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Norman Pritchard (poet)
Norman Henry Pritchard, or N. H. Pritchard (born October 22, 1939),〔(Aldon Lynn Nielsen, ''Black Chant: Languages of African-American Postmodernism'' ), Cambridge University Press, pp. 130-133, 136.〕 is an American poet. He was a member of the Umbra poets, a collective of Black writers in Manhattan's Lower East Side founded in 1962.〔(Mentioned by James Hill writing about "Thomas Covington Dench", in Emmanuel Sampath Nelson (ed.), ''African American Dramatists: An A-To-Z Guide'' ), Greenwood Press, 2004, p. 135.〕 Pritchard's poetry is considered avant-garde. His poems often include unconventional typography and spacing, as in "Harbour," or lack sentences entirely, as in " " ".
==Biography==
Pritchard was born in New York City. He studied for a B.A. degree at New York University, where he was president of his campus Fine Arts Society and an active contributor to his college's literary magazine.〔 He did graduate work at Columbia University, and taught briefly at the New School for Social Research.〔 During the years he was a member of the Umbra poets, his work appeared in magazines and journals such as ''Athanor'', ''Liberator'', ''Season'', ''Negro Digest'', ''Sail'', ''Poetry Northwest'', the ''East Village Other'', and ''Gathering'', as well as in several anthologies of African-American writing, including Walter Lowenfels's ''In a Time of Revolution'' (1969)〔 and ''Natural Process'', edited by Ted Wilentz and Tom Weatherly.〔("Pride And Militancy Reflected In Poems" ), review in ''The Virgin Islands Daily News'' - February 26, 1971.〕
Pritchard's work was published in two books: ''The Matrix: Poems, 1960-1970'' (Doubleday, 1970) and ''Eecchhooeess'' (New York University Press, 1971). As Richard Kostelanetz states: "Only one one-man collection of visual poetry, for instance, has ever been commercially published in the United States, even though 'concrete' is reportedly 'faddish'; and since that single book, N. H. Pritchard’s ''The Matrix'' (1970), was neither reviewed nor touted, it seemed unlikely that any others would ever appear—another example of how the rule of precedent in literary commerce produces de facto censorship."〔("Why ''Assembling'' (1973)", Richard Kostelanetz.com )〕
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