African-American Poets: 1700s-1940s by Sterling Professor of the Humanities Harold Bloom

By Sterling Professor of the Humanities Harold Bloom

This quantity specializes in the vital African-American poets from colonial occasions to the Harlem Renaissance and the realm struggle II period, paying tribute to a wealthy history that has deeply encouraged the nation's literature. Poets coated during this quantity comprise Phillis Wheatley, writer of the 1st quantity of verse released through an African American, and the seminal figures Gwendolyn Brooks, Countee Cullen, Paul Lawrence Dunbar, Langston Hughes, Claude McKay, and Jean Toomer. entire with a chronology, bibliography, and notes at the members, this new quantity within the "Bloom's sleek serious perspectives" sequence additionally gains an essay by means of famous literary critic Harold Bloom, who introduces the amount together with his recommendations in this team of brilliant poets whose paintings has altered the panorama of yank literature

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African-American Poets: 1700s-1940s

This quantity specializes in the important African-American poets from colonial instances to the Harlem Renaissance and the realm warfare II period, paying tribute to a wealthy history that has deeply encouraged the nation's literature. Poets coated during this quantity comprise Phillis Wheatley, writer of the 1st quantity of verse released by means of an African American, and the seminal figures Gwendolyn Brooks, Countee Cullen, Paul Lawrence Dunbar, Langston Hughes, Claude McKay, and Jean Toomer.

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And finally, the same call for poetic craftsmanship over social commentary that was met by her Black literary peers, Hayden and Tolson, as an impetus for integration, was also heard by Brooks. She embarked upon a quest for new experimental ways of writing that would satisfy dual objectives. First, Brooks sought a poetics that would engage both Black and white critics, win acceptance from her white audience, and earn for her the reward of a secure position in the white mainstream school of arts and letters.

2. Although Margaret Walker had received the Yale Series of Younger Poets Award in 1942 for her poems of social protest, For My People (New Haven: Yale UP, 1942), she would be unencumbered by the gauntlet of creating poetics amenable to a white audience; her next published work would be the historical novel, Jubilee (New York: Bantam, 1966). 3. A. P. Davis, “Integration and Race Literature,” Black Voices: An Anthology of Afro-American Literature, ed. Abraham Chapman (New York: Mentor, 1968) 606– 611.

Bolden writers could actually assimilate into American literary life with no remaining traces of their distinctive cultural identity. But Barksdale and Kinnamon counter the optimistic perception of America’s integrationist practices: “For, in the 1940s, despite the legal gains made on all fronts to win hitherto withheld political and social rights, America was still, literarily speaking, almost entirely lily-white” (654). That Black writers not only heard the bell toll for proposed integration in America, but responded to its inviting ring, is evident and worthy of examination in the technical expertise exhibited in the subsequent works of Hayden, Tolson, and Brooks.

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