Annotated Bibliography: The Harlem Renaissance

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’”

The theme of “a failure of justice” for African Americans living in the present-day United States dates

In the words of Miss Ida B. Wells: The student of American sociology will find the year of 1894 marked by a pronounced awakening of the public conscience to a system of anarchy and outlawry which had grown during a series of ten years to be so common, that scenes of unusual brutality failed to have any visible effect upon the humane sentiments of the people of our land. She is depicting a period of time in American history stained with the blood of hundreds of free African American men, women and children. These people were unjustly slaughtered through the practice of lynching within the South. Wells was an investigative journalist and was involved in exploring, reporting, publishing literature on, and eventually campaigning against the

     The Harlem Renaissance was a time of racism, injustice, and importance. Somewhere in between the 1920s and 1930s an African American movement occurred in Harlem, New York City. The Harlem Renaissance exalted the unique culture of African-Americans and redefined African-American expression. It was the result of Blacks migrating in the North, mostly Chicago and New York. There were many significant figures, both male and female, that had taken part in the Harlem Renaissance. Ida B. Wells and Langston Hughes exemplify the like and work of this movement.

Racial prejudice often creates a division between the racists and their victims, and thus results in isolation and alienation of the victimized racial group. During the Harlem Renaissance, discrimination and oppression against African Americans was still prevalent, despite the 1920s being a time of expression of African culture. This juxtaposing concept is analyzed through Claude McKay’s poem “The White City”, which explores the perception of an African American speaker, presumably McKay himself, who longs to be a part of the White City, while retaining a deep, inner hatred of the city. Although McKay initially demonstrates his endearment and attachment toward the city through visual imagery, he directly juxtaposes it by expressing his hatred with tenacious, despicable diction. This juxtaposition not only serves to represent the struggle of being an African American in a white supremacist city but also displays McKay’s paradox of appreciating the “White City” while feeling detached from it.

In Kevin Boyle’s Arc of Justice: A saga of Race, Civil Rights, and Murder in the Jazz Age, the author creates a way to describe the discrimination and horrible racial treatment inflicted on the African American community following the civil war and continuing into the 1900’s by following a black doctor’s life and his controversy in equality. The author sets the scene in the booming city of Detroit, a place many blacks ventured to when trying to escape the cruelty Jim Crow Laws forced upon many African Americans. The great migration of blacks fleeing to Detroit in search of a new life brought an increase of over seventy thousand people in just the short span of fifteen years. This sudden unwanted abundance of people, still disliked even in the North, lead to a city full of racial prejudices and unjust discrimination.

Barnett was a critical social liberties pioneer. She recorded various lynchings in the U.S and was a major piece of the counter lynching development inside the NAACP. Recollected for the most part for his initiative in the NAACP, and one of the fundamental movers of the Harlem Renaissance. No great outcome can originate from any examination which declines to consider the certainties. A conclusion that depends on an assumption rather than the best proof is unworthy of a moment's thought. The lynching record, as it is assembled from everyday by unprejudiced, solid, and mindful open diaries, ought to be the premise of each examination which looks to find the reason and recommend the solution for lynching. The reasons of lynchers and the credible supplications of their theological rationalists ought to be considered in the light of the record, which they constantly distort or disregard. The part of women in the public eye had taken a gigantic jump forward In 1920 when all the women were given the privilege to vote. The parts of American Women in the 1920s differed impressively between the 'New Woman', the Traditionalists and the more established

The Kansas City Call summed up the general mentality of African Americans during the 1920s with the statement “The New Negro does not fear the face of day.” (pg 118) Unlike the old days of slavery, African Americans had become more radical towards their oppressor and were beginning to organize as a people. Harlem Renaissance poet Claude Mckay embraced the “New Negro” archetype in his work by stating “If we must die, let it not be like hogs/ Hunted and penned in an inglorious spot….. Like men we’ll face the murderous, cowardly pack/ Pressed

     Every literary period can be defined by a group of writers. For the Harlem Renaissance, which was an extraordinary eruption of creativity among Black Americans in all fields of art, Claude McKay was the leader. Claude McKay was a major asset to the Harlem Renaissance with his contributions of such great pieces of writings such as “If We Must Die” and “The Lynching.” McKay wrote in many different styles. His work which vary from “dialect verse celebrating peasant life in Jamaica, to militant poems challenging white authority in the United States, to philosophically ambitious novels about the effort of blacks to cope in western society” (“Claude McKay” 1375)

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.

The Harlem Renaissance represents the rebirth and flowering of African-American culture. Although the Harlem Renaissance was concentrated in the Harlem district of New York City, its legacy reverberated throughout the United States and even abroad, to regions with large numbers of former slaves or blacks needing to construct ethnic identities amid a dominant white culture. The primary means of cultural expression during the Harlem Renaissance were literature and poetry, although visual art, drama, and music also played a role in the development of the new, urban African-American identity. Urbanization and population migration prompted large numbers of blacks to move away from the Jim Crow south, where slavery had only transformed into institutionalized racism and political disenfranchisement. The urban enclave of Harlem enabled blacks from different parts of the south to coalescence, share experiences, and most importantly, share ideas, visions, and dreams. Therefore, the Harlem Renaissance had a huge impact in framing African-American politics, social life, and public institutions.

In 1925, philosopher and leading black intellectual Alain Locke published the short essay The New Negro. In this essay, Locke describes the contemporary conditions of black Americans, and discusses the trajectory and potential of black culture to affect global change in its historical moment (Locke 47). Locke wrote this essay in the midst of the Harlem Renaissance, a period in which black artists and intellectuals sought to reconceptualize black lives apart from the stereotypes and racist portrayals of prior decades (Hutchinson). The New Negro and the discourse around Locke’s work attempted to push forth a bold project: that of reshaping the cultural identity of black America with respect to the existent structures of American culture, as

There have been many cultural movements throughout history in this world. One of the greatest movements in this world was the Harlem Renaissance. The Harlem Renaissance movement is defined as a cultural movement that spanned in the 1920’s, at this time known as the Negro Movement; the movement also relied on white patronage. White patronage had a profound effect on the vitality of the Harlem Renaissance, and the evidence says the Harlem Renaissance would not have reached the heights it did without generous white contributions. The Harlem Renaissance spurred events that affected the African Americans society in areas such as migration, the work force, and also racial pride (www.yale.edu).

However, after the Emancipation, lynching turned into a noticeable type of viciousness utilized against the blacks. Rebecca talked “The utilization of lynching was a methods for controlling and placing dread into the blacks, making them reluctant to conflict with anything the white man said or authorized”. In the mid 1900's, race riots and legitimate