McKay's first poems were composed in rural Jamaican creole and launched his lifelong commitment to representing everyday black culture from the bottom up. Migrating to New York, he reinvigorated the ...English sonnet and helped spark the Harlem Renaissance with poems such as "If We Must Die." After coming under scrutiny for his communism, he traveled throughout Europe and North Africa for twelve years and returned to Harlem in 1934, having denounced Stalin's Soviet Union. By then, McKay's pristine "violent sonnets" were giving way to confessional lyrics informed by his newfound Catholicism.
McKay's verse eludes easy definition, yet this complete anthology, vividly introduced and carefully annotated by William J. Maxwell, acquaints readers with the full transnational evolution of a major voice in twentieth-century poetry.
Complete poems McKay, Claude; Maxwell, William
06/2008
eBook
Containing more than three hundred poems, including nearly a hundred previously unpublished works, this unique collection showcases the intellectual range of Claude McKay (1889-1948), the ...Jamaican-born poet and novelist whose life and work were marked by restless travel and steadfast social protest. McKay's first poems were composed in rural Jamaican creole and launched his lifelong commitment to representing everyday black culture from the bottom up. Migrating to New York, he reinvigorated the English sonnet and helped spark the Harlem Renaissance with poems such as \u0022If We Must Die.\u0022 After coming under scrutiny for his communism, he traveled throughout Europe and North Africa for twelve years and returned to Harlem in 1934, having denounced Stalin's Soviet Union. By then, McKay's pristine \u0022violent sonnets\u0022 were giving way to confessional lyrics informed by his newfound Catholicism.
McKay's verse eludes easy definition, yet this complete anthology, vividly introduced and carefully annotated by William J. Maxwell, acquaints readers with the full transnational evolution of a major voice in twentieth-century poetry.
When African American intellectuals announced the birth of the
"New Negro" around the turn of the twentieth century, they were
attempting through a bold act of renaming to change the way blacks
were ...depicted and perceived in America. By challenging stereotypes
of the Old Negro, and declaring that the New Negro was capable of
high achievement, black writers tried to revolutionize how whites
viewed blacks--and how blacks viewed themselves. Nothing less than
a strategy to re-create the public face of "the race," the New
Negro became a dominant figure of racial uplift between
Reconstruction and World War II, as well as a central idea of the
Harlem, or New Negro, Renaissance. Edited by Henry Louis Gates,
Jr., and Gene Andrew Jarrett, The New Negro collects more
than one hundred canonical and lesser-known essays published
between 1892 and 1938 that examine the issues of race and
representation in African American culture. These readings--by
writers including W.E.B. Du Bois, Paul Laurence Dunbar, Alain
Locke, Carl Van Vechten, Zora Neale Hurston, and Richard
Wright--discuss the trope of the New Negro, and the milieu in which
this figure existed, from almost every conceivable angle. Political
essays are joined by essays on African American fiction, poetry,
drama, music, painting, and sculpture. More than fascinating
historical documents, these essays remain essential to the way
African American identity and history are still understood
today.
The New Negro Henry Louis Gates, Gene Andrew Jarrett / Henry Louis Gates, Gene Andrew Jarrett
2021, 2007, 2021-06-08
eBook
When African American intellectuals announced the birth of the "New Negro" around the turn of the twentieth century, they were attempting through a bold act of renaming to change the way blacks were ...depicted and perceived in America. By challenging stereotypes of the Old Negro, and declaring that the New Negro was capable of high achievement, black writers tried to revolutionize how whites viewed blacks--and how blacks viewed themselves. Nothing less than a strategy to re-create the public face of "the race, " the New Negro became a dominant figure of racial uplift between Reconstruction and World War II, as well as a central idea of the Harlem, or New Negro, Renaissance. Edited by Henry Louis Gates, Jr., and Gene Andrew Jarrett, The New Negro collects more than one hundred canonical and lesser-known essays published between 1892 and 1938 that examine the issues of race and representation in African American culture. These readings--by writers including W.E.B. Du Bois, Paul Laurence Dunbar, Alain Locke, Carl Van Vechten, Zora Neale Hurston, and Richard Wright--discuss the trope of the New Negro, and the milieu in which this figure existed, from almost every conceivable angle. Political essays are joined by essays on African American fiction, poetry, drama, music, painting, and sculpture. More than fascinating historical documents, these essays remain essential to the way African American identity and history are still understood today.
Dilemma of the American Negro Schuyler, George S; McKay, Claude
The Black scholar,
03/2012, Letnik:
42, Številka:
1
Journal Article
Recenzirano
Opposing opinions on whether Negroes should organize as a racial group are presented. Schuyler characterizes the disagreement as one of "integration versus segregation," where coerced segregation was ...equated to the voluntary association of African Americans--otherwise erroneously denoted as "self-segregation." On the other hand, McKay affirmed that, given the horrendous economic conditions wrought by the Great Depression, black folk needed to exercise self-organization for purposes of group survival.
I finished my native holiday in Marrakesh. In Casablanca I found a huge pile of mail awaiting me. The handsomest thing was a fat envelope from a New York bank containing a gold-lettered pocket book. ...The pocket book enclosed my first grand from the sale of Home to Harlem.
There were stacks of clippings with criticisms of my novel; praise from the white press, harsh censure from the colored press. And a lot of letters from new admirers and old friends and associates and loves. One letter in particular took my attention. It was from James Weldon Johnson, inviting me
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