- unitid
-
{"value"=>"20745", "type"=>"local_mss"}
{"value"=>"Sc MG 344", "type"=>"local_call"}
{"value"=>"b11868607", "type"=>"local_b"}
- unitdate
-
{"value"=>"1919-1985", "type"=>"inclusive", "normal"=>"1919/1985"}
{"value"=>"1961-1985", "type"=>"bulk", "normal"=>"1961/1985"}
- unittitle
-
{"value"=>"Larry Neal papers"}
- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"45 boxes", "unit"=>"containers"}, {"name"=>"extent", "value"=>"18.75 linear feet", "unit"=>"linear_feet"}]}
- repository
-
{"value"=>"<span class=\"corpname\">Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division</span>"}
- abstract
-
{"value"=>"The Larry Neal papers document his role as a writer/editor and seminal figure in the Black Arts Movement, and consist principally of Neal's diverse forms of writings, including essays, scripts, screenplays, poems, short stories, and anthologies. Published copies of some of his writings are included in the collection, as are writings by colleagues and publishers."}
- langmaterial
-
{"value"=>"English"}
- origination
-
{"value"=>"Neal, Larry, 1937-1981", "type"=>"persname"}
- bioghist
-
{"value"=>"<p>Larry (Lawrence Paul) Neal was well-known as a writer, literary and music critic, and major catalyst for the Black Arts Movement of the 1960's and 1970s. Born September 5, 1937 in Atlanta, Georgia he grew up in Philadelphia and graduated from Roman Catholic High School. In 1961 he received his Bachelor of Arts degree in history and English from Lincoln University in Pennsylvania, and was a recipient of the Eichelburger Award for Creative Writing from that school. After graduating from college, Neal taught creative writing, a course entitled \"Afro-American Literature and Cultural History,\" and other English courses at several universities including City College of New York, Case Western Reserve and Yale University between 1963 and 1976. In 1970 he was a recipient of a Guggenheim Fellowship for Afro-American critical studies. Graduate courses in folklore completed in 1964 at the University of Pennsylvania provided Neal with the opportunity to develop his writing skills, but it was folk tales, slang and street chants that shaped his distinctive style of poetry.</p> <p>In 1964 Neal moved from Philadelphia where he had been teaching at Drexel Institute of Technology to New York City. The following year he married Evelyn Rodgers, a chemist at Mount Sinai Hospital; they adopted a boy, Avatar, in 1971. The Neal's residence on Jumel Terrace in the Sugar Hill section of Harlem, purchased in 1971, served as a magnet for the creative individuals of the period, particularly literary figures whose works gained attention during the late 1960's and the early 1970's, including Amiri Baraka (Leroi Jones), Ishamel Reed, Quincy Troupe, Askia Muhammad Toure, Hoyt Fuller, Stanley Crouch, and Henry Dumas. During this period, Neal worked as a copywriter for John Wiley and Sons (1964), and wrote for <span class=\"title\">Liberator</span>magazine, a progressive journal of that time and a publication for which he eventually became arts editor. During his <span class=\"title\">Liberator</span>period (1964-1966) he wrote accounts of cultural events and conducted interviews with writers, artists, and musicians.</p> <p>Neal's commitment to radical politics was demonstrated through his position as education director of the Black Panther Party and as a member of the Revolutionary Action Movement, both in the 1960's. Baraka has written that he and Neal initially met at a demonstration protesting Patrice Lumumba's 1961 assassination. Neal's relationship with Baraka became more firmly established after Neal wrote an article entitled <span class=\"title\">The Development of Leroi Jones</span> which discussed Baraka's transformation from a Beat poet to a revolutionary artist. Together with Askia Toure, Neal and Baraka became principal movers in a group that created the Black Arts Repertory Theatre School in Harlem in 1964. They produced a number of plays including Jones' <span class=\"title\">Jello</span> and <span class=\"title\">Dutchman,</span> and also initiated a series of poetry readings and concerts. The Black Arts Theatre attacked the values of the Establishment theater in New York and presented art that reflected Black life with its history of resistance and struggle. The theater was forced to close because of factionalism among the members and the cut of government funds (channeled through HARYOU-ACT) due to this theater's opposition to traditional theater and values. By now, however, the new direction forged in the theater became the impetus for the Black Arts Movement.</p> <p>This movement by young Black artists in the 1960's sought to create art forms that would advance Black people's liberation. Neal described the Black Arts Movement as being radically opposed to any concept that alienates the artists from their community. Rather than fuse their ideas with the mainstream white culture, Black writers, plastic artists and musicians should speak directly to the needs and aspirations of Black America. Neal wrote that \"Black Art is the aesthetic and spiritual sister of the Black Power concept.