Southern Road Dichotomy

The well known poet Langston Hughes was an inspiring character during the Harlem Renaissance to provide a push for the black communities to fight for the rights they deserved. Hughes wrote his poetry to deliver important messages and provide support to the movements. When he was at a young age a teacher introduced him to poets Carl Sandburg and Walt Whitman, and they inspired him to start his own. Being a “darker brother,” as he called blacks, he experienced and wanted his rights, and that inspired him. Although literary critics felt that Langston Hughes portrayed an unattractive view of black life, the poems demonstrate reality. Hughes used the Blues and Jazz to add effect to his work as well as his extravagant word use and literary

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.

In Hurston’s first piece of work, “Spunk”, won second place in an Opportunity magazine’s literary contest used a woman’s love triangle. Subsequently, in 1925, Hughes also won first place in the same Opportunity magazine’s contest for “Weary Blues”, a musical poem (blues) about a man playing his piano sullenly. The authors’ perceptions about the world around them greatly influenced their work. Hurston grew up with a free spirit and open heart whereas Hughes’ perspective is bleak because of his identity as a black man. Although Hughes identified as a black man, it is clear in his subject matter was an internal struggle with himself. Hughes’ dismal display of Negro life was a very controversial aspect of his writings, while Hurston suffered for her subject matter, focusing on a more uplifting view of Black life.

Writing during the emergence of the “New Negro” movement, Claude McKay and Langston Hughes work to reconcile black life in white America. The trope used by the two poets within “The Harlem Dancer” and “The Weary Blues” is that of a performance and a single speaker’s recollection of it. While both depict an African-American performer presumably consumed by the isolation and oppression of their condition, the intensity of the performances prove to be vastly disparate. Hughes’ “The Weary Blues” features a much more transcendent performance than that of McKay’s “The Harlem Dancer” not only because of the relationship between the audience and the performer, but the degree of ubiquity in descriptions of the performer and the poetic form through

The Harlem Renaissance was a period that started in the early 1920’s in which the concept of “the Negro” was intended to be changed (History.com). This period witnessed the thrive of African American art. White stereotypes had influenced not only the way African Americans were perceived in society but also their relationship between themselves and others. Participants like Gwendolyn Bennett, Langston Hughes, Paul Lawrence Dunbar and W.E.B. Du Bois were some of many authors of creative pieces that reflected their points of views. Like George Hutchinson writes in his article, The Harlem Renaissance brought many African Americans from South to North which helped the rise of literacy and the creation of organizations dedicated to promoting African American civil rights that resulted in the uplift of the race and the availability of socioeconomic opportunities (1). The distinctive expression through things like poetry and music during the Harlem Renaissance reflected the reality and experiences black people were going through. This essay is going to focus on the relationship between poetry, politics and representation while relying on the poem “We Wear the Mark” by Paul Lawrence Dunbar. At the same time, this paper will be supported with works from Langston Hughes, Alain Locke and W.E.B. Dubois.

Claude McKay and Langston Hughes were both prominent African American Men in the Harlem Renaissance of the early 1900s. As such, they have received their fair share of the racism prevalent during this time period. Their concerns with this issue are addressed in McKay’s “America” and Hughes’ “I, Too, Sing America.” Both poets show disregard for the treatment they receive but still desire for an America in which African American prejudice does not exist. However, McKay conveys his vision of a bleak, foreboding fate for blacks while Hughes displays his confidence that America will have a hopeful future in which he is treated as an equal.

During The Harlem Renaissance, artists and writers of the time period would express themselves through the experiences that they gain from the streets of Harlem. Claude McKay’s writings from the Harlem Renaissance demonstrates life during that time period by showing the Renaissance as “defined, and defied the boundaries of The Harlem Renaissance.”

