Angelina Weld Grimké was born in Boston, Massachusetts on February 27, 1880, to Archibald Henry Grimké and Sarah E. Stanley. Grimké was born into a rather “unusual and distinguished biracial family” (Zvonkin, para. 1). Her father was the son of a slave and her master, who also happened to be the brother of the two famous abolitionist Grimké sisters: Angelina and Sarah. Grimké’s mother, Sarah, was from a prominent, white middle-class family. She left Grimké and her African American husband due to racial pressure from her white family. As a result, Grimké was raised entirely by her father. Angelina Weld Grimké was a teacher in the capital and a well-known playwright, essayist, and poet. Her work has caused her name to be forever connected with the Harlem Renaissance, as most of it was produced during that time. In particular, most, if not all, of Grimké’s poetry contains images or references to nature. Her focus on themes of nature allows Grimké to do a number of things, among which include displaying her prowess as a writer and poet in the way that she aptly and vividly describes nature, portraying a number of topics concerning the racial issues of her time, and representing the sadness and troubles she dealt with throughout her life. First, Grimké uses nature as a way to display her abilities as a poet. As described by Gloria T. Hull, Grimké’s poetry is “very delicate, musical, romantic, and pensive, and draws extensively on the natural world for allusions and figures of speech. Her greatest strength is her affinity for nature, her ability to really see it and then describe what she has seen with precision and subtlety…” (Hull, para. 1).
*Evelyn Brooks Higginbotham. "African American Women's History and the Metalanguage of Race" in Feminism and History, ed. Joan Wallach Scott (NY: Oxford University Press, 1996), 201.
The black women’s interaction with her oppressive environment during Revolutionary period or the antebellum America was the only way of her survival. Playing her role, and being part of her community that is not always pleasant takes a lot of courage, and optimism for better tomorrow. The autonomy of a slave women still existed even if most of her natural rights were taken. As opposed to her counterparts
Beale, Frances. "Double Jeopardy: To Be Black and Female." An Anthology of African-American Feminist Thought. New York: New, 1995. 146. Print.
The African-American Years: Chronologies of American History and Experience. Ed. Gabriel Burns Stepto. New York: Charles Scribner 's Sons, 2003.
The poem “Thanatopsis” by William Cullen Bryant reveals a very unusual aspect of nature. While most people think of nature as beauty and full of life, Bryant takes a more interesting approach to nature. He exposes a correlation between nature, life, death, and re-birth. Using nature as a foothold, Bryant exercises methods such as tone, setting, and imagery in a very intriguing way while writing “Thanatopsis.”
Historians Mary Dudziack, Micheal Krenn, and Thomas Borstlemann have been credited in this work for their contribution to the struggle for Black equality in that their scholarly contributions share the same historiography as Carol Andersons Eyes off the Prize. Author Carol Anderson uses their works to build upon her own thesis.
At other times, nature can be a source of solace for those who have suffered. Following the death of Gladys and Kate, Grainier looks to the horizon to seek comfort from his crushing loss. “All his life Robert Grainier would remember vividly the burned valley at sundown, the most dream-like business he’d ever witnessed waking – the brilliant pastels of the last light overhead, some clouds...
Poetry Foundation. Ed. Poetry Foundation. Harriet Monroe Poetry Institute, n.d. Web. 26 Jan. 2014.
Robin, D. G. (2000). To Make Our World Anew: A History of African Americans. New York: Prentice Hall Publishers.
Smith, J, & Phelps, S (1992). Notable Black American Women, (1st Ed). Detroit, MI: Gale
Many African American men and women have been characterized as a group of significant individuals who help to exemplify the importance of the black community. They have illustrated their optimistic views and aspects in a various amount of ways contributing to the reconstruction of African Americans with desire and integrity. Though many allegations may have derived against a large amount of these individuals, Crystal Bird Fauset, Jacob Lawrence, and Mary Lucinda Dawson opportunistic actions conveys their demonstration to improve not only themselves but also their ancestors too. Throughout their marvelous journeys, they intend to garnish economic, political, and social conditions with dignity and devotion while witnessing the rise of African Americans. The objective of this research paper is to demonstrate the lives of a selected group of African American people and their attributions to the black community.
Pauline Hopkins’ novel “Of One Blood” was originally published serially in a magazine called Colored American, from 1902-03. Within this novel Hopkins discusses some of the prominent racial and gender oppressions suffered by African Americans during this time. Following the Emancipation Proclamation of 1849 which resulted in African American freedom from slavery, but unfortunately not freedom from oppression and suffering. One of the minor characters, and the only dominant female role, within the novel is Dianthe Lusk. Within the novel Dianthe has many identifiers, which limits not only the readers but Dianthe’s understanding of her identity. Some of these identifiers include: women or ghost, black or white, sister or wife, princess or slave, and African or American. However, the most prominent of these juxtapositions in the novel is the racial identity. This paper will argue that the suffrage of Dianthe through her experiences with racial identity and rape serve to locate racial identity as an agent of politics, rather than of one’s color.
Angelina Grimke and Sojourner Truth were both prominent American civil rights activists of the 19th century who focused on the abolition of slavery and women’s rights issues, respectively. While both of these women challenged the societal beliefs of the United States at the time regarding these civil rights issues, the rhetorical strategies used by each of these women to not only illustrate their respective arguments but also to raise social awareness of these issues was approached in very different fashions. Angelina Grimke promoted the use of white middle-class women’s positions in the household to try to influence the decision makers, or men, around them. On the other hand, Sojourner Truth, a former slave turned women’s rights activist,
Angelina Grimke wrote a number of letters, addressed to Catherine Beecher, in response to Beecher’s An Essay on Slavery and Abolitionism with Reference to the Duty of American Females. Letter XII is titled “Human Rights Not Founded on Sex” and explicitly expresses Grimke’s views regarding female rights. Grimke’s choice of the letter format as a vehicle for her argument establishes a personal connection with the reader—though the letter is addressed to Beecher, the “you” is rather ambiguous and can certainly be read as a larger audience. A letter evokes images of continued correspondence, creating a more conversational and open-ended feeling to the piece than a traditional essay. Despite the impression that Grimke is directly writing to the reader, she maintains a formal tone over the course of her letter. Her tone ...
Eudora Welty was born in 1909, in Jackson, Mississippi, grew up in a prosperous home with her two younger brothers. Her parent was an Ohio-born insurance man and a strong-minded West Virginian schoolteacher, who settled in Jackson in 1904 after their marriage. Eudora’s school life began attending a white-only school. As born and brought up under strict supervision and influence, at the age of sixteen she somehow convinced her parents to attend college far enough from home, to Columbus, Mississippi and then to Madison, Wisconsin. After graduation in 1930, she moved to New York to attend Columbia Business School. While living in New York, Harlem Jazz theatre occupied her more than her class did. She returned to Jackson in 1931 following her father’s untimely death, where she worked for a local radio station and also wrote articles for a newspaper. Later she worked as a publicity agent for the Works Progress Administration in 1935. As a part of her job she traveled by car or by bus through the depth of Mississippi, and saw poverty of black and white people, which she had never imagined before. This time photography became her passion. She was somehow influenced by black and Southern culture as seen in her novel or short story called “Some Notes on River Country” or “A Worn Path”.