\" Both related to the African-American's desire for self-determination and nationhood. According to Neal, Black Arts was concerned with the relationship between art and politics; Black Power with the art of politics. The Black Arts Movement proposed a separate symbolism, mythology, critique and iconology. Individuals whose perceptions and art work were associated with the movement knew that their perception of reality was different from that of the white American majority.</p> <p>Neal's belief in the centrality of African-American music to developing a Black aesthetic was expressed in essays he published in <span class=\"title\">Negro Digest</span>in 1966 and 1967. He, Baraka and A.B. Spellman also collaborated on a magazine, <span class=\"title\">Cricket,</span>a publication devoted to African-American music, which espoused a Black nationalistic philosophy. Although <span class=\"title\">Cricket</span>ceased publication after three issues, it served as a vehicle through which Black writers attempted to define Black art forms and aesthetics.</p> <p>In 1968 Neal and Baraka edited <span class=\"title\">Black Fire: An Anthology of Afro-American Writing,</span>a significant publication for the Black Arts Movement, and Neal wrote two ground breaking essays that sought to define the movement. Still the seminal anthology of that period, <span class=\"title\">Black Fire</span>contains works by well-known social critics, poets and playwrights such as James Boggs, Ed Bullins, Sonia Sanchez, Stokely Carmichael, John Henrik Clarke, Harold Cruse, Henry Dumas, and Hoyt Fuller.</p> <p>In addition to writing essays concerning such topics as the arts and artists, Harlem, and the death of Malcolm X, Neal served as a literary and music critic, writing essays about the works of Ralph Ellison, Zora Neale Hurston, Charlie Parker, and others. Among his many projects, Neal was responsible for the publication of a new edition of Hurston's autobiography, <span class=\"title\">Dust Tracks on a Road,</span>and for her novel, <span class=\"title\">Jonah's Gourd Vine,</span>for which he wrote the introductions (1971).</p> <p>Neal also published two books of poetry: <span class=\"title\">Black Boogaloo</span>(1969) and <span class=\"title\">Hoodoo Hollerin' Bebop Ghosts</span>(1974). <span class=\"title\">Black Boogaloo</span>focuses on discovering the historical moment when Africans lost their connection with their gods and ancestors, thereby losing themselves. <span class=\"title\">Hoodoo Hollerin' Bebop Ghosts,</span>Neal's second volume of poetry, explores Black folk culture and figures, especially Black liberation and Shine. His dramatic works include <span class=\"title\">The Glorious Monster in the Bell of the Horn</span> and <span class=\"title\">In an Upstate Motel,</span> both of which were performed during Neal's lifetime as well as after his death. Lesser known as an arts administrator, Neal held the position of Executive Director for the District of Columbia Commission on the Arts and Humanities (1976-1979), a city agency that made grants to artists and organizations that encouraged the development of the arts in Black communities, including the Elma Louis School of Fine Arts in Roxbury, Massachusetts.</p> <p>At his death of a heart attack at age forty-three, Neal was assisting the percussionist Max Roach to write his autobiography and had completed a jazz series for a Boston television station and a film script on musical improvisation for Clark College in Atlanta. Neal had nearly completed a book on the rise of Black consciousness in the 1960's he had entitled <span class=\"title\">New Space: Critical Essays on American Culture.</span> This book, published posthumously as <span class=\"title\">Visions of a Liberated Future: Black Arts Movement Writings: Larry Neal</span>(New York, Thunder's Mouth Press, 1989) is a compilation of selected works by Neal (encompassing poetry, essays, and drama); many entries were published during his lifetime. Although not credited, Neal's widow Evelyn Neal assisted in the production of the book by selecting material that was included.</p>"}
- scopecontent
-
{"value"=>"<p>The Larry Neal Papers date from 1961 to 1985 and document Neal's role as writer/editor and seminal figure in the Black Arts Movement. The papers consist principally of manuscripts and research materials for Neal's diverse forms of writings, including essays, scripts, screenplays, poems, stories, and anthologies. Published copies of some of his writings are included in the collection, as are writings by colleagues. Neal's professional papers include correspondence with colleagues and publishers. Materials post-dating his death in 1981 document the various memorials and a conference honoring his achievements.</p>"}
