provides to the dynamics of thematic change in the expanding corpus of African-American literature. As a first step in addressing this absence of knowledge, I began several years ago to itemize his publications. We would not have comprehensive histories of Black South literature and culture in the future, or be able to speak or teach intelligently about the late twentieth-century Southern forms of cultural critique and the place of aesthetics within the politics of art, unless there were a record of Kalamu ya Salaam’s provocative writing, his singular contributions to Southern cultural transmission and transformation.

When ya Salaam asked me in 1996 why I was compiling a bibliography of his works, I simply replied “Because it is necessary.” I would now amplify such a response to say “Because it is necessary that we examine the uncanonized (or having finding aids for doing so) in order to understand Southern literature as an institution.” The Internet, web site, and CD-ROMS do not tell us all we need to know.

*   *   *   *   *

Kalamu ya Salaam was born Vallery Ferdinand III on March 24, 1947, in New Orleans, where he still resides. Since the late 1960s when he was a member of BLKARTSOUTH, the writing/performing workshop of the Free Southern Theater, Salaam has used the Crescent City as the creative base for his work as poet, fiction writer, literary critic, journalist and essayist, dramatist, editor, music critic and producer, advertising executive with Bright Moments, Inc., social activist, and “public intellectual.” The breadth of his work marks him as the most prolific African-American writer and thinker of his generation in the South. His artistry over three decades merits examination in the tradition forged by such thinkers and artists as David Walker, Frances Ellen Watkins Harper, Frederick Douglass, W.E.B. Du Bois, Langston Hughes, Sterling A. Brown, Richard Wright, Toni Cade Bambara, and Amiri Baraka—figures who have represented the unpredictable symbols of African-American artistic imagination and political commitment.

*   *   *   *   *

Southern scholarship and critical inquiry can profit from investigation of how blues and jazz inform Salaam’s work, how the historical vantage of New Orleans shaped his thinking about social struggles, folk wisdom, nationalism and feminism, and how his discover of self-inspired recognition of the global importance of art for life. Embedded in Salaam’s substantial body of work are clues about why some contemporary Southern writers have deconstructed the Southern mystique without denouncing their heritage. Like many of his contemporaries, Salaam has demonstrated that a Southern sensibility can be a powerful tool in global discourses. His work to date urges us to discover or rediscover the passionate verities that Richard Wright and William Faulkner shared at the lower frequencies. With two books, Tarzan Can Not Return to Africa/But I Can and Cosmic Deputy (a collaboration with the visual artist John Scott) awaiting publication and The Magic of JuJu, a study of the Black Arts Movement, nearing completion, Kalamu ya Salaam is very much the Black South writer in progress and so too is this bibliography of his works.

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The bibliography covers the years 1968 to 1996 with several items published in the first months of 1997 included. Given the number of venues in which Salaampublished and the difficulty of physically examining some publications that are not yet archived or in Salaam’s possession (the shortlived National Leader newspaper, such magazines as Wavelength and Offbeat), a reader may discover that some items are missing. This bibliography is, however, as comprehensive as I could make it, and I am very grateful to Salaam for his generous support in helping me to track down rare items. The entries within each category are arranged chronologically in order to facilitate tracing what Salaam published in any given year. The bibliography should be used in conjunction with the biographical sketches available in Arthenia Bates Millican’s “Kalamu ya Salaam,” Dictionary of Literary Biography, 38 (1985), 231–239 and Charles P. Toombs’s “Salaam, Kalamu ya,” The Oxford Companion to African American Literature (1997), pp. 640–641. Salaam’s “Art for Life: My Story, My Song” in Contemporary Author Autobiography Series 21 (1995), 179–252 is a very thorough account of his life and poetics, an invitation to read his works in light of and against his announced intentions.

*   *   *   *   *

Kalamu ya Salaam: A Primary Bibliography

(in Progress)


I. Books

The Blues Merchant Songs for Blkfolk. New Orleans: BLKARTSOUTH, 1969.

Hofu ni kwenu: My Fears for You. New Orleans: Ahidiana, 1973.

Pamoja tutashinda: Together We Will Win. New Orleans: Ahidiana, 1973.

Ibura. New Orleans: Ahidiana, 1976.

Tearing the Roof off the Sucker: The Fall of South Africa. New Orleans: Ahidiana, 1977.

South African Showdown: Divestment Now. New Orleans: Ahidiana, 1978.

Revolutionary Love: Poems and Essays. New Orleans: Ahidiana-Habari, 1978.

Herufi: An Alphabet Reader. New Orleans: Ahidiana, 1979.

Iron Flowers: A Poetic Report on a Visit to Haiti. New Orleans: Ahidiana, 1979.

Our Women Keep Our Skies from Falling: Six Essays in Support of the Struggle to Smash Sexism and Develop Women. New Orleans: Nkombo, 1980.

