Amiri Baraka’s “In Memory of Radio” is a eulogy for the vanishing medium and
art form that is, radio. Baraka reminisces about key characters in the golden days of radio,
and in doing that, paints a nostalgic picture of the downfall of radio. More than
anything, Baraka questions the divinity of radio above all things. What power does it have
and what power is it losing?
The very first line of Baraka’s poem is a rhetorical question. Baraka asks who
“has ever stopped to think of the divinity of Lamont Cranston?”(1). Lamont Cranston was
the alter-ego of Orson Welles’ crime fighting creation, The Shadow, which was the
subject of numerous pulp novels and radio segments in the 30’s and 40’s. Why question
“divinity“?
Go on to discuss the memories that Baraka analyzes and then discuss the effect they have on him. It is important to focus on the pop culture of the time and Barakas abrasive personality and way of thinking.
The very first line of Baraka’s poem is a rhetorical question. Baraka asks who
“has ever stopped to think of the divinity of Lamont Cranston?”(1). Lamont Cranston was
the alter-ego of Orson Welles’ crime fighting creation, The Shadow, which was the
subject of numerous pulp novels and radio segments in the 30’s and 40’s. Why question
“divinity“?
The very first line of Baraka’s poem is a rhetorical question. Baraka asks who
“has ever stopped to think of the divinity of Lamont Cranston?”(1). Lamont Cranston was
the alter-ego of Orson Welles’ crime fighting creation, The Shadow, which was the
subject of numerous pulp novels and radio segments in the 30’s and 40’s. Why question
“divinity“?
Go on to discuss the memories that Baraka analyzes and then discuss the effect they have on him. It is important to focus on the pop culture of the time and Barakas abrasive personality and way of thinking.