Bryan Emmanuel Guzman: Ten Years Gone

The video below looks back to the December 2008 dedication of Bryan House, a memorial honoring Bryan Emmanuel Guzman.  This December 9th will mark the tenth anniversary of his passing.

Bryan Emmanuel Guzman

Bryan Emmanuel Guzman

Days after Bryan’s death, his oldest brother, Rick, and his wife Desiree announced their intention to found this living memorial dedicated to helping refugee families escape the cycles of poverty that so often entrapped them.  They started the Bryan House project in January 2007, and by late 2008 they had bought and nearly finished rehabbing a large building with four  family units and a studio.  Finished or not, the first families began to arrive.  Over the years as its mission succeeded and grew it became Emmanuel House, now dedicated to helping not just refugees, but all the working poor it could reach—and now with a growing number of other sites, a larger staff (including executive director Hayley Meksi), and a beautiful headquarters.

In 2016 Emmanuel House was named one of the Top 100 Most Innovative social change organizations in the world.

Deanna Petersohn at the Bryan House dedication

A still from the video below shows Deanna Petersohn—now gone, too—with Linda.  Read her Emmanuel House story HERE.

The Emmanuel House main page on this site chronicles, in part, many of the honors the project has garnered in the near-decade of its existence, honors in the form not just of awards, but in the form of hundreds and hundreds of dollars, volunteer hours, and good wishes.  Our family couldn’t be more thankful.  Yet, of course, each milestone can’t help but also be bitter sweet for us.  I remember often working in and walking around Bryan House saying to myself, “My son, this is what your death has made.”  Each grandchild we’ve been blessed with is another soul who will never have met Bryan in the flesh.  “If Uncle Bryan were alive, would he love me?” asked our oldest grand daughter Micah just last weekend. brybrick3And Bryan was such a Cubs fan!  How he would have loved this year.  Without him we felt another pang in the midst of the celebrations. “Win it for Bryan!” texted Rick to us all during the team’s historic run, and a minute after they had won their first World Series since 1908 I  texted the picture at left, a replica of a brick laid in a plaza at Wrigley Field, another memorial given by family and friends in Bryan’s honor.

bryhsplaque1So many of those friends are in the video below, and during the short talks we often take our crude video camera off the speaker, panning around the room instead, trying to get them all in.  Rick introduces some of the refugee families, and in this and other things he says that night you can already see concerns forming that will lead him to announce, earlier this year, his run for Mayor of Aurora, Illinois’ second largest city.  The families favor us with a song. Then it’s out into the cold December night, traffic whizzing by Bryan House’s front door.  There we unveil the memorial stone placed in the brickwork by Desiree’s Dad, Steve Tolbert.  The crowd gasps at its beauty and cheers, and then Bryan’s brother Daniel leads us in singing: “Emmanuel, Emmanuel, His name is called Emmanuel.  God with us, revealed in us.  His name is called Emmanuel.”  Please join us as the video below brings back as much of this dedication night as it can.

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Ida B. Wells Boycotts the World’s Fair – Part 1

wellsOne of the most important documents of Black writing in American history is Ida B. Well’s pamphlet The Reason Why the Colored American Is Not in the World’s Columbian Exposition, sections of which I included in my book Black Writing from Chicago.  It begins:

“The exhibit of the progress made by a race in 25 years of freedom as against 250 years of slavery, would have been the greatest tribute to the greatness and progressiveness of American institutions which could have been shown the world. The colored people of this great Republic number eight millions—more than one-tenth the whole population of the United States. They were among the earliest settlers of this continent, landing at Jamestown, Virginia in 1619 in a slave ship, before the Puritans, who landed at Plymouth in 1620. They have contributed a large share to American prosperity and civilization. The labor of one-half of this country has always been, and is still being done by them. The first credit this country had in its commerce with foreign nations was created by productions resulting from their labor. The wealth created by their industry has afforded to the white people of this country the leisure essential to their great progress in education, art, science, industry and invention.

“Those visitors to the World’s Columbian Exposition who know these facts, especially foreigners will naturally ask: Why are not the colored people, who constitute so large an element of the American population, and who have contributed so large a share to American greatness, more visibly present and better represented in this World’s Exposition?”

She urged people—especially colored Americans—to boycott the famed 1893 World’s Fair.

wells-whycoloredamsBorn into slavery in 1862, Ida B. Wells (1862-1931) first gained national attention in 1887 when she sued the Chesapeake and Ohio Railroad for not allowing her to sit with whites.  The case, which she lost, drew her away from school teaching in Memphis and into a career in journalism and crusading for Black rights that is among the most important in American history.  She helped establish the African-American newspaper The Free Speech in Memphis in 1891, and the following year the death by lynch mob of several of her friends impelled her to begin her famous international campaign against lynching.

