The Lynching By Claude Mckay

This poem focuses on the lynching of a African American male. The speaker of the poem appears to console a woman who appears to be distressed due to the events taking place. In the first four lines of stanza 1, the speaker says:

Cullen’s poem is based off of God’s actions while McKay’s poem has no reference to God. Religious figures have been an important component of human lives for centuries and it was very important to African Americans during the Harlem Renaissance. This was the case for Cullen’s poem, “I doubt not God is good, well-meaning, kind,” (1). Right in the beginning of his poem, he mentions some of his many feelings towards God. He continues to refer to God several times throughout his poem. The way he includes God in his poem suggests that God is the focal point of his problems. McKay’s poem, however, focuses the causes of his problems on something much different than a god or religion. In his mind, the source of his problem doesn’t come from God, but from white Americans. I think it is very interesting how opposite Cullen’s and McKay’s views on religion are. On one side, Cullen is a typical African American living in the Harlem Renaissance, using faith as an escape and reason for his troubles. McKay also shares a common characteristic of African Americans at this time which is to put the blame for his issues on white Americans. Cullen’s and McKay’s views on religion differed

After the ellipses, there is a shift back to the poetic “I”. The speaker states that while starring into the sockets of the victim’s skull, he becomes “frozen” with the “pity for the life that was gone”. This transitional sentence separates the scene of the already occurred murder from the present material world. The material world revives around the speaker in the next sentence of the poem. In this massive sentence, Wright dramatically personifies the nature in order to transform the cruel historical scene into the current time. However, the significant transformation of the poetic “I” to the “thing” starts when “the ground gripped” the poet’s feet. From that line, the personified ground captures the speaker, and from the observer of already happened images of the lynching, he revives as a participant in the present scene. In this scene, when the dry bones “melting themselves” into the poet’s bones, he becomes the victim of the lynching. The last minutes of the victim’s life are graphically presented in the third stanza of the poem. The first person’s perspective is a very powerful element, which Wright uses in order to put any reader into the African Americans unlawful suffering from the terror lynching. Furthermore, it is obvious that in the Richard

The poem America by Claude McKay is on its surface a poem combining what America should be and what this country stands for, with what it actually is, and the attitude it projects amongst the people. Mckay uses the form of poetry to express how he, as a Jamaican immigrant, feels about America. He characterizes the bittersweet relationship between striving for the American dream, and being denied that dream due to racism. While the America we are meant to see is a beautiful land of opportunity, McKay see’s as an ugly, flawed, system that crushes the hopes and dreams of the African-American people.

Many people are aware of the witch hunt that occurred in Salem, Massachusetts in the year 1692, however these same people may not be as familiar with the other witch hunt that also occurred in New England during the same year. Escaping Salem: the other witch hunt of 1692, written by Richard Godbeer, is a historical monograph that reconstructs the, mostly unheard-of witch hunt, that occurred in Stamford, Connecticut. The book also gives its readers insight into the minds of early American citizens. Thus, the theme of Escaping Salem, beside witchcraft, is human nature and Richard Godbeer’s thesis is that humans demonize others before recognizing their own share of human frailty. It is evident that he is biased toward the witches and sympathizes with them. This, of course, is not surprising since they were irrationally punished because of their neighbours unsubstantiated accusations. Richard Godbeer is currently a Professor of History at the University of Miami, who offers courses on a broad range of topics, including sex and gender in early America, witchcraft in colonial New England, religious culture in early America, and the American Revolution. He is also the author of 11 other historical monographs.

Claude McKay’s poems reflect on American culture during a specific time in history, known as Harlem Renaissance. A time where racism was predominately a way of living for many, this was a beneficial time in history for African Americans. Bringing blacks together in a new movement that had not been present in America. Development in which blacks emphasized themselves by taking on their racial identity. It was a time period in which the black community helped each other to be able to express themselves as who they truly are, creating a true African American visual doing so

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.

First, ask yourself how would you feel after hearing the news that one of your family members had been lynched? Throughout the chapters 1-8, we can experience and observe the disheartening history of violence and lies. It is additionally an irritating depiction of a partitioned country on the very edge of the social equality development and an eerie contemplation on race, history, and the battle for truth. Throughout history, the conditions of the lynching, how it affected the legislators of the day, quickened the social equality development and keeps on shadowing the Georgia people group where these homicides occurred. During the 1900s until 19600s various African-Americans experienced various harsh conditions of violence, never being granted the right to vote and being segregated from whites based on their race and skin-color from their white masters. In general racism between whites and blacks can be seen throughout the globe during the era of slavery

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’

Fire in A Canebrake: The Last Mass Lynching in America by Laura Wexler is about the lynching of four African- Americans: Roger Malcom, Dorothy Malcom, George Dorsey, and Mae Murray Dorsey. This occurred in Walton County on July 25, 1946 at the old Moore’s Ford Bridge. The lynching spurred a six month federal investigation in Walton and Oconee County, but eventually led to no convictions or arrest. The FBI had many prime suspects and prime witnesses, but the white community stuck together and the black community was too afraid to speak against their white counter parts. The reason for the lynching at Moore’s Ford Bridge was because the white community of Walton County wanted revenge for Barnette Hester’s stabbing, to keep interracial relationships separate, and to keep whites in control of the political power.

In the poem ,“America”, Claude McKay uses figurative language and diction to create a dark tone, a powerful empowering tone, and an optimistic tone. The theme of double consciousness of African-Americans is supported in the poem and the poem itself also connects to the purpose of the Harlem Renaissance which was to fight back racial hate and stereotypes with black empowerment.

Audre Lorde’s poem shows the reader the prevalence of racism and inequality during the early twentieth century. The poet describes the brutal murder of Emmett Till, an African American boy, for whistling at a white woman. This directly reflects how many white people felt toward African Americans during Audre Lorde’s early life. Audre Lorde mentions the location of her poem is Jackson, Mississippi (Lorde 47). For modern readers, this is another direct way that the poet references racial inequality and the attitudes of people because it is common knowledge

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

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.

McKay uses literary devices such as similes to make a comparisons expressing how the African-Americans were being treated. He does this to show the people what the oppressors view them as and what they should be viewed as. This forces the people to