Our Music is No Accident. New Orleans: New Orleans Cultural Foundation, 1988. [Words by Kalamu ya Salaam. Images by Keith Calhoun and Chandra McCormick]

A Nation of Poets. New Orleans: Privately Printed, 1989 [Poems in 2 sections: Blues (5 poems) and New Music (7 poems)]

What is Life ? Reclaiming the Black Blues Self. Chicago: Third World Press, 1994.

Ghosts! New Orleans: Privately Printed, 1995 [5 poems by Kalamu ya Salaam]

Tarzan Can Not Return to Africa/But I Can. Clarkston, Georgia: Vision 3000 [Projected publication]

Cosmic Deputy. New Orleans: Runnagate Press [Projected publication] (poems by KyS; drawings by John Scott)—not yet published.


II. Pamphlets


“Bush Mama.” New Orleans: Ahidiana, 1977, 5 pages.

Nuclear Power and the Black Liberation Struggle. New Orleans: Ahidiana, 1978.

The Political Act of Writing. New Orleans: Privately Printed, 1983.

Raise Beauty: Essay and Poetry. New Orleans: Privately Printed, 1989. [Essay: “If the Hat Don’t Fit, How Com We Wearing It!”; poems: “A Gun in the Hand,” “Top 40,” “Inspiration,” “Four Elements,” “Be About Beauty,” “Raise Beauty.”]

Art for Life: An Essay/Year 200: A Poem. New Orleans: Privately Printed, 1989. [Keynote Address at the 31st annual convention, National Conference of Artists, March 22, 1989]


III. Poetry in Periodical and Anthologies


“whi/te boys gone,” “The Blues (in two parts),” “2 B BLK, … Food for Thought.” New Black Voices. Ed. Abraham Chapman. New York: Mentor, 1972, pp. 374–379.

“The Black Self (the distances of what was laying heavy slow moving on our faces).” Poems by Blacks, Vol. III. Ed. Pinkie Gordon Lane, Fort Smith, Arkansas: South and West, Inc., 1975, p. 83.

“from IN A SISTER BLUES/No. 2 the shelter.” Callaloo, 1 (December 1976), 10.

“Unfinished Business,” “Like Brothers Do,” “Hard News for Hip Harry.” NIMROD, 21.2, 22.1 (1977), 234–239.

“Re Tail & Merchandise, ghetto time,” “Diapers and Dishes,” Black Scholar, 10.3 and 4 (1978), 15.

“Black Man Is (w/H Nia in Mind.” Y’Bird, 1.1 (1978), 162–164.

“Bittersweet,” “Iron Flowers.” Black Scholar, 11 (January/February 1980), 80 [Excerpt from Iron Flowers]

“Danny Barker, Danny Banjo.” Xavier Review, 1.1 & 2 (1980/1981), 17–19.

“Ntozake Shange (to those who wish she would shut up.” Quilt, 1 (1981), 127–128.

“haiku #30,” “haiku #31,” “haiku #32.” Cricket, 1.2 (1985), no page numbers. “haiku #30.” Cricket, 1.3 (1985), no page numbers.

“haiku #30,” “haiku #31,” “haiku #32,” “haiku #33,” “haiku #77.” Black River Journal, 1988, p. 9.

“Another Level of Sweetness.” Zone, 2 (1988), 110.

“Govern Yourself Accordingly,” “Where Are You?” Shooting Star Review, 2.4 (1988), 2, 6.

“A Sequence,” (I, II, III, IV, V, VI) CICAD & 11 (1988), no pagination. [Haiku-Kys has numbered in pencil the sequence as 27, 9, 81, 79, 62, 10]

“In Answer to Your Prayer: We Care, Dear Irma, Your Song Makes Us Care.”

“Pa Ferdinand, “uncle dewey.” Catalyst, Fail 1989, pp. 112, 116.

“Young Mother Blues #1/T’s Tune.” IRIS: A Journal About Women, No. 24 (Fall/Winter 1990): IFC [Inside front cover]

“A Gun in the Hand is Worth …” Original Chicago Blues Annual, no. 2 (1990), 41 [Also published in Only Morning in Her Shoes: Poems About Old Woman. Ed. Leatrice Lifshitz Logan: Utah State University Press, 1990, pp. 92–93.]

“haiku #103,” “haiku #104,” “haiku #105,” “haiku #106,” “Sometimes I Think I Have Not Done Enough To Make The World Safe for Love.” New Laurel Review, 17 (1990), 30–33.

“And Say Yes.” A Carolina Literary Companion, no. 11 (1990), 64.

“The Blues: My Story, My Song.” City Arts Quarterly, 4.3 & 4 (1990), 29. [Reprinted for A Nation of Poets]

“Nonspecific Physical Disorder.” Literati Internazionale, 1.1 (1991), 23.

“Year 2000.” Black Books Bulletin, 8 (1991), 133–136.

“blues zephyr.” Louisiana Literature, 8.1, (1991), 42.

