David Henderson: March 15, 2018

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The Poetry Center presents David Henderson reading a retrospective selection of poems, from his earliest published works to the present, and in conversation with the audience. Henderson reads from Felix of the Silent Forest (Poets Press, 1967), De Mayor of Harlem (E.P. Dutton, 1970), The Low East (North Atlantic Books, 1980), Neo California (North Atlantic Books, 1998), and newer work from manuscript, including a work-in-progress “For Gil Scott-Heron.” His reading is followed by a conversation with the audience.

Originally Recorded By
DocFilm Institute
Location
The Poetry Center, SFSU
Date
03/15/2018
Total Run Time
01:59:03
Contributor
Steve Dickison, Duane Deterville, Gabrielle Daniels, George Brooks, Sheppard Powell
Rights
©© American Poetry Archives. This work is licensed under a Creative Commons Attribution-Non Commercial-ShareAlike 3.0 Unported License. For all other uses please email poetry@sfsu.edu
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3889
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240

David Henderson (01:02:26)

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Following an introduction by Steve Dickison, David Henderson opens by commenting on his involvement with the Black Arts Movement and his experience in the arts community in Harlem and the Lower East Side of New York City. From Felix of the Silent Forest, he reads "Number 5--December" and "Number 4--November." He then reads "Keep On Pushing (Harlem Rebellion / Summer / 1964)," with its title from the song by Curtis Mayfield and The Impressions, from De Mayor of Harlem, as well as "Louisiana Weekly," "Caravan," "In Williams," and "The Murals of the Stations." From The Low East, he reads "The Kid," "Song of Devotion to the Forest," "Poem for Painters" (which he dedicates to "the Black visionaries of the Lower East Side"), "Egyptian Book of the Dead." From Neo California, he reads "Dogcatcher of Berkeley," "Marie Laveau," and "One: there was a woman..." He finishes by reading newer poems from manuscript: "Gil Scott-Heron" (a work in progress), "Demaris...," and "Angel of Poverty."

Conversation (00:52:10)

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David Henderson is asked from the audience how he felt his work has evolved over time, and he admits he never thought about it until recently, when he realized he always wanted to not be conventional when it came to his work being published. He advises students to read inspiring poets. Asked how New Orleans plays a role in his poetry now, especially post-Hurricane Katrina, he says that New Orleans does play a role in his work, and although he continues to read about its history, he is afraid to go back and find he does not recognize it anymore. A student asks if hip-hop resonates in his poems, to which Henderson answers that it does and how he is inspired by rap and also by the Black Lives Matter movement. On commenting about a Tupac and Biggie documentary series, he discusses his favorite crime novelists and journalists. When asked about the humanities being phased out of university education, he thinks it is unfortunate that education is based on what makes a profit and not focused on learning to think for oneself. An animated back-and-forth conversation ensues, in response to multiple comments from the audience on a host of artistic and political subjects.

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