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Essay on reconstruction of 1877
Essay on reconstruction of 1877
The relevance of black people in literature
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Prompt 2
The New Negro movement represented a new age of advocacy among Black Americans unwilling to submit to the racism of a post-Reconstruction America. They had already had their pleas for reform denied with the Compromise (or Betrayal) of 1876, while the first World War revealed critical discrepancies between the idealist views of America and the realities of the nation for Black people. Even as Black Americans left the South, either to escape racist policies or simply to find a job, they fell victim to de facto segregation and redlining within their new urban communities. The response to these tensions was intellectual rebellion: the New Negro movement focused on challenging stereotypes which had been created to portray Black Americans as subhuman. Gone were the days of Uncle Tom or mammy portrayals of a complacent Black – now was the time to show that the Black American was strong-willed, intelligent, and discontented. Though the name implies it,
In the book, Hughes describes an encounter he has with a poet who wishes to separate himself from Blackness – to not be considered a “Negro poet.” Hughes cites this desire to dissociate from Blackness as something which has been engrained into the poet by his family: his parents would link bad behavior to “niggers,” while encouraging him to act like a white man to find success. He implies that this active separation from Blackness was a commonplace thing among middle to upper-class Black families, and cited it as a “mountain standing in the way” of true artistic and intellectual freedom for Black people. To conquer this “mountain,” Hughes argues that Black artists must embrace race within their art, not only because it represents a new standard in artistic freedom for Black people, but also because it offers a real Black perspective on the “revolt against weariness in a white
Over the course of five chapters, the author uses a number of sources, both primary and secondary, to show how the National Negro Congress employed numerous political strategies, and allying itself with multiple organizations and groups across the country to implement a nationwide grassroots effort for taking down Jim Crow laws. Even though the National Negro Congress was unsuccessful in ending Jim Crow, it was this movement that would aide in eventually leading to its end years later.
In his poems, Langston Hughes treats racism not just a historical fact but a “fact” that is both personal and real. Hughes often wrote poems that reflect the aspirations of black poets, their desire to free themselves from the shackles of street life, poverty, and hopelessness. He also deliberately pushes for artistic independence and race pride that embody the values and aspirations of the common man. Racism is real, and the fact that many African-Americans are suffering from a feeling of extreme rejection and loneliness demonstrate this claim. The tone is optimistic but irritated. The same case can be said about Wright’s short stories. Wright’s tone is overtly irritated and miserable. But this is on the literary level. In his short stories, he portrays the African-American as a suffering individual, devoid of hope and optimism. He equates racism to oppression, arguing that the African-American experience was and is characterized by oppression, prejudice, and injustice. To a certain degree, both authors are keen to presenting the African-American experience as a painful and excruciating experience – an experience that is historically, culturally, and politically rooted. The desire to be free again, the call for redemption, and the path toward true racial justice are some of the themes in their
Between the Compromise of 1877 and the Compromise of 1895, the problem facing Negro leadership was clear: how to obtain first-class citizenship for the Negro American. How to reach this goal caused considerable debate among Negro leaders. Some advocated physical violence to force concessions from the whites. A few urged Negroes to return to Africa. The majority, however, suggested that Negroes use peaceful, democratic means...
Like most, the stories we hear as children leave lasting impacts in our heads and stay with us for lifetimes. Hughes was greatly influenced by the stories told by his grandmother as they instilled a sense of racial pride that would become a recurring theme in his works as well as become a staple in the Harlem Renaissance movement. During Hughes’ prominence in the 20’s, America was as prejudiced as ever and the African-American sense of pride and identity throughout the U.S. was at an all time low. Hughes took note of this and made it a common theme to put “the everyday black man” in most of his stories as well as using traditional “negro dialect” to better represent his African-American brethren. Also, at this time Hughes had major disagreements with members of the black middle class, such as W.E.B. DuBois for trying to assimilate and promote more european values and culture, whereas Hughes believed in holding fast to the traditions of the African-American people and avoid having their heritage be whitewashed by black intellectuals.
Even though both movements, were borne of high hopes, they failed in bringing about their goals. Born in hope, they died in despair, as both movements saw many of their gains washed away. I propose to examine why they failed in realizing their goals. My thesis is that failure to incorporate economic justice for Blacks in both movements led to the failure of the First and Second Reconstruction. The First Reconstruction came after the Civil War and lasted till 1877.
The United States after the Civil War was still not an entirely safe place for African-Americans, especially in the South. Many of the freedoms other Americans got to enjoy were still largely limited to African-Americans at the time. At the beginning of the 20th Century, Booker T. Washington and W.E.B. Du Bois emerged as black leaders. Their respective visions for African-American society were different however. This paper will argue that Du Bois’s vision for American, although more radical at the time, was essential in the rise of the African-American society and a precursor to the Civil Rights Movement.