“Sweet BLK—Drums Can Make You Happy: A Sweet for Edward Blackwell.” The Chapbook for 1991. Ed. John W. Fiero. Department of English, University of Southwestern Louisiana, Deep South Writers Conference, pp. 49–56.

“Tasty Knees,” “Haiku #9, ,” “Haiku #79,” The Sweetest Sound,” “Haiku #107, ,” “Haiku #52,” “Haiku #25.” Erotique Noire/Black Erotica. Ed. Miriam DeCosta-Willis, Reginald Martin, Roseann P. Bell. New York: Doubleday/Anchor, 1992, pp. 5, 17, 60, 99, 141, 159, 255.

“Can’t Do Nothing For,” “Sometimes I Think I Have Not Done Enough to Make the World Safe for Love (a letter to Linda/I waz just thinking.” FORWARD MOTION, 11.1 (March 1992), 46–48.

“My Shoes Are Off.” Catalyst, no. 10 (Spring/Summer 1992), 72.

“bahian beauty,” “hues so deep the night’s darkness.” Amelia, 6.4 (1992), 23.

“Our World Is Less Now That Mr. Fuller Is Gone.” In Search of Color Everywhere. Ed. E. Ethelbert Miller. New York: Steward, Tabori & Chang, 1994, p. 184.

“After the Music Do You Remember?” Re/Mapping The Occident. Ed. Bryan Joachino Malessa and John Jason Mitchell. Berkeley: University of California, Berkeley, 1995, p. 45.

“the spurs of life.” Essence, April 1995, pp. 89, 90, 92, 94, 96, 100. [6 haiku: “Height, Breadth, Depth,” “Makes You Go Ooh!,” “New Orleans Rainbow,” “Spiritual Geography,” “Sunrise on the River,” and “The Spice of Life.”]

“Two Poems [‘haiku 4/131’ and ‘in the custody of love’.”] MESECHABE, no. 13 (Summer 1995), 14. [Published in New Orleans as Mesechabe. The Journal of Sarre(gion)alism]

“My Soul Looks Back & Wonders [poems with photographs by Gus Bennett],” “Ruby Dee Eyes.” Fertile Ground, Ed. Kalamu ya Salaam and Kysha N. Brown. New Orleans: Runagate Press, 1996, pp. 29–35.

“Handguns are the Seeds of Destruction,” “haiku #133.” Long Shot, 18 (1996), 156–157.

“Haiku #107.” EROS. New York: Stewart, Tabori & Chang, 1996. n.p.

“New Orleans Haiku.” Louisiana English Journal, 3.1 (1996), 55 [17 haiku: “French Quarter Intimacies,” “New Orleans Rainbow,” “Everywhere You Eat,” “Our Natures Rise,” “Funeraled Fare Well,” “Sunrise on the River,” “Til Death Do Us Part,” “Secondline Send Off, … Quarter Moon Rise,” “All Nite Long,” “The Spice of Life,” “Round Midnight,” “Place de Congo,” “Spiritual Geography,” “St. Louis Cemetery Crypt,” “Make You Go Oohhh!,” “Height, Breadth, Depth”]

“Home is Where the Struggle Is (Black Nationalist Meet in Red China).” A Legacy of Resistance: Tribute to Robert and Mable Williams, November 1996. [Program book, Wayne State University, n.p.]

“Iron Flowers,” “Still Life, Stealing Life…, … We Have Been Seen,” “Bush Mama, “Danny Barker/Danny Banjo.” Trouble the Water: 250 Years of African American Poetry. Ed. Jerry W. Ward, Jr. New York: Mentor, 1997, pp. 443–452.


IV. Fiction


“Second Line/Cutting the Body Loose,” What We Must See. Ed. Orde Coombs. New York: Dodd, Mead, 1971, pp. 21–28. [Published under the name Val Ferdinand]

“Sister Bibi.” We Be Word Sorcerers. Ed. Sonia Sanchez. New York: Bantam, 1973, pp. 128–139.

“No Jive/We Got to Move.” HooDoo, 2 (1975), n.p. [4–9] [Story is dated October 1, 1971]

“Where Do Dreams Come From.” EOTU, October 1988. [Six-page short storyreno pagination]

“And Then They Laughed.” Catalyst, Fall 1989, pp. 73–77.

“A Man Ain’t Suppose to Cry.” OBSIDIAN II, 5.3 (1990), 53–71.

“Bird’s Solo.” ASYMPTOTE, no. 4 (Summer 1990), 5.

“Earth.” NOBO, 1.2 (1991), 43–46.

“Buddy Bolden.” Fertile Ground. Ed. Kalamu ya Salaam and Kysha N. Brown. New Orleans: Runagate Press, pp. 248–253.

“Raoul’s Silver Song.” StreetLights. Ed. Doris Jean Austin and Martin Simmons. New York: Penguin, 1996, pp. 398–411.


