By Sterling Professor of the Humanities Harold Bloom

ISBN-10: 1604134003

ISBN-13: 9781604134001

This quantity makes a speciality of the vital African-American poets from colonial occasions to the Harlem Renaissance and the area battle II period, paying tribute to a wealthy history that has deeply encouraged the nation's literature. Poets coated during this quantity contain Phillis Wheatley, writer of the 1st quantity of verse released via an African American, and the seminal figures Gwendolyn Brooks, Countee Cullen, Paul Lawrence Dunbar, Langston Hughes, Claude McKay, and Jean Toomer. whole with a chronology, bibliography, and notes at the members, this new quantity within the "Bloom's sleek severe perspectives" sequence additionally positive aspects an essay via famous literary critic Harold Bloom, who introduces the amount together with his suggestions in this team of brilliant poets whose paintings has altered the panorama of yankee literature

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J. Bolden a change in outlook (372). Like Gloster, Redding earmarks a universality in writing about the human—not the Black—condition, yet asserts that the highest goal a Black writer can attain is an obscure “realistic idealism and a sort of scientific humanism” (372). Oddly, though Redding calls for Black writers to liberate themselves from their “racial chains” because they are “in no fundamental way different and particular,” conversely, he ends his essay with a call to them to observe their “special category of race-experience” to uncover “a mine of creative material” (373).

Xx)10 The pressures of a social climate fueled by the dual and often conflicting demands of artistic autonomy and race consciousness facing Brooks, Hayden, and Tolson in the integration age of the 1940s nearly mirror those of the Harlem Renaissance poets Hughes, Claude McKay, and Countee Cullen. 12 In an interview with John O’Brien, Hayden vehemently argued his case against “strict definitions of what a poet is or should be” and instead, insisted that the poet forge his own artistic path maintaining the integrity and artistic freedom he felt was due him as an artist (115).

And two longer pieces), leaves (poems), and Leaf Traciers [sic] in Washington, under which I shall group such Things as For M. W.  . (12) And again: I see the importance of form. The tree as a symbol comes to mind. A tree in summer. Trunk, branches, structure. Leaves the fillers-out, one might almost say the padding. The sap is carried in the trunk etc. From it the leaves get their sustenance, and from their arrangement comes their meaning, or at least leaves upon the ground do not 42 Wolfgang Karrer make a tree.

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African-American Poets: 1700s-1940s by Sterling Professor of the Humanities Harold Bloom

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