Horace Mungin was born in Hollywood, South Carolina in 1941. His family moved to New York City in 1946 where he attended public schools, and majored in English at Fordham University. He served three years in the U.S. Army and was a member of the 82nd Airborne Division. He married and raised his family in New York City.
In 1989 Mungin and his wife, also from South Carolina, moved to Ridgeville, SC in the Charleston, Low-country.

MBW4648 In the early sixties Mungin joined The Betterment League, a local civic and anti-drug activist organization; he served as Public Relationship Manager until 1965. The organization was based in a mid-Manhattan public housing project plague with a heron abuse epidemic and it developed programs to turn the community’s youth away from all kinds of drugs. Mungin started writing poetry in the mid-sixties, during the genesis of the Black Arts Movement. His focus was the drug problem he worked on while in The Betterment League and the racism he experienced during his life time. Through this period, he published two anti-drug volumes of poetry, “Dope Hustler’s Jazz, 1968” and “Now See Here, Homes, 1969.” Some of his early writings appeared in The New York Times, literary magazines, and poetry anthologies. The Negro Book Club, Inc. selected Horace as its Artist of the Month in June of 1969 for his literary crusade against the drug plague of the sixties. Later that same year, he continued his anti-drug campaign in a published collection of short fiction called “How Many Niggers Make Half A Dozen.”

In the early seventies, Mungin helped found Black Forum Magazine, a widely acclaimed national publication for writers and was its first editor. Black Forum worked from office space donated by Lincoln Square Neighborhood Center and published the works of hundreds of new young black writers and poets. It also ran feature article, interviews and profiles of many established poets and writers like Amiri Baraka, John Oliver Killens and Louise Meriwether. Mungin also edited Press-Time, a literary newsletter from 1980 until 1984.

In the late seventies, Mungin wrote a column for a Charleston, SC weekly newspaper that employed satire to explore a variety of political and social issues.

The column was later syndicated to ten other weekly newspapers and had a six year run (’78 – ‘84). In 1991 a collection of those columns was published under the title Sleepy Willie Talks about Life. In May of 2001, Sleepy Willie Sings the Blues, the second book in the Sleepy Willie series was published. Mungin has been working on the final book in the series for over 20 years.

Mungin’s other published books are The Devil Beats His Wife, 2004, San Juan Hill, 2006, Subway; After the Irish, 2008, Poetic Portraits: The African People of San Juan Hill, 2010, A Different Point of View, 2013,Truth & and Absurdities, 2014, and …Or Does It Explode, 2016.

In 2017, the National Museum for African American History and Culture opened up including a video of Black Forum Magazine which was founded by Horace Mungin in 1970 – his magazine is a permanent part of the museum’s statement of the Black Arts Movement.

In 2018, Horace Mungin wrote a groundbreaking book that took a look back at the swing and bebop periods of jazz music. The book a celebration of the bebop era of jazz music in a collection of biographical prose/poems – here you will find the musical history of over 60 of the greatest jazz artists of swing and bebop music ever assembled. Here you’ll find delicate facts about the lives of these great men and women of jazz; where and when they were born, where they went to school, how they got started playing an instrument or singing, the trials and tribulations of their lives – but more – tributes are also paid to the venues and clubs where bebop was featured; places like Minton’s Playhouse where Thelonious Monk was in the house band and where bebop was invented, Birdland, named for Charlie (YardBird) Parker, one of the creators of bebop, and even the Jazz Mobile that brought popular jazz bands to New York City’s jazz fans in Harlem free of charge. The book was turned into a stage play by the Music department of Allen University in Columbia, South Carolina.