V. Drama


The Picket (1968). [First produced at Free Southern Theater, New Orleans, 1968]

Happy Birthday Jesus (1968). [First produced at Free Southern Theater, New Orleans, 1969]

Mama (March 1969). [First produced at Free Southern Theater, New Orleans, 1969]

Black Liberation Army (Summer 1969). [First produced at Free Southern Theater, New Orleans, 1969]

Homecoming (Summer 1969). [First produced at Free Southern Theater, New Orleans, 1970; published in Nkombo, N8 (August 1972), n.p.]

The Destruction of the American Stage. Black World, 21.6 (1972), 54–69. [Ritual drama]

The Quest. HooDoo, no. 1 (1973), n.p.

Blk Love Song #1. Black Theater, USA: Forty-five Plays by Black Americans, 1874–1974. Ed. James V. Hatch and Ted Shine. New York: The Free Press, 1974, pp. 865–874.

Scenario for a Black Woman (A Movie for Black Minds). Nkombo, 6.1 & 2 (June, 1977), 29–32, 34–47, 49–51, 53–55.

The Quest. New Plays for the Black Theatre. Ed. Woodie King, Jr. Chicago: Third World Press, 1989.

God Bless the Child (c. 1990 unpublished), tss. 55pp.

Somewhere in the World (Long Live Assata), Black Southern Voices. Ed. John Oliver Killens and Jerry W. Ward, Jr. New York: Meridian, 1992, pp. 326–345.

Malcolm, My Son. African American Review, 27.1 (1993), 93–116. [Won George Bass Award from Rites & Reason, Brown University].

Memories (1993 unpublished), tss. 73 pp. [Won CAC Regional Playwrighting Award].

The Breath of Life (1994 unpublished), tss. 51 pp. [Won Native Voice Award from Louisiana State University].

Body and Soul. (1995 unpublished), tss. 38 pp. [Won Native Voice Award from Louisiana State University].

Blk Love Song #1, Black Theater USA. Ed. James V. Hatch and Ted Shine. New York: The Free Press, 1996, pp. 840–855.


VI. Articles and Essays


“News from BLKARTSOUTH.” Black Theater, no. 4 (1970), 4.

“On Black Theater in America: A Report.” Negro Digest, 19 (April 1970), 2331.

“FOCUS: Julian Bond, Lerone Bennett, Floyd McKissick Supporting UNCF.” Black Collegian, 1.2 (1971), 6–7, 37.

“PROFILE: Texas Southern University.” Black Collegian, 1.2 (1971), 8–11, 3536.

“BLACK HISTORY: The Age of Black Invention.” Black Collegian, 2.1 (1971), 7.8. [Prepared by KyS]

“Black History.” Black Collegian, 2.2 (1971), 7–9, 47, 50.

“PROFILE: Malcolm X Community College.” Black Collegian, 2.2 (1971), 10-“Annual Black Theatre Round-Up: New Orleans.” Black World, 21.6 (1972), 40–44.

“BlkArtSouth-New Orleans.” Black World, 21 (April 1972), 40–45.

“BLKARTSOUTH/get on up!” New Black Voices. Ed. Abraham Chapman, New York: Mentor, 1972, pp. 468–473.

“The Editor.” Black Collegian, 2.4 (1972), 6.

“Notepad #.” Black Collegian, 2.4 (1972), 47. [Editorial prefacing Book Review segment of EXPRESSIONS: Reviews]

“Africans West, Now Known As Negroes.” Black Collegian, 3.2 (1972), 20–22, 50–51.

“PROFILE: Malcolm X Liberation University.” Black Collegian, 3.2 (1972), 12–15, 51, 53, 55.

“Committee for a Unified New Ark.” Black Collegian, 3.4 (1973), 22–24, 43.

“Les Ballets Afrikan in Action.” Black Collegian, 3.5 (1973), 28–29.

“Afrikan Liberation Day—Its Meaning and Significance.” Black Collegian, 3.5 (1973), 38, 41–42.

“More Than Slogans.” Black Collegian, 4.2 (1973), 8.

“Open Letter to Our Readers.” Black Collegian, 4.2 (1973), 19, 34. [An introduction to the inaugural “EXPRESSIONS: A National Review of the Black Arts”]

“Southern University: One Year After.” Black Collegian, 4.2 (1973), 40–43, 54.

“$50 Crossword Puzzle.” Black Collegian, 4.3 (1974), 36–37, 50–51.

“Dick Gregory: Our Number One Social Critic.” Black Collegian, 4.5 (1974), 18–21.

“The Realities of Living and Working in Afrika.” Black Collegian, 5.1 (1974), 28, 66–67.

“Imamu Amiri Baraka.” Black Books Bulletin, 2.2 (1974), 33–37, 40–43.

“Tell No Lies, Claim No Easy Victories.” Black World, 23 (October 1974, 1834.

