By Sterling Professor of the Humanities Harold Bloom
This quantity specializes in the vital African-American poets from colonial instances to the Harlem Renaissance and the area struggle II period, paying tribute to a wealthy background that has deeply encouraged the nation's literature. Poets coated during this quantity contain Phillis Wheatley, writer of the 1st quantity of verse released by way of 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 smooth severe perspectives" sequence additionally positive aspects an essay via famous literary critic Harold Bloom, who introduces the amount along with his options in this staff of shiny poets whose paintings has altered the panorama of yankee literature
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Extra info for African-American Poets: 1700s-1940s
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). Even given his mandate for recognition free of racial labeling, Hayden wrote an exquisitely textured poetics that celebrated the history of stoicism in Black Americans who conquered the life-threatening odds of slavery time and time again.
J . B olden Gwendolyn Brooks: The 1940s: A Milieu for Integrationist Poetics G wendolyn Brooks, like many women poets, often wrote under challenging, and sometimes adverse conditions, considering the oppositional demands of artistry and domesticity. 1 Why did Brooks opt to approach the story of women—motherhood, daughterhood, womanhood—from such a complex technical perspective? Who constructed the artistic proving ground that demanded such a grueling exercise in prosody, language, and imagery? What were the rewards?
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. Etc. This symbol is wanting, of course, because a tree is stationary, because it has no progressions, no dynamic movements.
African-American Poets: 1700s-1940s by Sterling Professor of the Humanities Harold Bloom