By Sterling Professor of the Humanities Harold Bloom
Specializes in the valuable African-American poets from colonial occasions to the Harlem Renaissance and the area conflict II period. This name covers poets that come with Phillis Wheatley, writer of the 1st quantity of verse released by way of an African American, and the seminal figures Gwendolyn Brooks, Countee Cullen, Paul Lawrence Dunbar, and Langston Hughes.
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Additional info for African-American Poets: 1700s-1940s (Bloom's Modern Critical Views)
The editor and founder, James Oppenheim, objects to the outmoded form of the sonnet. McKay insists and complains to Joel Spingarn of the National Association for the Advancement of Colored People (NAACP). In 1918, McKay joins the Wobblies (Industrial Workers of the World) and the working class. He finds it hard to publish his radical sonnets—editors like Oppenheim demand more racial subjects—and he submits “Harlem Shadows” and four other poems with an introduction entitled “A Negro Poet Writes” to Frank Harris’s Pearson’s Magazine.
A convincing case has been made for a cubist technique in some of them (Bush and Mitchell). But imagism, impressionism, and primitivism have also left their traces. Ideologically, aestheticism, the cultural nationalism of “Song of the Son,” and the European spiritism of the later poems hardly make for a single spiritual entity behind the work. As I will try to show by examining one of the poems in Cane, we are on safer and more historic ground if we follow modernist principles of collage and apply the plant/machine analogy.
But the love sonnet becomes a hate sonnet; McKay inverts the form. ” The setting of the sun seems to be the end of this empire. Quoting Du Bois—“the lifting of the veil of night”—not only extends decolonization to Georgia and The Souls of Black Folk, it also creates an ironic contrast between the imperial sunset and the veil of night. Political decolonization does not necessarily mean freedom from double consciousness. S. imperialism with human sacrifice: it sacrifices its colonial subjects to the ancient gods of greed and lust.
African-American Poets: 1700s-1940s (Bloom's Modern Critical Views) by Sterling Professor of the Humanities Harold Bloom