“[T]he function of writing about Dante and the control over access to the part of the tradition that Dante inhabits can liberate the black writer. At least it liberates LeRoi Jones, turning him into a new man with a new name, Amiri Baraka, whose experimental literary project culminates in The System of Dante’s Hell in 1965. Dante’s poem (specifically in the Sinclair translation) provides a grid for the narrative of Baraka’s autobiographical novel, and at the same time the Italian poet’s description of hell functions for Baraka like a gloss on many of his own experiences. [. . .] Baraka uses Dante first to measure the growing distance between himself and European literature, then, paradoxically, to separate himself totally from it. His Dante is a marker of separation rather than integration.” — Dennis Looney, Freedom Readers: The African-American Reception of Dante Alighieri and the Divine Comedy (Univ. of Notre Dame Press, 2011), pp. 105-106