In his play, ‘A Black Mass’, Baraka dramatized the Nation of Islam’s myth of a black mad scientist creating white people with the emergence of “a beast” who is “white with a red, lizard-devil mask” and who “hops around, all the while screaming, ‘white, white, white’”.The play concludes with the narrator warning, “There are beasts in our world. Let us find them and slay them. Let us lock them in their caves. Let us declare the Holy War. The Jihad.” Amiri Baraka, arguably the country’s most racist poet, who frequently fantasized about the mass murder of white people and Jews, is widely taught in colleges across America. And he’s at the center of the controversy over Florida’s rejection of an AP Black Studies course. The AP course had included BLM, domestic terrorist Angela Davis, and Amiri Baraka. The Biden administration called Florida’s decision to reject this vile hatred “incomprehensible”. Racemonger lawyer Ben Crump, who made his bones extracting millions from the deaths of violent criminals like George Floyd and Michael Brown, has announced that he’s ready to sue. Karen Attiah of the Washington Post falsely claimed that it was an “advanced lesson in anti-blackness” and tweeted, “Florida and DeSantis are showing us what was under their *ahem* hoods this entire time.” But Crump, Attiah and the Biden administration actually showed us their ‘hoods’. The AP course includes any number of materials banned by Florida’s Stop WOKE Act, but the most remarkable of them all may be Topic 4.10 which recommends an examination of “an example of the writings of Amiri Baraka.” Topic 4.27 also recommends reading Baraka. Even by the standards of black nationalists of his era, Baraka was a deranged racist. Baraka, born Leroy Jones, passed through the racist Nation of Islam and emerged as a racistt. Baraka invented what he called the Black Arts movement. Its poets and writers, like him, spent much of their time cursing white people, anyone who wasn’t black, and all of America. “The black artist’s role in America is to aid in the destruction of America as he knows it,” Baraka declared. Occasionally producing what he termed ‘plays’ or ‘novels’, not to mention essays, the Marxist bigot usually stuck to playing the poet because he could pass off his bathroom graffiti as art. The uglier and more hateful his rants, the more white leftists rushed to apologize for him. A New Yorker article entitled ‘Amiri Baraka’s Life-Changing Jazz Writing‘ cringingly describes how the “lyrical force of his meditations was punctuated by the line ‘Rape the white girls’” and insists that “not for a moment did I think that Baraka was advocating such actions, not even when, toward the end, he speaks of ‘the murders we intend’; I was certain that he was speaking metaphorically”. The author of the piece, Richard Brody, is predictably Jewish. Baraka, who had left his Jewish wife, hated Jews even more than he hated all white people. He longed for “dagger poems in the slimy bellies of the owner-jews” or of “another bad poem cracking steel knuckles in a jewlady’s mout.” “I got the extermination blues, jew-boys. I got the Hitler syndrome figured,” Baraka wrote in one of his poems. “So come for the rent, jewboys, or come ask me for a book, or sit in the courts handing down your judgements still I got something for you, gonna give it to my brothers, so they’ll know what your whole story is, then one day, jewboys, we all, even my wig wearing mother gonna put it on you all at once.” “Atheist jews double crossers stole our secrets crossed the white desert to spill them,” Baraka ranted in another poem. “The fag’s death they gave us on a cross… they give us to worship a dead jew and not ourselves.” The poem, typical for Baraka, concludes with a genocidal fantasy, “The best is yet to come. On how we beat you and killed you.” Leftists, of Jewish origin and otherwise, insisted on seeing all that hate as a metaphor. This culture of denial climaxed in Baraka being appointed as the Poet Laureate of New Jersey. Baraka responded to 9/11 with another of his signature antisemitic rants blaming it on the Jews. New Jersey was forced to abolish the position of poet laureate to get rid of him. But even long after his death Baraka casts a long shadow of hate across academia. And not just in Florida. The Africana Studies department at Stony Brook University, where Baraka had taught in the 80s, celebrated his legacy. Baraka appears in the University of Georgia’s African American Poetry course, Cornell’s The Harlem Renaissance and the Black Arts Movement, the African American Literature courses of Middlebury College and the College of Providence, in Brooklyn College’s Modern African-American Literature and Wellesley College’s Black Drama course. With the growing pressure for ‘representation’, the old dead bigot has even started spilling over into more general courses, showing up in Amherst College’s Avant-Garde Poetry alongside Nazi collaborators Ezra Pound and Gertrude Stein, and Henry Ford College’s Reading in Modern American Poetry next to Robert Frost. What happened in Florida really reveals how thoroughly Baraka and the racist hate he represents have become embedded in black studies and in literature in general. When black studies and literature courses look for a black poet from the period, they come up with him. In the age of cancel culture, antisemitism and racism aimed at white people are generally exempt, but Baraka’s other favorite word was “fag”. “Roywilkins in an eternal faggot,” Baraka’s ‘Civil Rights Poem’ begins, referring to the NAACP leader. “His spirit is a faggot.” Bayard Rustin, an MLK adviser who actually was gay, is taunted as, “here is bayard rusty switchin like a fag, all the toms here they go, all the toms in a row.” Amiri Baraka’s hatred of gay people, like his racism and antisemitism, has to be ignored. When Baraka died a decade ago, the obituaries reflected an awareness of his long hateful career. “Amiri Baraka, Polarizing Poet and Playwright, Dies at 79,” the New York Times headlined his end. NPR mentioned his “anti-Semitism, racism and misogyny”. All of that has been washed away as Baraka’s bigotry has been made respectable again. Grove Atlantic, the respected literary publisher, offers a “definitive selection of Amiri Baraka’s dynamic poetry” which not only includes his poem claiming that the Jews were responsible for 9/11, but also his call to “rape the white girls”, and a few poems with “fag” right in the title. This has less to do with Baraka’s popularity, who remains the illiterate murderous bigot he always was, but the degree to which black nationalism has become the linchpin of the Left. Baraka, a black nationalist who loathed the civil rights movement and called its leaders “faggots”, is an obvious symptom of the death of liberalism and its replacement by racism. The Left made its racist bargain with black nationalists. The Florida AP course is just an anatomy of that bargain, its sections on BLM, on Angela Davis, on black nationalism and its promotion of a genocidal racist reflect how black studies are taught across academia. Baraka, who spent his life spewing hatred that would have made Goebbels cringe a little, is taught in college courses across America. And his hatred is making its way into high schools. While there has been a lot of talk about critical race theory, what is at issue here is not any particular theory, it’s the cultural dominance of black nationalism and supremacism. We may have just celebrated MLK Day, but he lost and the Nation of Islam, which collaborated with the KKK and admired the Nazis, won. Much as liberalism lost and the leftists won. Our political, educational and cultural system is run by extremists and racists. Fighting critical race theory is just the beginning of a long housecleaning to get racism out of our schools. As long as the author of “Rape the white girls. Rape / their fathers. Cut the mothers’ throats,” is taught in schools, our educational system resembles Nazi Germany more than America.