Larry Neal’s collection of poetry, Hoo Doo Hollerin’ Bebop Ghosts, offers a sort of “hauntology” for examining the legacies of the Black Arts Movement in the fields of poetics and cultural studies. Even now, with new work on the era appearing, the literary institutions have relied heavily on stereotypes of the movement rather than on close readings and critical engagements with the diffuse ideologies of the time. Neal’s ghostly demarcations serve as a metaphor for the current position of the Black Arts Movement in American thought, perpetually viewed but seldom really understood.