The Harlem Renaissance was a time where creativity flourished throughout the African American community. At the time many African Americans were treated as second class citizens. The Harlem Renaissance acted as artistic and cultural outlet for the African-American community. The Harlem Renaissance, otherwise known as “The New Negro Movement” was an unexpected outburst of creative activity among African Americans In the poems Harlem by Langston Hughes, America by Claude McKay, and Incident by Countee Cullen all use frustration and hope as reoccurring themes to help empower the African-American population and realize the injustices they face day to day. The Harlem Renaissance was a period marked by great change and forever altered the

During the 1920’s a new movement began to arise. This movement known as the Harlem Renaissance expressed the new African American culture. The new African American culture was expressed through the writing of books, poetry, essays, the playing of music, and through sculptures and paintings. Three poems and their poets express the new African American culture with ease. (Jordan 848-891) The poems also express the position of themselves and other African Americans during this time. “You and Your Whole Race”, “Yet Do I Marvel”, and “The Lynching” are the three poems whose themes are the same. The poets of these poems are, as in order, Langston Hughes, Countee Cullen, and Claude Mckay.

“The Weary Blues,” by Langston Hughes, tells a story of an unnamed narrator recalling an evening of listening to a man sing the blues one night in Harlem. Hughes uses a somber tone, depressed voice, syntax and imagery as language styles to convey a great deal of suffering that was occurring in Harlem during the mid-1900’s.

The great philosopher Plato once orated: “Every heart sings a song, incomplete, until another heart whispers back. PBS defines the the Harlem Renaissance a “Cultural, social, and artistic explosion that took place in Harlem between the end of World War I and the middle of the 1930s. During this period Harlem was a cultural center, drawing black writers, artists, musicians, photographers, poets, and scholars.” Those who wish to sing always find a song. At the touch of a lover, everyone becomes a poet.”Authors such as Langston Hughes, Lucille Clifton, and Colleen McElroy explore their cultural heritage through hard-hitting poetry.

“The Harlem Renaissance was the name given to the cultural, social, and artistic explosion that took place in Harlem between the end of World War I and the middle of the 1930s [whereas] Postmodernism is a late-20th-century movement in the arts, architecture, and criticism that was a departure from modernism.” Both Harlem Renaissance and Postmodernism poetry shows the struggle that the people faced in their time frame. Each piece of poetry shows the reader what it would have been like to have lived in that era. The Harlem Renaissance poems show the pain the people endured during the century of segregation by using similes whereas the Postmodernism poems are told as a story where you further understand the characters well-being through the use

No black person can escape the blues, because the blues are an inherent part of the black existence in America. To be black is to be blue. The blues tell us about black people’s attempt to carve out a significant existence in a very trying situation. The purpose of the blues is to give structure to black existence in a context where color means rejection and humiliation. Suffering and its relation to blackness is inseparable from the meaning of the blues. Without pain and suffering, and what that meant for black people in Mississippi, Tennessee, and Arkansas, there would have been no blues. The blue mood means sorrow, frustration, despair, and black people’s attempt to take these existential realities upon themselves and not lose their sanity. The blues are not art for art’s sake, music for music’s sake. They are a way of life, a life-style of the black community; and the will for survival. Thus to seek to understand the blues apart from the suffering that created them is to misinterpret them and distort the very creativity that defines them (Cone, 1980).

In Sterling Brown’s “Ma Rainey,” Brown describes the significance of blues music in rural black culture. Using dialect and rhythm, Brown manages to show the way blues music reaches its intended audience without breaking from the language said audience would use to describe this. In this way, Brown creates a poem which does not simply describe its subject, but celebrates it fully, and associates itself not with white literature describing black Americans but with what could be called black American literature. Brown’s poem is in exactly the style Langston Hughes advocates for in “The Negro Artist and the Racial Mountain;” praising rather than neglecting black American culture, using aspects which may be considered oddities in comparison to “Nordic”

The Harlem Renaissance was a cultural movement and the enlightenment of black minds as a whole. This movement sparked the minds of many leaders such as Marcus Garvey, W.E.B Dubois, and Langston Hughes, these men would also come to be known as the earliest Civil Rights activists. While Garvey and Dubois expressed their views in speeches and rallies Hughes had a different approach and chose to articulate his thoughts and views through literature more specifically poetry. Through his poetry, Hughes became a world renown poet for such works as “Let America Be America Again”, “Harlem” and “I Too” taken from his first book “The Weary Blues.” These poems while written and inspired by the everyday struggles of being an African-American were arguably targeted at white Americans. Hughes wrote a majority of his work during the Harlem Renaissance and as a result focused on “injustice” and “change” in the hopes that society would recognize their mistake and reconcile, but in order for this to happen he would have to target the right audience.