“Black Student Leaders Speak Out.” Black Collegian, 5.3 (1975), 39, 41 … [Article is cut off, supposed to continue on page 51, no explanation of error given in subsequent issues]

“A Response to Haki Madhubuti.” Black Scholar, 6 (January/February 1975), 40–43.

“Can the System Satisfy Us?” Black Collegian, 5.4 (1975), 6–7, 10.

“How To Live On Your Own.” Black Collegian, 5.5 (1975), 4, 38–39.

“Black Music: The American Artform.” Black Collegian, 5.5 (1975), 42–44, 4956.

“Is There A Doctor In The House?” Black Collegian, 6.1 (1975), 2, 64.

“When Is A Champion Not A Champion.” Black Collegian, 6.1 (1975), 35, 63. [Essay/editorial concerning Arthur Ashe’s Wimbledon win]

“Soul In The Superdome.” Black Collegian, 6.2 (1975), 30–31.

“Race, World Relations & Our People’s Failure.” Black Books Bulletin, 3.4 (1975), 4–7, 9–12).

“Change Is Our Only Salvation.” Black Collegian, 6.4 (1976), 8, 10, 12–13.

“Which Way Are They Going (The Nation of Islam.” Black Collegian, 6.4 (1976), 38–40, 90–91.

“Bingo Long.” Black Collegian, 6.5 (1976), 34–35.

“On The Horizon: Two Black Women.” Black Collegian, 6.5 (1976), 38–39.

“This is Reggae Music.” Black Collegian, 6.5 (1976), 40, 42, 46, 48–49.

“Energy Is Everywhere.” Black Collegian, 7.1 (1976), 4–6, 8, 70, 72, 74, 76, 78.

“Black Sounds Wizards.” Black Collegian, 7.1 (1976), 58, 60–63.

“Black Boogie Bends, Purveyors of the Big Beat.” Black Collegian, 7.2 (1976, 34–35, 66.

“The Commodores: Moving On In High Gear.” Black Collegian, 7.2 (1976), 36.

“James Earl Jones: A Great Black Hope.” Black Collegian, 7.3 (1977, 32, 62.

“Can This Be Real?” Black Collegian, 7.3 (1977), 37,61.

“Making The Image Real.” Black Collegian, 7.4 (1977), 54, 57, 58, 60.

“The Resurgence of Jazz.” Black Collegian, 7.5 (1977), 38, 40–41, 65–66.

“Teddy Bear.” Black Collegian, 7.5 (1977), 42, 50. [Article about Teddy Pendergrass]

“The Positive Personality of Minnie Ripleton.” Black Collegian, 8.1 (1977), 4344.

“OUTLOOK: Industrial Production and Scarce Resources.” Black Collegian, 8.1 (1977), 64, 66, 68, 70.

“Food and Our Future.” Black Collegian, 8.2 (1977), 71–76.

‘”Looks Like Murder.” Black Collegian, 8.2 (1977), 72.

“Gary Tyler Is Fighting Back, What Are You Doing?” Nkombo, 6.3 (January 1978), 20–28.

“Don’t Forget Your Ticket.” Black Collegian, 8.3 (1978), 30.

“The Great Wall Does Not Divide Us.” Black Collegian, 8.3 (1978, 48, 50, 80.

Jimmy Smith and Les McCann.” Black Collegian, 8.4 (1978), 90–92.

“Funk Wars: A Profile of Funky Fellows.” Black Collegian, 8.5 (1978), 44, 4647, 78–80.

“Ashford and Simpson.” Black Collegian, 8.5 (1978), 50, 54, 56.

“Nuclear Power and the Black Liberation Struggle.” Black Scholar, 9.10 (July/August 1978), 28–35.

“South African Showdown: Divestment Now.” Black Collegian, 9.1 (1978), 50, 52, 54, 56, 58.

“Max Robinson: Taking the Weight.” Black Collegian, 9.2 (1978), 56–57, 9596.

“Oh Jamaica!” Black Collegian, 9.3 (1979), 104, 176–179.

“Better Get It in Your Soul: A Tribute To Charles Mingus.” Black Collegian, 9.4 (1979), 122, 216, 218, 220.

“The Political and Economic Ramifications of Bottle-Feeding.” Black Collegian, 9.5 (1979), 88–89.

“Cinema as Revolutionary Art.” First World, 22 (1979), 62–64.

“Revolutionary Struggle/Revolutionary Love.” Black Scholar, 10 (August/September 1979), 20–24. [Reprinted in Foresight, 2.1 (Spring 1983), 25–28]

“Great Black Music.” Black Collegian, 10.2 (1979), 62–64.

“Women’s Rights Are Human Rights.” Black Scholar, 10 (March/April 1979), 9–14.

“Great Black Music.” Black Collegian, 10.2 (1979), 54, 56–57.

“The Haiti Experience.” Black Collegian, 10.2 (1979), 62–64, 66, 70, 126–127.

