Key Moments
T. S. Eliot Memorial Reading: Fred Moten
Harvard UniversityKey Moments
Fred Moten's poetry challenges the concept of singular identity, advocating for a 'withness' and collective being that redefines 'folks' beyond traditional boundaries.
Key Insights
Fred Moten's work emphasizes 'withness' over 'witness,' suggesting a philosophy of being present and connected rather than merely observing.
The 'Africanist presence,' as theorized by Toni Morrison, disrupts notions of purity in American literature and politics, forming a radical disruption.
Moten's poetry, particularly in his new book 'All That Beauty,' engages deeply with James Baldwin's work, exploring themes of cinematic vision, black identity, and the complexity of beauty.
The distinction between 'immigrant' and 'native' is rendered nonsensical within the context of Black diasporic history, urging a broader understanding of 'folks' and 'family.'
Moten's 'improvisations,' a form of performance poetry, often involve taking notes and summarizing events, blurring the lines between scholarship, performance, and spontaneous creation.
The concept of 'blackness' is presented by Moten as a social force rather than a fixed identity, encouraging a relinquishing of rigid identity categories in favor of broader kinship.
Rethinking identity through 'withness' and collective existence
The reading and introduction of Fred Moten's work immediately establish a core philosophical tenet: the importance of 'withness' over 'witness.' As Teju Cole explains, when faced with a choice, 'withness all the way' is preferred—simply being there with others. This concept extends to Moten's own writing, which often challenges the notion of being a 'single being.' His work, as Ronaldo V. Wilson notes, offers 'a way into the moment in which we are constantly accompanied by dissonance and by additional life, a consent, as Moten writes, to not being a single.' This philosophical stance is crucial for understanding Moten's approach to poetry, criticism, and community, suggesting that true understanding and connection arise from shared presence and mutual imbrication rather than detached observation. This forms the bedrock of his critique of rigid identity formations and his embrace of a more fluid, interconnected existence.
The 'Africanist presence' as a radical disruption
Toni Morrison's concept of the 'Africanist presence' is invoked as a critical lens through which to understand the inherent disruptions within American literature and culture. This presence is not merely the inclusion of Blackness, but a fundamental force that challenges and destabilizes any notion of purity. Moten connects this to T.S. Eliot's work, suggesting that even within Eliot's seemingly controlled poetic voice, there exists an 'Africanist presence' that he both utilizes and disavows. This presence, for Moten, represents a radical disruption of 'brutalist, right-wing, fascist, royalist politics, which is predicated on the idea and the fantasy of purity.' Understanding this concept is key to appreciating Moten's critique of established power structures and his embrace of what is impure, disruptive, and fundamentally untamed.
James Baldwin, cinema, and the ethics of 'black looking'
A significant portion of the reading is dedicated to James Baldwin, particularly his essay 'Devil Finds Work.' Moten highlights Baldwin's morbid desire to be an experimental filmmaker and how cinema informs his writing and perspective. He argues that Baldwin's work provides 'the outline and the framework for a kind of ethics of black looking.' This 'black looking' is characterized as 'queer looking,' deeply embedded in moments of identification, such as Baldwin's connection to his mother's eyes and Bette Davis's expressive gaze in film. Moten analyzes how Baldwin, like a cinematic camera, moves into scenes and points towards his own heart, demonstrating an embodied presence rather than an external perspective. This ethics of looking involves a visceral engagement with the world, acknowledging the violence often inherent in direct gaze, particularly within Black communities, and using that awareness to foster a deeper, more complex understanding.
Challenging diasporic distinctions and broadening kinship
In response to a question about positionality as a Nigerian American, Moten directly addresses the perceived distinction between 'immigrant' and 'native' within the Black diaspora. He argues that this distinction is 'utterly nonsensical' given the history of Black people globally and the inherently diasporic nature of internal African relations. Moten posits that to do justice to his commitments—both to his family and to the eradication of rigid identity—he must continually broaden the concept of 'folks' and 'family.' This approach allows him to embrace both specificity and universality, suggesting that the historical trajectories of Black people across the diaspora defy simplistic categorization. This intellectual move reorients the conversation from individual identity to a shared, collective experience that transcends national or ancestral boundaries.
The 'improvisation' as a performance of critical engagement
Moten describes his practice of 'improvisations,' which often involve attending events, taking notes, and then offering a summary or performance based on those observations. This practice blurs the lines between scholarship, criticism, and poetry. He views these improvisations not as a form of laziness or overwork, but as a deliberate method of engaging with material and community. These performances are characterized by a dense, layered language that captures the multifaceted nature of experience. They are 'with people, not for them or to them,' emphasizing a collaborative and participatory approach to knowledge creation and artistic expression.
Articulating 'blackness' as a social force
Moten expresses a commitment to understanding 'blackness' as a social force rather than a fixed identity. He believes that identity is often a 'residue of a bad political philosophical project' that we would be better off relinquishing. This does not mean abandoning commitment to one's family or community, but rather continuously expanding the definition of 'folks' and 'family' to encompass a broader collective. This perspective challenges essentialist notions of Black identity and emphasizes the dynamic, relational, and historical dimensions of Black existence. By framing blackness as a force, Moten opens up possibilities for collective action and solidarity that are not limited by rigid, predefined categories.
The 'inedible beauty' and the transformative power of language
Throughout the reading, particularly in the selections from 'All That Beauty,' Moten explores the concept of 'beauty' as something complex, even 'inedible' or unsettling. He draws on Baldwin's wrestling with beauty, suggesting that for Black people, beauty is often intertwined with struggle and a morbid desire for expression, as seen in experimental film. Moten's language itself enacts this complexity, using dense, associative wordplay that mirrors the 'turbulent' nature of existence and the 'grammatical black hole' of singularity. The poetry demonstrates a profound engagement with sound, rhythm, and the unexpected juxtapositions of language, creating a 'visionary company' that defies easy interpretation and invites the reader into a state of 'holy looking' and profound, shared experience.
