Harlem renaissance essayists

Today's Date: October 07, Pages: 1 2. In his historical consideration of the literary movement known as the Harlem Renaissance, essayist Thadious M. Davis does the reader a profound service by situating the phenomenon and its writers within a situational and socio-historical framework.

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Davis examines the lives and the work of several of the writers he deems as being both central and lesser figures in the Harlem Renaissance from a biographical and critical perspective, handling an impressive amount of material in a relatively concise fashion. Davis about the effects of the importation of distinct beliefs, values, and narrative strategies from the deep South to Harlem, where, he contends, they were fused by young, enthusiastic, and expressive writers into a new genre that was simultaneously distinctly black and distinctly Southern, is somewhat limited in that it fails to acknowledge and explore crucial complexities that characterized the lives of writers such as Langston Hughes and Richard Wright.

It is clear that Davis has both a profound passion for the Harlem Renaissance and a firm grasp on the important details of the movement, its writers, and the works they produced. He draws upon this knowledge to acquaint the reader with those writers who are both enduring figures in the canon, as well as more obscure writers who, in his estimation, nevertheless played a critical role in developing the Harlem Renaissance as a literary movement that would make a permanent mark on American letters and culture. What unites all of these writers, Davis contends, was one part happenstance and one part biological destiny.

It is true that the central geographical location of Harlem provided both a literal and psychological backdrop for a literary community building experiment, the likes of which had never been witnessed among African American authors in the United States, and which had not been witnessed among Caucasian writers since the transcendentalist movement.

Finally, it is clear that there was a direct and strong link between political activism and literary production. Indeed, the two were fused; many African American organizations and unions published newspapers in which space was dedicated for artistic expression.

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In these forums, new writers inspired one another and a fledgling artistic community was born. These spaces witnessed the launch of careers of some of the most renowned writers of the period that came to be known as the Harlem Renaissance, and the fact that they paid their contributors only served to foster interest.

It is that last statement that is particularly problematic. Despite the historical facts, an astute reader recognizes that even while African American subjects and experiences did form the crux of many literary works of the period, there were also obvious efforts, both conscious and assertive and unconscious, to break beyond the labels that were already becoming limiting and stifling. All Rights Reserved. Advanced Search. Advanced search All these words. Embedded in Du Bois's curious review of Cane were the seeds of his future estrangement from the New Negro movement.

For someone who wrote so eloquently of the "souls" of black "folk," Du Bois had surprisingly conservative aesthetic tastes. In an era attuned to modernist experimentation and the possibilities of vernacular expression, Du Bois preferred the soaring flights of Byron and Tennyson or their German romantic antecedents, Goethe and Schiller. The Souls of Black Folk included epigrams from all four authors.

His taste in music was likewise classical and distinctly Eurocentric. Though he appreciated the majesty of the "sorrow songs," he regarded blues as vulgar and jazz as unrefined. While Langston Hughes glimpsed a universe of beauty in the keening wail of a saxophone on a Harlem street corner, Du Bois thrilled to Beethoven and Wagner.

As these differences in aesthetic values and judgment became apparent, Du Bois's regard for the rising generation of black writers plummeted, as did their respect for him. Personal encounters between Du Bois and his imagined offspring typically left both parties disappointed.

Harlem Renaissance finds delight in surprises

The poet Claude McKay detected no human warmth in the idol of this youth, only "a cold, acid hauteur of spirit, which is not lessened when he vouchsafes a smile. Disagreements over the direction of the New Negro movement exploded into the open in , following the publication of Carl Van Vechten's notorious novel Nigger Heaven.

The book's appearance confirmed Du Bois's belief that the New Negro movement had lost its way, that a movement begun to advance black claims to citizenship had degenerated into a modern-day minstrel show, purveying stereotypical images of black criminals, prostitutes, and buffoons for the amusement of white readers. In the months that followed, Du Bois continued to rail against what he dubbed the "Van Vechten school" of black writing.

In his eyes, younger black writers were guilty not only of political irresponsibility but of artistic blindness, recycling tales of "low down" black people while ignoring the rich vein of artistic material to be found in the predicament of intelligent, upstanding Negroes. His reviews of New Negro writing ranged from disappointed Fine Clothes to the Jew , Langston Hughes's second volume of poetry, contained "extraordinarily beautiful bits" but lamentably confined itself to "lowly types" to vicious passages in Claude McKay's Home to Harlem , he reported, left him "wanting to take a bath".

