In 2004, two years after June Jordan passed away, Random House issued a reprint of her classic edited collection Soulscript: Afro-American Poetry, described on the back cover as “a poignant, panoramic collection of poetry from some of the most eloquent voices in the art.” First published in 1970, Soulscript responded to what Jordan felt was Clarence Major’s excessive leniency in editing The New Black Poetry (1969) and the sense she shared with Amiri Baraka (then LeRoi Jones) that black literary anthologies had been constrained by an imperative to protest and selected for their “sociological” rather than “literary” interest (Jordan, Letter to Milton Meltzer).1¹ Her aim, in contrast, was “to demonstrate the existing literature of American black poets,” emphasizing the literary and aesthetic value of the poems she selected. On publication, Soulscript was met with critical approbation, lauded as “an exemplary, tasteful anthology” (Review) and “an enjoyable volume of thought-provoking reading” (Tarver). Reviewers praised these poems as “the best, represent[ing] a striking convergence of the vocabulary of individual recognitions and historical immediacy” (Review). Since then, Soulscript has become a foundational anthology of African American poetry.

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创作自己的文学：约旦与文学选集的教学政治

2004年，约旦6月去世两年后，兰登书屋出版了她经典编辑的作品集《灵魂：非裔美国人的诗歌》的再版，在封底描述为“诗歌中最雄辩的声音的凄美，全景的诗集”。艺术。” Soulscript于1970年首次出版，回应了乔丹认为克拉伦斯·梅杰（Clarence Major）在编辑《新黑人诗歌》（The New Black Poetry，1969）中过分宽容以及她与阿米里·巴拉卡（Amiri Baraka）（当时的勒罗伊·琼斯（LeRoi Jones））的共同感受，即黑人文学选集受到迫切抗议的束缚。并挑选适合自己的“社会学”，而不是“文学”的兴趣（约旦，信米尔顿·梅尔策）。1 ¹相反，她的目的是“展示美国黑人诗人的现有文学”，强调她所选择的诗的文学和美学价值。出版时，Soulscript得到了批评的称赞，被誉为“模范，雅致的选集”（评论）和“令人发指的阅读著作”（塔弗）。评论家称赞这些诗歌为“最好的，代表着个人认可和历史直接性的惊人融合”（评论）。从那时起，Soulscript已成为非裔美国人诗歌的基础选集。