“Great Black Music: Listen To The Songs of Our Fathers…Johnny Griffin Is Blowing.” Black Collegian, 10.3 (1979/80), 78–79.

“Spirit Sensitive: The Music of Chico Freeman.” Black Collegian, 10.4 (1980), 32, 34–36, 38, 40, 44, 48, 54, 58.

“Morning Glory: Mary Lou Williams.” Black Collegian, 10.5 (1980), 18, 21.

“Commentary.” First World, 2.4 (1980), 52–53. [Essays on language and African-American literature]

“The Energy Crisis.” Black Collegian, 11.1 (1980), 105, 108–110, 112, 114, 116–117, 120–122, 124, 126, 128, 168–170, 191–192, 194–195.

“Voices of the Civil Rights Movement.” Black Collegian, 11.1 (1980), 196–197.

“How And Why Rodney Was Downpressed.” Black Collegian, 11.2 (1980), 106–111.

“Cuban Cinema.” Black Scholar, 11.3 (1980), 85–90.

“Black College Day ’80.” Black Collegian, 11.3 (1980/81), 10–11.

“In the Face of Oppression: A Case Study of New Orleans.” Black Scholar, 12.1 (1981), 65–67.

“African Root/African Fruit Music.” Black Collegian, 11.4 (1981), 10, 12.

“New Orleans: Notes from a Banana Republic.” Black Books Bulletin, 7.3 (1981), 14–17, 21.

“Yeah, But Is It Music?” Black Collegian, 12.1 (1981), 40–42, 44, 46, 48.

“Stopping South Africa.” Black Collegian, 12.2 (1981), 20, 22, 24–28.

“Great Black Music—Are You Reggae For It Now?” Black Collegian, 12.2 (1981), 113–114, 116.

“Bob Marley.” Black Collegian, 12.2 (1981), 115.

“Reggae Roundup.” Black Collegian, 12.2 (1981), 118–120.

“Singers and Songwriters: More Than Meets The Ear.” Black Collegian, 12.3 (1981/82), 24, 28–29, 31–32.

“Basic Rules For Black Communicators.” Black Collegian, 13.1 (1982), 128–129.

“Cutting the Body Loose.” Wavelength, July 1982, pp. 26–31.

“12th Anniversary Editorial: The Message!” Black Collegian, 13.2 (1982), 4.

“My People: My Name is Fulani.” Black New Orleans, 1.1 (198), 24–26.

“Profile/Rev. Paul Morton.” Black New Orleans, 1.1 (1982), 27–29. [Published under the pseudonym Hughes Jones]

“Majority Rule: An Analysis of the Election Primary.” Black New Orleans, 1.3 (1982), 26–27.

“The Exquisite Cuisine of Chez Helene.” Black New Orleans, 1.3 (1982), 2324. [Published under the pseudonym Hughes Jones]

“From Zydeco to Blues, Jazzfest Has It All.” National Leader, 2.8 (1983), 1819.

“Marvin Gaye: A Contradictory Singer.” National Leader, 2.12 (1983), 20–21.

“Kashif: A Musical Inventor for the ’80s.” Black Collegian, 14.1 (1983), 118, 120, 122.

“For Malcolm, For Us.” Steppingstones, Winter 1983, pp. 38–40.

“What Us Is Writing? Re-reading Lorraine Hansberry.” Black Collegian, 14.4 (1984), 45–46.

“The Political Act of Writing.” SAGALA, 4 (1984), 32–37.

Source: Jerry W. Ward Jr. "Kalamu ya Salaam: A Primary Bibliography  (In Progress)." Mississippi Quarterly. Winter ’97/’98. Vol. 51.

posted 27 March 2010

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1. thank you.

2. this stuff will never be complete—a number of items have been published in small newspapers that i have long forgotten about, not to mention, for various reasons, there is a bunch of stuff uncredited or under a pen name. nevertheless, rudy, i really appreciate the work you are doing in general and this project is, of course, of particular interest to me as i approach 60 (i'm 59 now).

3. i have a handful of projects i want to finish within the next year, we'll see how that goes. which is to say, this bibliography stuff is doomed to remain incomplete for years to come, and, at the same time, in a perverse sort of way, the project is an inspiration to me to continue trying to make it impossible for it to ever be complete ;->) thanks rudy. much appreciated. a luta continuakalamu

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Dear Rudy,

Thanks also for sending the file of my Kalamu ya Salaam bibliography. I'll check it for you a.s.a.p.  Kalamu and I had lunch yesterday and discussed, among other things, how pleased we are with the work you are doing.  What we especially like about Chickenbones is the range of coverage, your publishing new and old writers who allow us to follow multiple currents in diasporic thought. Happy EasterJerry

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I agree wholeheartedly with Jerry about the significance of Kalamu's work as a poet, essayist, and memoirist; as a scholar of music and literature; and as a cultural activist in so many fields. Jerry is undertaking an important work in compiling a bibliography of Kalamu's work.Miriam

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Miriam, Jerry's Call for Papers of uncanonized writers highlights the dilemma of a lack of bibliographies and access to writings. That is part of the reason so many writers are uncanonized: out of print books, lack of a central location, little digitalization of writings, etc.

