The Divided Life Of Jean Toomer, By Alice Walker

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’”

Imagine the pressure of being expected to follow your culture’s traditions even if you want to rebel and create your own identity. Carrying on traditions can be difficult for many young people who are searching for their identities as they grow up. Two texts, “Life in the age of the mimis” by Domingo Martinez and “El Olvido” by Judith Ortiz, tell about the struggles of losing one’s culture. One shows the reader that forgetting your own roots simply because of being ashamed or embarrassed can really harm you, while the other demonstrates that forgetting your culture for the sake of fame and fortune can also do the same damage.

Toomer is a controversial literary and cultural figure who gets criticized by people for rejecting his race. He is praised by others for the confines of rigid ethnic distinctions. Toomer’s rejection of race drew sharp criticism from many people, especially from members of the African American community. They found him being self- loathing rather than racial unification (Claypool 2). Toomer has been criticized for failing to write about the experience after Cane. Many people said he denied his African American heritage out of shame and cowardice (Claypool 4). Many critics have credited his work with ushering in the Harlem Renaissance noting the book’s representations of African American characters and culture. Others have located it within the lost generation owing to its literary experimentation, romantic primitivism, and its critiques of postwar values (Jones 3). The analysis of Cane contains Toomer denying his racial heritage. This book also contains the extracts from most of the important early Cane criticism (Golding 3).

“Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis’s Radha of 1906” was written by Jane Desmond. In her dance career, she was a modern dancer and choreographer. Desmond is now a Professor of Gender and Women’s Studies and Anthropology at the University of Illinois. “Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis’s Radha of 1906” was published in 2001 as a part of Moving History/Dancing Cultures: A Dance History Reader.

Similarly to hooks, Walker tells his life story through his eyes, the point of view of an African-American male. Walker gives anecdotes that inform us of key themes in his upbringing. From a young age Walker saw humanity divided by color. Seemingly unable to let go of past racism in society, Walker’s girlfriend claimed that he was “the first person she has ever known who has taught

The Autobiography of An Ex-Colored Man depicts the narrator as a liminal character. Beginning with an oblivious knowledge of race as a child, and which racial group he belonged, to his well knowing of “white” and “black” and the ability to pass as both. On the account of liminality, the narrator is presenting himself as an outsider. Because he is both a “white” and “black” male, he does not fit in with either racial group. In the autobiography of an Ex-colored man, James Weldon Johnson uses double consciousness to show the narrators stance as a person that gives up his birthright for the “privilege of whiteness”.

Each part of the United States had their different standpoints towards blacks and the leaders of the Harlem Renaissance were devoted to crushing the negative attitudes placed upon the Afro-Americans. During this time race was a social construct. Everyday lives were affected by skin color whether people were aware or not. For years African Americans were shunned into a classification that viewed their society as less than human. Toomer’s novel shows the ability race has to affect and intersect different aspects and domains of society and life, as well as dismantle it. Jean Toomer created this piece of art for a reason. Cane suggests that the social construct created upon race should be avoided, for people of all different social classes have equal potential for success.

Wexler’s attention to these details ensures that the lynching victims are more than flat “symbols,” constructed by a foreign and long past semiotic system, to the reader. She writes, for instance, of George Murray, or Dorsey, who had “returned [to Monroe] from the army” (167), after “four and one-half years” of service, in September 1945, that he was a man who had “love for music,” “skill as a farmer,” and a memorable smile (99). In this respect, Wexler accomplishes the same empathy for an innocent victim as the NAACP, in 1946, might have done, and in similar style—as she contends, in parallel fashion to the deceased victims’

A lack of self-awareness tended the narrator’s life to seem frustrating and compelling to the reader. This lack often led him to offer generalizations about ““colored” people” without seeing them as human beings. He would often forget his own “colored” roots when doing so. He vacillated between intelligence and naivete, weak and strong will, identification with other African-Americans and a complete disavowal of them. He had a very difficult time making a decision for his life without hesitating and wondering if it would be the right one.

The life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination… the Negro is still languished in the corners of American society and finds himself in exile in his own land (qtd. in W.T.L. 235).

In The essay “How It Feels to Be Colored Me” is a descriptive essay in which Zora Neale Hurston discovers her real identity. At the beginning of the essay, the setting takes place in Eatonville, Florida describing moments when Zora greets her neighbors by singing and dancing without anybody judging her. Back then, she was free from feeling different among other races. However, a tragedy happened when she was thirteen, her mom passed away and she left home to attend school in Jacksonville where she experiences discrimination due to her color of skin. She was introduced to a different lifestyle where the color of her skin was an unfortunate thing. However, she felt this change effected the way she viewed her appearance, as well as inside her. Here she also experienced isolation that comes from being different compared to other races. Hurst realizes that it’s more than just being “colored”, but how race can separate people. Back in history, Jacksonville’s habitants were a mixture of blacks and whites. In Jacksonville, Hurst was just another “colored girl.” However, this essay motivated me to analyze, evaluate and synthesize these works and explore the concepts and themes that run through each of the readings. Most importantly, find out what made this essay so important in American literature. According to the description in the essay, I have notice that the author Hurston uses literary devices like metaphor and tone that I found interesting and deserving for the reader to enjoy this journey.

The early 1900s was a very challenging time for Negroes especially young women who developed issues in regards to their identities. Their concerns stemmed from their skin colors. Either they were fair skinned due mixed heritage or just dark skinned. Young African American women experienced issues with racial identity which caused them to be in a constant struggle that prohibits them from loving themselves and the skin they are in. The purpose of this paper is to examine those issues in the context of selected creative literature. I will be discussing the various aspects of them and to aid in my analysis, I will be utilizing the works of Nella Larsen from The Norton Anthology of African American Literature, Jessie Bennett Redmond Fauset,

The “new” negro no longer embodied “old” characteristics that defined a black man. Society had always taught a black man how to act; however, now he was adapting to the world. Locke declared that ‘the Old Negro’ had long become more of a myth than a man” (Locke, 1). A furthered and detailed definition of an “Old Negro” was that he “was a creature of moral debating historical controversy” (Locke, 1). The four

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.

I am not tragically colored. There is no great sorrow dammed up in my soul, nor lurking behind my eyes. I do not mind at all. I do not belong to the sobbing school of Negrohood who hold that nature somehow has given them a lowdown dirty deal and whose feelings are all hurt about….No, I do not weep at the world—I am too busy sharpening my oyster knife (“How it Feels to Be Colored Me”153).