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:

He wants his readers to imagine the pain and humiliation of the ill treatment that African Americans endure on a daily basis. King writes of vicious mobs lynching people’s mothers and fathers, policemen killing people’s brothers and sisters, a man and his wife not receiving the proper respect they deserve because of their skin color, and the notion that African Americans feel insignificant within their communities; this is why these peaceful demonstrators of whom the clergymen attack “find it difficult to wait” (King, 20). However, King believes that soon, injustice will be exposed, like “a boil that can never be cured so long as it is covered up” (King, 30). This vivid description helps arouse an emotional response, driving shame into the hearts of his white readers.

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

Have you faced racial persecution due to the color of your skin? The time was 1900’s and this was the nightmare that Ida B. Wells-Barnett wrote of in Mob Rule in New Orleans. This is the true account of Robert Charles as he fights for his life to escape the hands of a lynching mob. This impassion story collaborates with the witness of this terrifying event that Wells describes. Wells uses her literary skills to shed light on racial discrimination, media bias, and her personal crusade for justice to portray this heart wrenching reality of the violent lynching during the 19th century.

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’

Revenge is what set the beginning tone of Wexler’s story and the initial reason for why four African-Americans were shot to death. Roger Malcom, one of the lynching victims, stabbed Barnette Hester out of revenge; he believed that his wife, Dorothy, was sleeping with Barnette (Wexler, page13). Since Roger was black and not white, this was considered an act that the white population could not let go unpunished. The death of Roger Malcom was expected by everyone, even Roger knew, “when Barnette Hester died, he would die too” (Wexler, page 55). Many people at the time thought that this was the main motive behind the lynching and that the other three, Dorothy, Mae Murray,

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.

During the nineteenth century, lynching was brought to America by British Isles and after the Civil War white Americans lynching African American increased. Causing and bringing fear into their world. In the Southern United States, lynching became a method used by the whites to terrorize the Blacks and to remain in control with white supremacy. The hatred and fear that was installed into the white people’s head had caused them to turn to the lynch law. The term lynching means to be put to death by hanging by a mob action without legal sanction. So many white people were supportive of lynching because it was a sign of power that the white people had. “Lynching of the black people was used frequently by white people, their is no specific detail of how many times they had done it, but lynching of black people has lasted from 1882 to 1968. Lynching also is in fact a inhuman combination of racism and sadism which was used to support the south’s caste system,’’(Gandhi).

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

All three of the poems discussed in this essay relate to the struggles suffered by African Americans in the late 18th century to the early 19th century in many different ways. They had to live under harsh

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.

This is a poem that is mainly directed to the violence that was often experienced by children with an African-American ethnicity. The violence was mainly experienced on the streets where a majority of these children lived.

James Baldwin’s “Notes of a Native Son” interweaves his own racial experiences with the ongoing chaos and claustrophobia in Harlem. Following the death of his father, a man “eaten up by paranoia,” the author embarks on an introspective journey, realizing how his identity is shaped by both the traits he inherits from his father and the experiences he has with racist attitudes and violence. Baldwin’s prose is as complex as the concepts he deals with, as he comes to the conclusion that hatred is a choice, not a fact of life.