`` Walls Of Jericho ``

In the early 1920s, three works signaled the new creative energy in African American literature. McKay’s volume of poetry, Harlem Shadows (1922), became one of the first works by a black writer to be published by a mainstream, national publisher (Harcourt, Brace and Company). Cane (1923), by Jean Toomer, was an experimental novel that combined poetry and prose in documenting the life of American blacks in the rural South and urban North (Andrews 4). Finally, There Is Confusion (1924), the first novel by writer and Editor Jessie Fauset, depicted middle-class life among black Americans from a woman’s perspective (Andrews 4).

In Chapter 4 of his book, which is aptly titled “Postwar Passions”, Daniels chooses to focus on the experiences of African-Americans in the post-WWI era, specifically focusing on race riots that occurred during the “Red Summer” of 1919. (104) There is a long-standing history of racial discord between whites and African-Americans, but the post-WWI years are a unique time. It has been more than fifty years since slavery has been abolished, but it will still take another forty plus years before discrimination on the basis of race is made illegal in America. Industrialization after the turn of the century and blatant racism in the South led to the migration of millions of African-Americans to northern

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.

The 1920’s were a period or rapid growth and change in America. After World War I American’s were introduced to a lifestyle of lavishness they had never encountered before. It was a period of radical thought and ideas. It was in this time period that the idea of the Harlem Renaissance was born. The ideology behind the Harlem Renaissance was to create the image of the “New Negro”. The image of African-American’s changed from rural, uneducated “peasants” to urban, sophisticated, cosmopolites. Literature and poetry abounded. Jazz music and the clubs where it was performed at became social “hotspots”. Harlem was the epitome of the “New Negro”. However, things weren’t as sunny as they appeared. Many felt that the Harlem Renaissance itself

Alain Locke wrote “Enter the New Negro,” and Marcus Garvey’s speech on Negroes in the early twentieth century interconnects on “new” Americans and new cultural Politics. Psychological and social traits were examined deeply about “new negroes,” and how their emergence in society was different from when their ancestors manifested.

The Harlem Renaissance was a cultural movement in the 1920s that led to the evolution of African-American culture, expression through art, music, and literary works, and the establishment of African roots in America. Zora Neale Hurston contributed to the Harlem Renaissance with her original and enticing stories. However, Hurston’s works are notorious (specifically How it Feels to Be Colored Me and Their Eyes Were Watching God) because they illustrate the author’s view of black women and demonstrate the differences between their views and from earlier literary works.

The book Jericho Walls by Kristi Collier is a fast paced, adventurous book. This book takes place in the time of the civil rights movement. Jo Clawson is a girl who wants to play kickball, basketball, and stick-ball with the boys, but they never let her. Jo’s dad was a preacher who moved all over because he got “callings” to go there by the church. The whole family moved with him. When they get to Jericho Walls, Jo’s mom gets a job (which is rare for this time period) which means that they need someone to look after the house and Jo. Jo’s mom had an old friend that lived in town who came to look after Jo as well as the house. The only awkward thing for Jo was she was a colored woman. Up until then Jo had never seen a black person before and

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

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.

Langston Hughes is one the most renowned and respected authors of twentieth century America not simply one of the most respected African-American authors, though he is certainly this as well, but one of the most respected authors of the period overall. A large part of the respect and admiration that the man and his work have garnered is due to the richness an complexity of Hughes' writing, both his poetry and his prose and even his non-fictions. In almost all of his texts, Hughes manages at once to develop and explore the many intricacies and interactions of the human condition and specifically of the experience growing up and living as a black individual in a white-dominated and explicitly anti-Black society while at the same time, while at the same time rendering his human characters and their emotions in a simple, straightforward, and immensely accessible fashion. Reading the complexity behind the surface simplicity of his works is at once enjoyable and edifying.

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.

From the 1920’s to the mid 1930’s a literary, intellectual, and artistic movement occurred that kindled the African Americans a new cultural identity. This movement became known as the Harlem Renaissance, which is also known as the “New Negro Movement”. With this movement, African Americans sought out to challenge the “Negro” stereotype that they had received from others while developing innovation and great cultural activity. The Harlem Renaissance became an artistic explosion in the creative arts. Thus, many African Americans turned to writing, art, music, and theatrics to express their selves.

Moreover, The Big Sea provides a trenchant commentary on writers such as Carl Van Vechten, whose novel Nigger Heaven (1926) promoted the associations of Harlem as an atavistic enclave for a disenfranchised black population.1 Indeed, Hugh M. Gloster describes Nigger Heaven as “a sort of guide book for visitors who went uptown seeking a re-creation of the primitive African jungle in the heart of New York City” (Gloster, pp.113-14). This Manhattan neighbourhood north of Central Park, with its growing population of Southern immigrants, would serve the Nordic author Van Vechten in much the same way that Africa did Conrad or India did Kipling: as an alien territory, forbidden, dangerous yet compelling in its intensity. It is ironic that this very conception of Harlem was one of the key reasons why it was overrun and exploited by sensation-seeking white outsiders. Hughes makes implicit comparisons between the colonial despoliation of African natural resources and the whites’ frivolous engagement with Harlem’s “exotic” cabaret nightlife in the 1920s.

America was all the while reeling from the repulsions of World War II, and African American essayists like Hughes were standing in opposition to the prejudice they had encountered. " Harlem" takes advantage of the undercurrent of fury and disdain that advises racial governmental issues even