Acknowledging mentors and the legacy of the Black radical tradition
The reading is bookended by acknowledgments of significant mentors and figures within the Black radical tradition. Fred Moten specifically honors Martin Kilson, the first Black professor at Harvard, emphasizing that Kilson's impact transcended this 'first.' He also references Bill Corbett and other influential figures. This inclusion highlights Moten's deep connection to intellectual lineages and the ongoing project of Black scholarship and artistic practice. The event itself, as the T.S. Eliot Memorial Reading, also prompts reflection on the complex legacy of Eliot, suggesting that commemoration should always be accompanied by critique and a recognition of the evolving nature of knowledge and poetic expression.
Mentioned in This Episode
●Organizations
●Books
●People Referenced
Common Questions
The reading commemorates T.S. Eliot, honoring his contributions to poetry and exploring themes of transmission and passage in his work. It also serves as a platform to recognize contemporary artists like Fred Moten.
Topics
Mentioned in this video
Author whose writings are frequently referenced by Fred Moten, particularly 'Notes of a Native Son' and 'The Fire Next Time'.
Poet whose presence in the Poetry Room made Fred Moten feel more comfortable returning to Harvard.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Subject of the memorial reading, a Harvard graduate whose work and recording history are discussed.
Author whose performance T.S. Eliot attended during a mid-century visit to Cambridge.
Host of a Djuna Barnes reading attended by T.S. Eliot; mother of Fanny and Susan Howe.
Actress whose eyes are mentioned by Fred Moten in relation to James Baldwin's expressive use of his eyes.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Mentioned briefly by Teju Cole as an example of someone complicated.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
20th-century English poet to whom T.S. Eliot paid tribute, mentioning 'the inexplicable mystery of sound'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Musician invited to 'blow' at the end of the 'Judson Church impromptu'.
Actor mentioned in the context of the film 'Jezebel' and Bette Davis.
Admissions officer at Harvard who helped black students gain admission; his portrait is seen by Moten.
Actor who performed Othello on Broadway, discussed in the context of rhythm and iambic pentameter.
Band whose song 'Skin Tight' was covered by 'Clyde and them'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Musician whose 'time machine' is mentioned in relation to police and pop bands.
Interviewer mentioned in the Q&A in relation to James Baldwin's expressive use of his eyes.
Recipient of a 1928 letter from T.S. Eliot quoted by Fred Moten.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Jazz drummer mentioned in connection to Buddy Bolden and the concept of 'calling'.
Jazz musician who 'called' Baby Dodds, mentioned in the 'Judson Church impromptu'.
Mentioned in the poem 'B Jenkins' as part of Fred Moten's family history.
Mentioned in the poem 'B Jenkins' as someone whose peace way home is traced.
Poet and daughter of Mary Manning Howe, mentioned as being in the audience.
Honored guest and poet whose work is discussed, and who reads poetry.
Actress whose eyes and performances James Baldwin discusses, analyzed by Fred Moten in relation to 'The Devil Finds Work'.
Co-author of 'The Hundreds', for which Fred Moten wrote an index.
Mentioned in the poem 'B Jenkins' as someone who ran away with the speaker.
Filmmaker who made a documentary about James Baldwin, mentioned in the Q&A.
Novelist, photography editor, and professor who introduces Fred Moten.
Mentor and important figure in the Boston literary scene for Fred Moten.
Actor mentioned in relation to a Bette Davis film discussed by James Baldwin.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Fred Moten's mother, for whom the book 'B Jenkins' is named.
Author whose concept of 'Africanist presence' is discussed in relation to T.S. Eliot's voice.
Fred Moten's mentor and teacher, the first black professor at Harvard.
One of the Little Rock Nine, mentioned by Fred Moten in a passage about seeing and feeling.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Interviewer mentioned in the Q&A in relation to James Baldwin's expressive use of his eyes.
Writer quoted on Fred Moten's music, describing it as a way into a moment accompanied by dissonance.
Jazz pianist about whom Fred Moten wrote, included in Teju Cole's introduction.
Poet whose work is used as an epigraph and referenced by Fred Moten.
Scholar and activist whose work is used as an epigraph by Fred Moten.
Mentioned in the 'Judson Church impromptu' as the brother of the beloved.
Fred Moten's best friend from Harvard and a mentor.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Co-author of 'The Hundreds', for which Fred Moten wrote an index.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Collaborator in Fred Moten's 'Judson Church impromptu'.
Mentioned in the poem 'B Jenkins' as part of Fred Moten's family history.
James Baldwin's influential book, cited for a passage on beauty and vengeance.
Teju Cole's recent work addressing kinship and hospitality for displaced people.
A text discussed by Teju Cole's students on how to read complex material.
Shakespeare play discussed in relation to American actors and the rhythm of iambic pentameter.
A poem by T.S. Eliot, portions of which were damaged during recording and had to be re-recorded.
James Baldwin's collection of essays, cited for a quote about filmmaking interests.
A piece from Fred Moten's book 'All That Beauty', read by the author.
A poetry volume by Fred Moten.
Book by Lauren Berlant and Kathleen Stewart, for which Fred Moten wrote an index, read during the event.
James Baldwin's book discussed by Fred Moten in relation to cinema, looking, and queerness.
Book by Fred Moten named after his mother, from which he reads two poems.
A poetry volume by Fred Moten.
Fred Moten's upcoming book of poetry, from which he reads two pieces.
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