It wasn’t just a protest against the poor representation of African Americans in virtually every aspect of this particular World’s Fair, from jobs to hurtful stereotypes.  The Reason Why pamphlet also placed these injustices against a sweeping backdrop of America’s history of injustice against blacks.  In Chapter 2, “Class Legislation,” for example, Wells details the systematic impoverishment and disenfranchisement of blacks.  “Russia’s liberated serf,” she writes, “was given three acres  of land and agricultural implements,” but blacks “were turned loose to starvation, destitution, and death….”  Poll taxes and unfair “education” tests stymied black attempts to vote, creating a “Solid South”—meaning, she says, a solid unit “for white supremacy.” The result in Mississippi was that in 1892 while there were 110,100 whites over 21 and eligible to vote and 147,205 blacks similarly eligible, 68,127 whites were registered but only 8,615 blacks.  In Chapter 3, “The Convict Lease System,” she links this impoverishment and disenfranchisement not only to the excessive numbers of blacks thrown in jail—a problem still rampant in the first quarter of the 21st century—but also to a de facto reinstatement of slavery, with convicts being “leased out to work for railway contractors, mining companies and those who farm large plantations.”

In Chapter 4, she turns to “Lynch Law.”  Between 1882 and 1891, 701 lynchings were officially recorded.  Of these 269 blacks were accused of rape, though, says Wells, “This crime is only so punished when white women accuse black men, which accusation is never proven. The same crime committed by Negroes against Negroes, or by white men against black women is ignored even in the law courts.”  The list of “reasons” concludes with 32 blacks lynched for no reason whatever.

 Read PART 2 of this post.

 Go to a list of Black Writers on this site, and to the Black Writing from Chicago main page, where you can learn more and buy the book.

 

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Tara Betts: Amalgamation Improvisation Within Black

betts1In my book Black Writing from Chicago, I included two Tara Betts poems, “Two Brothers” and “A Mixed Message,” the first featured in the marvelous Steppenwolf Theatre production Words on Fire (2000), a celebration of Chicago poetry.  No wonder: it paints a vital, endearing scene also embodying an important problem.  Two brothers: one who should be in school but isn’t, and his baby brother who “hovers like a satellite”—only five, but “His knit cap blares out / With the curvy, capital W in yellow on his forehead  / He could step to the mic /  Posture each word like lunging Kung fu kicks.”  Then:

A woman tells him to tell his Big Brother to stay in school
Like the sisters
Leaving him a heap of sepia butterflies
Dripping deliberate dew sweat
Dropping like ice cubes out of trays
Steel heated into malleable liquid
Big Brother & Baby Brother
Become black silk and amber velvet
Under weight of woman smile

The second poem, “A Mixed Message” begins:

What makes me so damned tragic?
not a fragmented exotic mystery
jezebel born from the blood of rape
nor child of the so called integration experiment

The tragedy has been embodied in thousands of ways, including laws to keep “races” pure. But she defies categories, is what Aryan Nations feared, fills in “all the gaps / where miscegenation laws / blotted my birth.”  She recalls how her father held her “through 11-year-old / tears calling me by name / calling me beautiful,” as she endured nicknames like “zebra, mutt or half-n-half.”

betts3But through the tragedy, the poem shows that while Betts is grounded in an African-American identity, uncertain though it is, her vision is truly pan-ethnic, born of a feeling for the “amalgamation improvisation / within Black,” the criss-crossing of blackness with whiteness, with Mexican, Filipino, Puerto Rican, with North and South and the international that reaches to Egypt and beyond.  Blackness, then, is as much a process—collaboration, amalgamation, improvisation—as anything else.  Such a “collaborationist” ethic shows not only in her writing, but in the way she became one of the most involved artist in Chicago: teaching, conducting workshops, and performing for the Guild Complex, Gallery 37, Young Chicago Authors, Columbia College, Northwestern School of Law, and primary and secondary schools throughout the area.  A fixture in Chicago performance poetry, Betts was involved in the “Women Out Loud” series at Chicago’s Mad Bar and has been part of the Mad Bar’s teams in the National Poetry Slam competitions.

Betts’ poems have appeared in many publications, including Obsidian III, Mosaic, Rhapsody in Black, Dialogue, Crab Orchard Review, Callaloo, The Columbia Poetry Review and the Tia Chucha press 20th anniversary anthology Power Lines.  In 2010, Essence magazine named her one of its “40 Favorite Poets,”  She received her MFA in Poetry from New England College, residencies and fellowships from the Ragdale Foundation, Centrum and Caldera, and the Illinois Arts Council, and her PhD in English from SUNY Betts.  Her poetry books and chapbooks are Can I Hang?, Switch, Break the Habit, and Arc & Hue, and she has been anthologized not only in my Black Writing from Chicago, but also in such books as The Break Beat Poets, and Octavia’s Brood: Science Fiction Stories from Social Justice Movements.  In 2011 the Peggy Choy Dance Company commissioned her to write a series of poems and monologues for “THE GREATEST!”: An Homage to Muhammad Ali.

She has been a lecturer in creative writing at Rutgers University, though her major passion remains performance.  She continues to embody the mixing she celebrates in “A Mixed Message” through performances in Cuba and London, and from coast to coast in the U.S. at venues such as the Arie Crown Theater, The New School, The Museum of Contemporary Art, Studio Museum of Harlem, Lincoln Center for the Performing Arts, The Metro, Cornelia Street Café, Bowery Poetry Club, Nuyorican Poets Cafe, Schomburg Center, Yerba Buena Cultural Center, the Field Museum of Natural History, and Harvard and Yale universities.  She has also appeared on HBO’s Def Poetry Jam,  and in the Black Family Channel series “SPOKEN” with Jessica Care Moore.

 Go to a list of Black Writers and to the Teaching Diversity main page.

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