Discrimination During The Harlem Renaissance

Deprivation in Discrimination

During the Harlem Renaissance, African American culture demonstrated literature, music, and art. It marked a movement when white America started incorporating and recognizing African Americans. However, before the Harlem Renaissance, discrimination was at its highest peak; African Americans were treated like property, and violence was used as a persuasive, and psychological technique. Individuals that were targeted had to cope mentally and emotionally due to the agony that racism caused. Conflicts were created from an individual aspect, based off of prejudicial actions or comments, causing individuals to feel harmed with trauma and pain. This idea is illustrated in Langston Hughes's collection The Way of White

It is noticeable that the Carraways signify and represent the use of superiority. Because of the large difference between social statuses with the couple and Luther, they treat Luther “more as a house pet than as a servant with chores to do. He is made to pose for Anne’s paintings. He is never treated like a young adult” (Mowery 3). At this point, Luther is a piece of property, and is forced to pose on the box, nude. The reasoning behind Michael and Anne hiring Luther, was to have a sample of an Afro-American. Afterall, as mentioned by the couple they had to “have some kind of excuse to hire him” (Hughes 19). From Luther's perspective of superiority, Hardy brings to attention that “African Americans see things from their own unique cultural perspective, but they are, at once, perpetually aware of the negative ways in which their race is seen in the wider mainstream culture” (18). Luther is fully aware of the classism stereotypes that are present in the Carraways household, especially Anne’s social status that gives her the power to represent Luther as a slave. Conclusively, classism used by Langston Hughes emphasizes the emotional and physical pain caused by predominance in African

Hardy explains how “Whites create their own images of blackness because of their thought of superiority and are blind to how different these images are from the reality of black life” (16). As demonstrated in this particular story, Mrs. Ellsworth purposely increases her efforts to dominate Oceola’s private life. By doing so, Mrs. Ellsworth can use this manipulative control to change Oceola’s perspective of art and music. Likewise, both characters, Oceola and Pete, discuss how they should incorporate Oceola’s patron into their wedding. However, as Pete mentions “That’s one thing I hate about the South-where there’re white people, you have to go to the back door” (Hughes 119). Pete’s statement proves how severe superiority is in the town of Harlem. Because of Mrs. Ellsworth social status, all citizens of color would be forced to enter the back door of the wedding. The power that Mrs. Ellsworth has over the two, rapidly develops the emotion of fear and terror. In summary, using classism as a negative way, as demonstrated through Hughes’ writing, generates fear and trauma in