Annotated Bibliography On Early Harlem

The Harlem Renaissance was “variously known as the New Negro movement, the New Negro Renaissance, and the Negro Renaissance, the movement emerged toward the end of World War I in 1918, blossomed in the mid- to late 1920s, and then withered in the mid-1930s. The Harlem Renaissance marked the first time mainstream publishers, critics took African American literature seriously, and that African American literature and arts attracted significant attention from the nation as a whole (1).”

Among the critical responses to Home to Harlem, W.E.B. Du Bois’s criticism of Claude McKay’s text seemingly speaks from an essentialist perspective. Du Bois simply found that McKay’s representation of black culture within his novel reproduced stereotypical and crude images which white audiences desired in the midst of the Harlem Renaissance. In response to Du Bois, McKay argued that the novel was created for a black audience, but, to delve even deeper outside of Claude McKay’s views, it could be argued that Home to Harlem does not produce a single identity at all. Rather, Home to Harlem’s perpetual mobility and movement invests in the idea of black “identity as ‘production’” rather than as the exhibition of a “collective ‘one true self’”

It is strange that two of the most prominent artists of the Harlem Renaissance could ever disagree as much as or be as different as Zora Neale Hurston and Richard Wright. Despite the fact that they are the same color and lived during the same time period, they do not have much else in common. On the one hand is Hurston, a female writer who indulges in black art and culture and creates subtle messages throughout her most famous novel, Their Eyes Were Watching God. On the other hand is Wright, who is a male writer who demonstrates that whites do not like black people, nor will they ever except for when they are in the condition “…America likes to see the Negro live: between laughter and tears.” Hurston was also a less political writer than

The Harlem Renaissance was a time for racial uprising and change. However, sexuality is rarely discussed when researching and reflecting on this time. Many of the leaders in the Harlem Renaissance identified somewhere along the LGBTQIA+ (lesbian, gay, bisexual, transgender, queer, intersex, and asexual) spectrum. “Claude McKay, Wallace Thurman, Alain Locke, Richard Bruce Nugent, Angelina Weld Grimké, Alice Dunbar-Nelson and Langston Hughes, all luminaries of the New Negro literary movement, have been identified as anywhere from openly gay (Nugent) to sexually ambiguous or mysterious (Hughes). In a 1993 essay, “The Black Man’s Burden,” Henry Louis Gates Jr., The Root‘s editor-in-chief, notes that the Renaissance ‘was surely as gay as it was black.’”

Near the middle of her article, Perry argues that even though statistics show black girls having the highest self-esteem of their physical appearances, the rate will fall as they “move into adolescence and their bodies come under scrutiny” (138).

Zora Neal Hurston was criticized by other African American writers for her use of dialect and folk speech. Richard Wright was one of her harshest critics and likened Hurston’s technique “to that of a minstrel show designed to appease a white audience” (www.pbs.org).Given the time frame, the Harlem Renaissance, it is understandable that Zora Neale Hurston may be criticized. The Harlem Renaissance was a cultural movement which redefined how America, and the world, viewed African Americans, so her folk speech could be seen as perpetuating main stream society’s view of African Americans as ignorant and incapable of speaking in complete sentences. However, others, such as philosopher and critic Alain Locke, praised her. He considered Hurston’s “gift for poetic phrase and rare dialect, a welcome replacement for so much faulty local color fiction about Negroes” (www.pbs.org).

The the Novel “Their Eyes Were Watching God”, by Zora Neale Hurston, departure and reflection the idea of the harlem Renaissance using black community uniting, new beginnings- the great migration from south to north, embracing black/african culture and heritage, and lastly she uses self expression through art to bring forth the more important ideas.

The Harlem Renaissance was a time of revival and awakening in which the African American community produced a new form of cultural identity. After years of oppression and slavery, African Americans struggled to discover their own distinctive culture. It was through the literature and artistry of the Harlem Renaissance that the African American community began to express the suffering and resentment they truly experienced. In addition, the movement allowed them to find a way to escape their hardships. James Baldwin’s “Sonny’s Blues” and Langston Hughes’ “The Weary Blues” address the addiction, poverty, and violence that surrounded African Americans and the triumph of life that was captured in their attempt to escape the suffering.