Kalamu has been fortunate to have ChickenBones. We have digitized so many of and  so much of his writings that a number of 20 page papers could be written. ChickenBones is unique in this. Of course we also have a great amount on Marcus Christian who has also been removed from the canon.

Unless one is a full-time professor and scholar or have a special love for a particular writer. Or one has the financial resources to do the hunt for writings or the research for writings, one will be unable to respond to Jerry's CFP. Such a project was made for a scholar and poet like Mona Lisa Saloy. She has been working on Bob Kaufman for yearsRudy

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I totally agree with the above insights and comments.  We must remember that only we can develop our writings and institutions which will bring our Worldview and cultural vision to humanity. Hats off to Rudy and Jerry Ward for spot-lighting the work of this great artist, critic and intellectual!Askia Toure'

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Many thanks. I will need help from all of you in putting the spotlight on what Askia rightly calls our "Worldview and cultural vision."Jerry

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Dear Miriam,  I published the bibliography on Kalamu several years ago, but it only covers his work up to 1996. Some high-energy young scholar will have to compile 1996 to 2010.Jerry

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Well, you're still a high-energy scholar, Jerry, but, like me, you've probably wisely decided to devote these golden years to your own work. Let's hope, though, that a younger scholar will continue your work on Kalamu.Miriam

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We can be thankful that a lot of Kalamu's work as a music critic is accessible at his site We also have some of his correspondence during Katrina on ChickenBones. He wrote some poems during this period as well. I do not have copies of that work. I have his novel on Robert Johnson in Word. But I have yet had a chance to read it.

There is so much I would like to do in this regard. A friend of mine has in his basement stacks and stacks of The Black Collegian. I had a volunteer Austin Syndnor who helped to get the Kalamu bibliography from hard copy to a digitized copy. All this kind of work has been intensive and sacrificial.

Still we have made a dent. There is a considerable amount of material on ChickenBones that is not listed in Jerry's bibliography, like the Malcolm play, and most of all we have such manuscripts as Kalamu's autobiography, "Art for Life: My Story, My Song:" I do indeed hope that some younger scholars and web publishers will work on the foundations that Jerry and I have laid.Rudy

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Jerry, I'm with you on the importance of Kalamu. We first met and jammed together (Kalamu on drums) at Fort Bliss, Texas in February of 1968. It was a "homeboy’s" hookup that produced a long friendship. On my 60th birthday, he gave me a cd of Lou Rawls' Greatest Hits and helped me laugh the entire evening. There was a time when I knew the entire Rawls songbook. He's a righteous brother.—Chuck Siler

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music website >
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Guarding the Flame of Life

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Men We Love, Men We Hate
SAC writings from Douglass, McDonogh 35, and McMain high schools in New Orleans.

An anthology on the topic of men and relationships with men

Ways of Laughing
An Anthology of Young Black Voices
Photographed & Edited by
Kalamu ya Salaam

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New Orleans Jazz Funeral for tuba player Kerwin James / They danced atop his casket Jaran 'Julio' Green

*   *   *   *   *'s 25 Best Selling Books



#1 - Justify My Thug by Wahida Clark
#2 - Flyy Girl by Omar Tyree
#3 - Head Bangers: An APF Sexcapade by Zane
#4 - Life Is Short But Wide by J. California Cooper
#5 - Stackin' Paper 2 Genesis' Payback by Joy King
#6 - Thug Lovin' (Thug 4) by Wahida Clark
#7 - When I Get Where I'm Going by Cheryl Robinson
#8 - Casting the First Stone by Kimberla Lawson Roby
#9 - The Sex Chronicles: Shattering the Myth by Zane

#10 - Covenant: A Thriller  by Brandon Massey

#11 - Diary Of A Street Diva  by Ashley and JaQuavis

#12 - Don't Ever Tell  by Brandon Massey

#13 - For colored girls who have considered suicide  by Ntozake Shange

#14 - For the Love of Money : A Novel by Omar Tyree

#15 - Homemade Loves  by J. California Cooper

#16 - The Future Has a Past: Stories by J. California Cooper

#17 - Player Haters by Carl Weber

#18 - Purple Panties: An Anthology by Sidney Molare

#19 - Stackin' Paper by Joy King

#20 - Children of the Street: An Inspector Darko Dawson Mystery by Kwei Quartey

#21 - The Upper Room by Mary Monroe

#22 – Thug Matrimony  by Wahida Clark

#23 - Thugs And The Women Who Love Them by Wahida Clark

#24 - Married Men by Carl Weber

#25 - I Dreamt I Was in Heaven - The Rampage of the Rufus Buck Gang by Leonce Gaiter