In the end, only a handful of writers escaped his scorn, among them Jessie Fauset, Countee Cullen who was briefly married to Du Bois's daugher, Yolande , and Nella Larsen. Over the course of the s, Du Bois made several attempts to redirect the Harlem Renaissance along more appropriate lines. In , he launched a symposium in Crisis : contributors, white and black, were asked to respond to a series of seven questions on the theme "The Negro in Art: How Shall He Be Portrayed?

When the artist, black or white, portrays Negro characters, is he under any obligations or limitations as to the sort of character he will portray? Can the author be criticized for painting the worst or the best characters of a group?

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Can publishers be criticized for refusing to handle novels that portray Negroes of education and accomplishment, on the ground that these characters are no different from white folk and therefore not interesting? What are Negroes to do when they are continually painted at their worst and judged by the public as they are painted? Does the situation of the educated Negro in America with its pathos, humiliation, and tragedy call for artistic treatment at least as sincere and sympathetic as "Porgy" received?

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  • Is not the continual portrayal of the sordid, foolish, and criminal among Negroes convincing the world that this and this alone is really and essentially Negroid, and preventing white artists from knowing any other types and preventing black artists from daring to paint them?

    Is there not a real danger that young colored writers will be tempted to follow the popular trend in portraying Negro character in the underworld rather than seeking to paint the truth about themselves and their own social class?

    Harlem And The Harlem Renaissance

    For the next six months, Du Bois printed the replies in Crisis. Insofar as he had hoped through the questionnaire to recapture artistic leadership of the Harlem Renaissance, the results were disappointing. It's the way people look at things, not what they look at, that needs to be changed. Du Bois concluded the symposium with a long essay of his own, "Criteria of Negro Art," in which he explicated his ideas about the universal attributes of "beauty" and the specific contributions that black writers and artists might make toward its realization.

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    • The essay included stern instructions on the political responsibilities of the black writer, suggesting in several places that the duty of vindicating the reputation of the race trumped the value of art for art's sake. It is no disrespect to Du Bois, whose place in history is now secure, to say that this was not his finest hour.

      In the first place, his characterization of contemporary writing was factually incorrect. As James Weldon Johnson showed in a careful inventory published at the end of the s, scarcely a quarter of the works written by or about African-Americans in the previous decade fell within what Du Bois called the "Van Vechten school. The unfolding debate had also pushed Du Bois into a position- art equals propaganda- that not only smacked of philistinism but directly contradicted positions he himself had previously maintained.

      Just five years before, for example, Du Bois had defended Eugene O'Neill's controversial play The Emperor Jones against black critics who decried it for perpetuating racial stereotypes. To compel artists to represent only "the best and highest and noblest in us," to "insist that Art and Propaganda be one," betrayed a "complete misunderstanding.

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      Du Bois's second novel, Dark Princess , can also be read as an attempt to move African-American literature in more responsible directions. The novel hewed closely to its author's political prescriptions, with middle-class characters debating the predicament of the world's darker races in impeccable English and with nary a prostitute or jazz club in sight. The main character, Matthew Towns, is a disillusioned black medical student who has fled the racism of the United States to live in Germany.

      There he meets the title character, a beautiful Indian princess who just happens to be the leader of a secret global movement of people of color. Alternately romantic and didactic, the book could scarcely have been more out of step with the artistic temper of the s, and it had little apparent impact on other black writers. Although Du Bois surely lost the battle for the soul of the Harlem Renaissance, he may have won the war. As the Great Depression ravaged Harlem and popular enthusiasm for black people's arts ebbed, many prominent "New Negroes" began to look back at the s with a certain embarrassment, renouncing not only the bohemian excesses of the decade but their own naive belief that art alone could conquer racial prejudice.

      Du Bois watched it all with more than a little satisfaction.

      Harlem Renaissance Documentary

      In , in a speech at Fisk University, he pronounced an epitaph for the renaissance- an epitaph that continues, for better and for worse, to shape critical assessments of the movement:. Why was it that the Renaissance of literature which began among Negroes ten years ago has never taken real and lasting root?