Negroes do not like it in any book or play whatsoever, be the book or play ever so sympathetic in its treatment of the basic problems of the race. Even [if] the book or play is written by a Negro, they still [would] not like it” (Henry). In addition, John Wallace believes that the word “nigger” is so offensive that he rewrote the novel without the word “nigger.”

The 1920’s were a period or rapid growth and change in America. After World War I American’s were introduced to a lifestyle of lavishness they had never encountered before. It was a period of radical thought and ideas. It was in this time period that the idea of the Harlem Renaissance was born. The ideology behind the Harlem Renaissance was to create the image of the “New Negro”. The image of African-American’s changed from rural, uneducated “peasants” to urban, sophisticated, cosmopolites. Literature and poetry abounded. Jazz music and the clubs where it was performed at became social “hotspots”. Harlem was the epitome of the “New Negro”. However, things weren’t as sunny as they appeared. Many felt that the Harlem Renaissance itself

Cross’ book Shades of black: diversity in African-American identity (1991) depicts a perceived metamorphous of black identity through five stages of development—his ideologies are now termed as the Nigrescence theory. In simple terms, this philosophy refers to the process of becoming Black. It also demonstrates daily struggles that the black community may have in developing a healthy personal identity. Over the years, many authors attempt to define what the word black means. Eventually, many came to begin using the politically acceptable term widely applied today to regard black people; that word is known as Negroes. As different historical events occurred, one being the black power revolution on the 1970’s the experience called for a fresh definition of the term negro. Blacks or Africans in America began to be more conscious of their identity and more aware of the differences separating them. This is the experience that Cross (1971) illustrates and is primarily referenced in his five-stage progress including: pre-encounter, encounter, immersion/emersion, internalization, and internalization-commitment. This book highlights some very vital topics relating to mental health, which has been carefully disregarded by other researchers. Nonetheless, it has strong affiliations to the black experience and can positively explain a more normal psychological behavior through logical and very thought provoking

The Harlem Renaissance was a cultural movement in the 1920s that led to the evolution of African-American culture, expression through art, music, and literary works, and the establishment of African roots in America. Zora Neale Hurston contributed to the Harlem Renaissance with her original and enticing stories. However, Hurston’s works are notorious (specifically How it Feels to Be Colored Me and Their Eyes Were Watching God) because they illustrate the author’s view of black women and demonstrate the differences between their views and from earlier literary works.

By the end of Wallace Thurman’s novel, “The Blacker the Berry,” the main character Emma Lou has a revelation about herself. Her whole life she thought her dark skin color prevented her from good opportunities. She was hyper-sensitive towards her color and tried to make up for it by fitting in with the right type of people. She has economic freedom and have fit in with the right type of people. Emma was desperate to fit in with type of people that treated her inferiorly, but once she came to terms with the strength of her African American background, she is able to identify with who she is, a black woman.

The essay The New Negro by Alain Locke’s defines what Locke believes to be the “Old Negro and the “New Negro. This paper will compare and contrasts Marcus Garvey The Future as I See it and Langston Hughes various poems on why Locke would have characterized them as either Old Negroes, New Negroes, or both. I believe Locke, Garvey , Hughes were determined to see Blacks succeed. Each writer expresses their idea in their own unique way, but they all wanted freedom, equality, and respect.

Participants in the study reported feelings of inadequacy in comparison to their lighter skinned counterparts in everything from school competitions to mate selection. These feelings of inadequacy remained prevalent from childhood through adulthood. Media also plays a key role in how the skin tone bias is perpetuated. Rap and Hip-Hop music videos often portray lighter skinned women as the love interest of the main character or the woman the male finds sexually desirable (Wallace, Townsend, Glasgow, & Ojie, 2011). Movies and television programs targeted towards African Americans may also have a light skinned woman as the successful, attractive character with a juxtaposing character who is darker, loud, obnoxious, and often fits into the “sassy sidekick” trope. A popular Black situational comedy in the 1990s, Martin, was a prime example of this (Walter et al., 1992). The main character’s girlfriend Gina, was a successful, beautiful lighter skinned woman and her best friend, Pam, was dark skinned and often the recipient of Martin’s jokes about her appearance. Exposure to these repeated stereotypes for Black women only furthers the notion that light skin is somehow superior to dark skin. This could mean that for African American women, having darker skin is a risk factor for developing body dissatisfaction.