By George Hutchinson
The Harlem Renaissance (1918-1937) used to be the main influential unmarried move in African American literary historical past. Its key figures contain W. E. B. Du Bois, Nella Larsen, Zora Neale Hurston, Claude McKay, and Langston Hughes. The stream laid the basis for all later African American literature, and had an important influence on later black literature world-wide. With chapters by way of a variety of recognized students, this 2007 spouse is an authoritative and fascinating advisor to the circulate. It first discusses the ancient contexts of the Harlem Renaissance, either nationwide and overseas; then offers unique discussions of a big selection of authors and texts; and eventually treats the popularity of the circulate in later years. Giving complete play to the disagreements and transformations that energized the renaissance, this significant other offers a suite of recent readings encouraging additional exploration of this dynamic box.
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Extra resources for The Cambridge Companion to the Harlem Renaissance (Cambridge Companions to Literature)
See also Valerie Boyd, Wrapped in Rainbows: The Life of Zora Neale Hurston (New York: Scribner, 2003), pp. 423–5. The New Negro: An Interpretation (New York: Arno Press, 1968). ’’1 These words introduce readers of The Big Sea, a 1940 autobiography by Langston Hughes, to the era known today as the Harlem Renaissance, which commenced in 1924, and was the first significant literary and cultural movement in African American history. This sentence by Hughes captures what was at once transcendent and dispiriting about the era.
Ibid. pp. xxix–xxxi, 179–233. See Mary L. Dudziak, Cold War Civil Rights (Princeton: Princeton University Press, 2002). Ibid. Stewart, Paul Robeson, pp. 54, 205. On Hurston’s criticism of the Brown decision, see Zora Neale Hurston, ‘‘Court Order Can’t Make Races Mix,’’ Orlando Sentinel, 11 August 1955. See also Valerie Boyd, Wrapped in Rainbows: The Life of Zora Neale Hurston (New York: Scribner, 2003), pp. 423–5. The New Negro: An Interpretation (New York: Arno Press, 1968). ’’1 These words introduce readers of The Big Sea, a 1940 autobiography by Langston Hughes, to the era known today as the Harlem Renaissance, which commenced in 1924, and was the first significant literary and cultural movement in African American history.
For Locke, there were two New Negroes – the poor black masses changing the geography of American citizenship, and the young black writers reflecting that energy in literature. What brought the educated writers and the uneducated migrant together was their sequestration in segregated crucibles like Harlem, where the sense that they were all in the same place for the same reason – race – lowered the inherent class conflict in the Negro community. ‘‘A railroad ticket and a suitcase, like a Baghdad carpet, transport the Negro peasant from the cotton-field and farm to the 15 JEFFREY C.