W. E. B. Du Bois's Criticism Of Claude Mckay ´ S Home To Harlem

The August 1897 issue of the Atlantic Monthly introduced Du Bois to a national audience when it published his article "The Striving of the Negro People”. He begins this article with what he calls “the unasked question” he continually encountered: “How does it feel to be a problem?” Meaning: how does it feel to be black in America after the end of the

In Harlem Runs Wild, Claude McKay depicts the Harlem Riot of 1935 as merely "…a gesture of despair of a bewildered, baffled, and disillusioned people." (McKay 224) The Harlem Riot of 1935 was spontaneous and unpremeditated. It was not a race riot in the sense of physical conflict between white and non-white groups as there was little direct violence to white persons. McKay states, "The mass riot in Harlem was not a race riot." (McKay 221) Its distinguishing feature was the persons' attack upon property rather than persons, and resentment against whites that, while exploiting Negroes, denied them an opportunity to work. Communists did not instigate the riot, though they

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.

I. (Attention Getter) Quote by Zora Neale Hurston about Harlem Renaissance “It would be against all nature for all the Negroes to be either at the bottom, top, or in between. We will go where the internal drive carries us like everybody else. It is up to the individual.”

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

Few men have influenced the lives of African-Americans as much as William Edward Burghardt (W.E.B.) Du Bois is considered more of a history-maker than a historian(Aptheker, "The Historian"). Dr. Du Bois conducted the initial research on the black experience in the United States. Civil rights leaders such as Martin Luther King Jr. have referred to Du Bois as a father of the Civil Rights Movement. Du Bois conducted the initial research on the black experience in the United States, and paved the way for the Pan-African and Black Power movements. This paper will describe his life, work, influence in the black community, and much publicized civil dispute with another black leader, Booker T. Washington.

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

William Edward Burghardt Du Bois was a major sociologist historian, writer, editor, political activist, and cofounder of the National Association for the Advancement of Colored People (NAACP). During the Harlem renaissance and through his editorship of crisis magazine, he actively sought and presented the literary genius of black writers for the entire world to acknowledge and honor (Gale schools, 2004).

Du Bois and his NAACP colleague James Weldon Johnson asserted that the only uniquely “American” expressive traditions in the United States had been developed by African Americans. They, more than any other group, had been forced to remake themselves in the New World, Du Bois and Johnson argued, while whites continued to look to Europe or sacrificed artistic values to commercial ones. (Native American cultures, on the other hand, seemed to be “dying out,” they claimed.) African Americans’ centuries-long struggle for freedom had made them the prophets of democracy and the artistic vanguard of American culture.

W.E.B Du Bois’s “Criteria of Negro Art” doubles down on Du Bois’s idea that all African American art should be a form of propaganda, while Langston Hughes essay focuses on a speaker who neglects his blackness as it was seen as unnecessary to make it in white America.

Historiography has changed immensely since the beginning of the historian profession. Times of conflict can result in the approaches of historiography changing in a short period. By the end of the nineteenth century, he writing of American history had changed from consensus to progressivism. This opened up a new form of writing and opportunities to include different approaches or fields, such as science, economics, political science, and sociology, to help the understanding of the topic. In 1903, William Du Bois, influenced by Pragmatism, wrote about the Civil War and how it was a result of economic and social factors of African Americans in his book The Soul of the Black Folk. Then, Charles and Mary Beard wrote “The Rise of American Civilization” in 1927, reconsidering and adding economic factors and the inclusion of women’s roles into the history of the American Revolution. Then, after the Second World War, the critical approach was seen as insulting, and historians started to take a consensus approach again. One of the most influential consensus historians of this time was Daniel Boorstin, who wrote “The Genius of American Politics”. This book helped explain the American Revolution as a means of theory failure by showing how “liberal” also known as progressive historians exaggerate on certain events or people that impacted the American Revolution, such as the Declaration of Independence and Thomas Jefferson. He sees the American Revolution results were a positive advance

In exploring the problem of identity in Black literature we find no simple or definite explanation. Nevertheless, it is generally accepted that it is rooted in the reality of the discriminatory social system in America with its historic origins in the institution of slavery. One can discern that this slavery system imposes a double burden on the Negro through severe social and economic inequalities and through the heavy psychological consequences suffered by the Negro who is forced to play an inferior role, 1 the latter relates to the low self-estimate, feeling of helplessness and basic identity conflict. Thus, in some form or the other, every Negro American is confronted with the

Claude McKay was an important figure during the 1920's in the Harlem Rennaisance. Primarily a poet, McKay used the point of view of the outsider as a prevalent theme in his works. This is best observed in such poems as "Outcast," "America," and "The White House." In these poems, McKay portrays the African-American as the outsiderof western society and its politics and laws and at times, the very land that he is native to.

Considered as one of the most influential works of the Harlem Renaissance, Jean Toomer’s literary masterpiece Cane offers valuable insight into the notion of African American identity and heritage. Organized in a rather untraditional manner, Toomer’s considerable impressionistic piece utilizes an array of character sketches, stories, and poems in a cyclical manner as a means to weave together a unified theme concerning the impermanence of identity. For this, Cane’s design strategically moves from simple to complex forms of writing, and then back to simple forms again, symbolically alluding to a regional progression from the South to the North, and then back into the South again. In addition to this, and Toomer’s stirring social commentary, such a circular pattern ambiguously represents the difficulty in reconciling the dilemma of being an African American in the United States due to our nation’s history of being unable to procure a solid foundation for black identity. As a result, although its parts remain formally dissimilar and structured in an experimental way, Jean Toomer’s Cane remains a singular unified whole whose connection of theme insists that African American identity is impermanent.