#1 - Malcolm X: A Life of Reinvention by Manning Marable
#2 - Confessions of a Video Vixen by Karrine Steffans
#3 - Dear G-Spot: Straight Talk About Sex and Love by Zane
#4 - Letters to a Young Brother: MANifest Your Destiny by Hill Harper
#5 - Peace from Broken Pieces: How to Get Through What You're Going Through by Iyanla Vanzant
#6 - Selected Writings and Speeches of Marcus Garvey by Marcus Garvey
#7 - The Ebony Cookbook: A Date with a Dish by Freda DeKnight
#8 - The Isis Papers: The Keys to the Colors by Frances Cress Welsing
#9 - The Mis-Education of the Negro by Carter Godwin Woodson

#10 - John Henrik Clarke and the Power of Africana History  by Ahati N. N. Toure

#11 - Fail Up: 20 Lessons on Building Success from Failure by Tavis Smiley

#12 -The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander

#13 - The Black Male Handbook: A Blueprint for Life by Kevin Powell

#14 - The Other Wes Moore: One Name, Two Fates by Wes Moore

#15 - Why Men Fear Marriage: The Surprising Truth Behind Why So Many Men Can't Commit  by RM Johnson

#16 - Black Titan: A.G. Gaston and the Making of a Black American Millionaire by Carol Jenkins

#17 - Brainwashed: Challenging the Myth of Black Inferiority by Tom Burrell

#18 - A New Earth: Awakening to Your Life's Purpose by Eckhart Tolle

#19 - John Oliver Killens: A Life of Black Literary Activism by Keith Gilyard

#20 - Alain L. Locke: The Biography of a Philosopher by Leonard Harris

#21 - Age Ain't Nothing but a Number: Black Women Explore Midlife by Carleen Brice

#22 - 2012 Guide to Literary Agents by Chuck Sambuchino
#23 - Chicken Soup for the Prisoner's Soul by Tom Lagana
#24 - 101 Things Every Boy/Young Man of Color Should Know by LaMarr Darnell Shields

#25 - Beyond the Black Lady: Sexuality and the New African American Middle Class  by Lisa B. Thompson

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What This Cruel War Was Over

Soldiers Slavery and the Civil War

By Chandra Manning

For this impressively researched Civil War social history, Georgetown assistant history professor Manning visited more than two dozen states to comb though archives and libraries for primary source material, mostly diaries and letters of men who fought on both sides in the Civil War, along with more than 100 regimental newspapers. The result is an engagingly written, convincingly argued social history with a point—that those who did the fighting in the Union and Confederate armies "plainly identified slavery as the root of the Civil War." Manning backs up her contention with hundreds of first-person testimonies written at the time, rather than often-unreliable after-the-fact memoirs. While most Civil War narratives lean heavily on officers, Easterners and men who fought in Virginia, Manning casts a much broader net. She includes immigrants, African-Americans and western fighters, in order, she says, "to approximate cross sections of the actual Union and Confederate ranks." Based on the author's dissertation, the book is free of academese and appeals to a general audience, though Manning's harsh condemnation of white Southerners' feelings about slavery and her unstinting praise of Union soldiers' "commitment to emancipation" take a step beyond scholarly objectivity.—Publishers Weekly

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Stewardship: Lessons Learned

from the Lost Culture of Wall Street

By John Taft

John Taft comes from a distinguished political family well known for its commitment to integrity. In Stewardship: Lessons Learned from the Lost Culture of Wall Street, John Taft builds on that legacy and presents an intelligent, thoughtful argument for the importance of establishing service to others as the key to saving ourselves from the ongoing financial crisis, and creating a more stable and more compassionate financial system. When the financial crisis hit in 2008, Taft was on the front lines with investors and employees, and experienced their extreme turmoil. Driven by a conviction that purposefulness, accountability, humility, integrity, and foresight are our duty, and that making the world a better place is our calling, he outlines in this book his belief in stewardship's core principles. These principles are the answer not only for minimizing the scale and impact of future financial crises, but also for addressing the major societal challenges facing us today. Wide-ranging in its coverage, the book looks at the ways in which a lack of stewardship contributed to the financial crisis, how to strengthen banking regulation, and much more. Including an in-depth analysis of the ways in which Canadian banks responded to the crisis with integrity and established themselves as models of fiscal responsibility, it looks to the future with optimism.

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The White Masters of the World

From The World and Africa, 1965

By W. E. B. Du Bois

W. E. B. Du Bois’ Arraignment and Indictment of White Civilization (Fletcher)

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Ancient African Nations

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Negro Digest / Black World

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The Death of Emmett Till by Bob Dylan  The Lonesome Death of Hattie Carroll  Only a Pawn in Their Game

Rev. Jesse Lee Peterson Thanks America for Slavery

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The Journal of Negro History issues at Project Gutenberg

The Haitian Declaration of Independence 1804  / January 1, 1804 -- The Founding of Haiti 

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