{"value"=>"<p class='list-head'>The Larry Neal papers are arranged in six series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/scm/20745#c649658'>Personal Papers</a></div>\n<div class='series-description'><p>The <em>PERSONAL PAPERS series, 1966-1985 (.4 lin. ft.),</em>is composed of biographical information including Neal's resumes, incoming letters, his marriage certificate, and photocopies of photographs of his family and colleagues (Schomburg Center's Photographs and Prints Division maintains a Larry Neal Photograph Collection). Most of this series deals with Neal's death in 1981, and includes letters of condolence, funeral (viewing) guest book, memorials, obituaries, literary criticism in the form of a memorial and a literary conference named in his honor, which was sponsored by the D.C. Commission on the Arts and Humanities.</p></div></li><li><div class='series-title'><a href='/scm/20745#c649677'>Professional Papers</a></div>\n<div class='series-description'><p>The <em>PROFESSIONAL PAPERS series, 1966-1981 (1.6 lin. ft.),</em>includes letters from significant correspondents such as Amiri Baraka, Gwendolyn Brooks, Eddie Ellis, Hoyt Fuller, Langston Hughes, Woodie King, Dudley Randall, Max Roach, Leopold Sedar Senghor, and Chiz Schultz. Topics discussed in the correspondence include Neal's plans for projects involving music, writing, filming, and the production of plays he wrote as well as the <span class=\"title\">Journal of Black Poetry.</span>Avatar Enterprises, Neal's production company is represented by the incorporation book and related letters.</p> <p>As an instructor at various universities, the teaching materials, student papers, and administrative documents in the collection reflect this aspect of Neal's career. Correspondence with organizations in which he was involved include the Federal Theatre Project in the 1970's and 1980's. Addresses and datebooks complete the professional papers series.</p></div></li><li><div class='series-title'><a href='/scm/20745#c649744'>Writings</a></div>\n<div class='series-description'><p>The largest series in this collection is Neal's <em>WRITINGS, 1970-1975, (8.2 lin. ft.)</em>and is divided into the genres in which he wrote.</p></div></li><li><div class='series-title'><a href='/scm/20745#c650044'>D.C. Commission On The Arts And Humanities</a></div>\n<div class='series-description'><p>The series provides a limited view of Neal's role as Executive Director of this agency. The scope of the material includes, an incomplete set of minutes of Board of Directors' meetings, memoranda, transcript of an interview with Neal, several proposals such as those for a District of Columbia Solidarity Project, and a National Black Theatre, handouts from an employment and career workshop, annual and other reports, and printed material pertaining to programs sponsored by the commission.</p></div></li><li><div class='series-title'><a href='/scm/20745#c650067'>Reference Material</a></div>\n</li><li><div class='series-title'><a href='/scm/20745#c650190'>Writings By Other Authors</a></div>\n<div class='series-description'><p>The series is divided into two subseries: <em>Essays, Short Stories, Poems,</em>1966-1979 (1 lin. ft.) focus on African-American and African topics by such authors as Amiri Baraka, John Blassingame, Hoyt Fuller, and Robert F. Thompson. The second subseries, <em>Scripts,</em>1972-1977 (.8 lin. ft.), consists of playscripts and screenplays authored by a variety of writers including Hoyt Fuller, Earnest L. Hudson, Henry Edward Krehbiel, Ishmael Reed, Howard Sackler, and Douglas Turner Ward.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p>The collection is divided into six series and thirteen subseries. The titles, dates and box numbers are as follows:</p> Personal Papers, 1966-1985: Box 1 Professional Papers, 1966-1981: Box 2-5 Writings Essays, 1970-1975: Box 6-8 Scripts, 1972-1980: Box 9-14 Screenplays, 1967-1979: Box 15-17 Screenplays, 1967-1979: Box 15-17 Poems, 1974-1979: Box 18-19 Anthologies and Other Publication Projects, 1961-1981: Box 20-23 Short Stories, 1973 n.d.: Box 24-25 Interviews, 1973-1980: Box 26 Notes, 1971-1979: Box 29-30 D.C. Commission on the Arts and Humanities Reference Materials Subject File, 1965-1980: Box 31-36 Card File, n.d.: Box 37 Annotated Books, 1960-1978: Box 38-40 Writings by Other Authors Essays, Short Stories, 1966-1979: Box 41-43 Scripts, 1972-1977: Box 44-45", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>Purchased from Evelyn L. Neal, 1986</p> <p>Donated by Evelyn L. Neal, 1988-1990</p>"}
- separatedmaterial
-
{"value"=>"<p> Transferred to the Art and Artifacts Division: art cards and small posters.</p> <p>Transferred to the Jean Blackwell Hutson General Research and Reference Division: books and periodicals.</p> <p>Transferred to the Moving Image and Recorded Sound Division: audio materials.</p> <p>Transferred to the Photographs and Print Division: photographs and contact sheets.</p>"}
- processinfo
-
{"value"=>"<p>Processed by Janice Quinter; machine-readable finding aid created by Apex Data Services; revised by Terry Catapano.</p>"}
- sponsor
-
{"value"=>"Schomburg NEH Archival Resources for the Study of the Post-Civil Rights Movements Project"}
- revisiondesc
-
{"value"=>"Finding aid updated by Lauren Stark.", "date"=>"2022 September 9"}
- date_start
-
1919
- keydate
-
1919
- date_end
-
1985
- date_inclusive_start
-
1919
- date_inclusive_end
-
1985
- date_bulk_start
-
1961
- date_bulk_end
-
1985
- extent_statement
-
18.75 linear feet (45 boxes)
- prefercite
-
{"value"=>"[Item], Larry Neal papers, Sc MG 344, Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library"}