Explaining that pragmatism, he found ready adversaries among fellow black Americans, whom he criticized as racially defining themselves and undermining the broader black experience for one of the victims. He described gangsta rap as “The Birth of a Nation” with a backbeat as “The Revant Al Sharpton”, “Buffon”, Islamist leader Louis Farrakhan’s nation as “insane,” “Nobel Laureate Tony Morrison” as PT described. Barnum “and Alex Healy, author of” Roots “, as” opportunists “.
On the contrary, he praised his intellectual masters James Baldwin, Ralph Ellison, and Albert Murray, who, by their light, saw the contribution of black people as integral to the American experience, beyond race and ideology.
(Mr. Crouch disdains the African-American expression, saying: “I use negro, black American, Afro-American. And I can finally throw gray American. I don’t use African-American because I have There are friends who are from Africa. But I use Afro-American, because it means it is derived but it is not direct. “
Mr. Crouch said that he had taught himself extensively writing books as a child and then drawing on an innate lyrical sensibility, which he expressed in poetry as well as in prose. He wrote to jazz trumpeter Dezi Gillespie:
He said, “He is moving from a strange fish position to a star surfer, riding the high, high winding waters of a trend, drowned in the state of those wonders, but from time to time the new wise men Dripping with, looking back like the others returned. Following them on the thin vane of art and entertainment that those who make their name in jazz must ride, above the roller coaster waves of public taste, our Swinging all the blues into a playful brine where they are forever. “
Mr. Crouch attended, though never graduated from two community colleges, but his stature as a writer went on to teaching positions at Pomona, Pitzer and Claremont Colleges, all of them in East Claremont, California, Los Angeles , Where he was known. As a charismatic poet and teacher of English and theater in the early 1960s and early 70s. (At Pomona, one of his students was George C. Wolff, who became the artistic director of the Public Theater in New York.)