“The history of the American Negro is the history of this strife, – this longing to attain self-consciousness, manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message f...
Nabrit, James M. Jr. “The Relative Progress and the Negro in the United States: Critical Summary and Evaluation.” Journal of Negro History 32.4 (1963): 507-516. JSTOR. U of Illinois Lib., Urbana. 11 Apr. 2004
The contradiction of being both black and American was a great one for Hughes. Although this disparity was troublesome, his situation as such granted him an almost begged status; due to his place as a “black American” poet, his work was all the more accessible. Hughes’ black experience was sensationalized. Using his “black experience” as a façade, however, Hughes was able to obscure his own torments and insecurities regarding his ambiguous sexuality, his parents and their relationship, and his status as a public figure.
One of the advantages of how he wrote his poetry is that it can take hold of people by exemplifying his accounts of the everyday life that the disenfranchised experience. Hughes took on the injustices that other dared no to speak of. He wrote about how the African-American people of the 1920’s suffered the plight of racial inequality. In many cases I believe that Hughes used his writing as an instrument of change. In “Come to the Waldorf-Astoria” (506) Hughes tackles the drastic disparity between wealthy whites and the African Americans of the 1930’s. This piece displays an unconventional style for a poem; using satire to capture the reader’s attention. By using this satiric form of poetry Hughes is able to play on the emotions of the white reader, while at the same time inspiring the black readers. Hughes is constantly comparing the luxuries of the Waldorf-Astoria to the hardships that the African American people were experiencing. “It's cold as he...
Langston Hughes was probably the most well-known literary force during the Harlem Renaissance. He was one of the first known black artists to stress a need for his contemporaries to embrace the black jazz culture of the 1920s, as well as the cultural roots in Africa and not-so-distant memory of enslavement in the United States. In formal aspects, Hughes was innovative in that other writers of the Harlem Renaissance stuck with existing literary conventions, while Hughes wrote several poems and stories inspired by the improvised, oral traditions of black culture (Baym, 2221). Proud of his cultural identity, but saddened and angry about racial injustice, the content of much of Hughes’ work is filled with conflict between simply doing as one is told as a black member of society and standing up for injustice and being proud of one’s identity. This relates to a common theme in many of Hughes’ poems that dignity is something that has to be fought for by those who are held back by segregation, poverty, and racial bigotry. The poems “Visitors to the Black Belt”, “Note on Commercial Theatre”, “Democracy”, and “Theme for English B” by Hughes all illustrate the theme of staying true to one’s cultural identity and refusing to compromise it despite the constant daily struggle it meant to be black in an Anglo centric society.
The image of African-American’s changed from rural, uneducated “peasants” to urban, sophisticated, cosmopolites. Literature and poetry are abounded. Jazz music and the clubs where it was performed at became social “hotspots”. Harlem is the epitome of the “New Negro”. However, things weren’t as sunny as they appeared.
World War I had created a transition time for African Americans to transform from the Old Negro to the New Negro. Many African Americans soldiers, upon returning home, were determined to achieve a fuller part in the American society. Many thousands of them moved from the rural South filled with racism to the industrial North in a pursuit of new social and economic opportunities. In “The New Negro,” the author, Alaine Locke, showed us the myth of the Old Negro who had just become embedded into the American history. This concept of the Old Negro was solely a creation from historical controversy and debate. On the other hand, the New Negro turned out to be the augury of a new democracy in American culture. The New Negro Movement contained within it the goals it set out to achieve. Some of the main goals of the New Negro Movement were first to develop self-respect and self-reliance within blacks. For many years they had to rely on white Americans and almost lost their self-consciousness of self-respect and their own identity. The movement also set out to remove the social dependence of African Americans on white Americans in their society. In addition, the movement also aimed to repudiate the double standard of judgment and help African Americans rise from the social disillusionment to regain their racial pride. The New Negro Movement would also bring many benefits to African Americans according to Alaine Locke. First of all, the new and equal social status that they would have in the American society. The movement would also bring them their own independence from the superior whites and thus offer them a sense of pride of being African
The poem “Negro” was written by Langston Hughes in 1958, where it was a time of African American development and the birth of the Civil Rights Movement. Langston Hughes, as a first person narrator, tells a story of what he has been through as a Negro, and the life he is proud to have had. He expresses his emotional experiences and makes the reader think about what exactly it was like to live his life during this time. By using specific words, this allows the reader to envision the different situations he has been put through. Starting off the poem with the statement “I am a Negro:” lets people know who he is, Hughes continues by saying, “Black as the night is black, Black like the depths of my Africa.”
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.