Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The harlem renaissance in black and white (review
Summary of the Harlem Renaissance period
Summary of the Harlem Renaissance
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The harlem renaissance in black and white (review
On Being Young-A Woman-and Colored an essay by Marita Bonner addresses what it means to be black women in a world of white privilege. Bonner reflects about a time when she was younger, how simple her life was, but as she grows older she is forced to work hard to live a life better than those around her. Ultimately, she is a woman living with the roles that women of all colors have been constrained to. Critics, within the last 20 years, believe that Marita Bonners’ essay primarily focuses on the double consciousness ; while others believe that she is focusing on gender , class , “economic hardships, and discrimination” . I argue that Bonner is writing her essay about the historical context of oppression forcing women into intersectional oppression by explaining the naturality of racial discrimination between black and white, how time and money equate to the American Dream, and lastly how gender discrimination silences women, specifically black women. Biography-Harlem renaissance Marita Bonner, a former African American writer, essayist, and playwright during the time of the Harlem Renaissance is known for her essays and first fictional work known as “Frye Street.” She was born on June 16, 1898, in …show more content…
“On Being Black…” is an autobiographical essay discussing the black working class and how in order for black women to “have-it-all” they must have a career, home, and husband. But when Bonner refers to the younger generations, they find flaws with the working class’ expectations on becoming middle to upper class. The Young Black generation challenges the ideology of what it means to “have-it-all,” while dismantling institutional racism to create their own ideological racial uplift. In both works, she questions racial categorization and the divisions among class amongst African Americans, a reoccurring theme for her later
In many contemporary spaces, intersectionality is taught and consumed as a static concept of merely listing identities carried by one person simultaneously. It’s used more often as a checklist than a place of analysis or resistance. However, the use of intersectionality as just an apolitical tool, rather than a theory born from the knowledge of Black women experiencing a “triple jeopardy” of oppression and seeking liberation by deconstructing the institutions that bind them, is reductionist at best. In “Intersectionality is Not Neutral”May communicates that intersectionality pushes us to question and challenge the relatively mundane or acceptable norms in society that lend themselves to a continuous legacy of systemic inequality.
Originally published in 1999, Mary Pattillo’s Black Picket Fences explores the circumstances and conventions of the Black middle class, a group that has experienced both scholarly and popular neglect. In the Acknowledgments section of this work, Pattillo details the mentorship she received as a graduate student from William Julius Wilson at the University of Chicago. She recounts that Wilson often encouraged his students to extend, and even challenge his scholarly works, and that this urging provided the impetus for her research on the Black middle class (xiv). The challenge Pattillo (2013) refers to, becomes quite apparent when comparing her work to Wilson’s 1980 piece, The Declining Significance of Race. In this work, Wilson (1980) contends that in the industrial/modern era of the United States, class has surpassed race to be a salient factor of social stratification. He supplements his argument by referencing the progress and achievements of the Black middle class, relative to the “economic stagnation” of the Black underclass (p. 2). Pattillo (2013) offers a
Wilson, William J. More Than Just Race: Being Black and Poor in the Inner City. New York: Norton & Company, 2009. Print.
In his essay, “On Being Black and Middle Class” (1988), writer and middle-class black American, Shelby Steele adopts a concerned tone in order to argue that because of the social conflicts that arise pertaining to black heritage and middle class wealth, individuals that fit under both of these statuses are ostracized. Steele proposes that the solution to this ostracization is for people to individualize themselves, and to ‘“move beyond the victim-focused black identity” (611). Steele supports his assertion by using evidence from his own life and incorporating social patterns to his text. To reach his intended audience of middle-class, black people, Steele’s utilizes casual yet, imperative diction.
Social and financial status have been the safety net or “go to” protection for African American people for many years back, leading one to assume education and an affluent life style could become a shield of protection over the black body. However, society has proven that your safety net ends where your skin begins. No matter how rich or established a person is, the fact will remain that they are black. Ta- Nehisi Coates describes his life growing up the ghettos of Baltimore. Throughout his book, Ta-Nehisi Coates repeatedly emphasizes that growing up his, “highest priority was the simple security of my body,” (p.130) Then he goes on to describe how his wife grew up in a more affluent and privileged lifestyle, a lifestyle that
Deborah Gray White’s Ar’n’t I a Woman? details the grueling experiences of the African American female slaves on Southern plantations. White resented the fact that African American women were nearly invisible throughout historical text, because many historians failed to see them as important contributors to America’s social, economic, or political development (3). Despite limited historical sources, she was determined to establish the African American woman as an intricate part of American history, and thus, White first published her novel in 1985. However, the novel has since been revised to include newly revealed sources that have been worked into the novel. Ar’n’t I a Woman? presents African American females’ struggle with race and gender through the years of slavery and Reconstruction. The novel also depicts the courage behind the female slave resistance to the sexual, racial, and psychological subjugation they faced at the hands of slave masters and their wives. The study argues that “slave women were not submissive, subordinate, or prudish and that they were not expected to be (22).” Essentially, White declares the unique and complex nature of the prejudices endured by African American females, and contends that the oppression of their community were unlike those of the black male or white female communities.
The cultural transition from youth to adulthood in the U.S. is often a period of chiefly physical maturation, accompanied by progressive changes in perceptions of the world that surrounds oneself. The years in which Anne Moody grew up in Mississippi were marked by often vicious racism, regardless of the emancipation of African-American slaves some 80 years earlier. The laws of many of the former Confederate states, such as the Mississippi Black Codes, often included in them provisions to severely limit the rights of African-Americans. Such passages as the Mississippi vagrant law, fining ‘idle’ blacks, illustrate this through the underhanded encouragement to keep blacks in their former place of servitude. Anne Moody’s coming of age in the era of the oppressive Black Codes was not only that of physical change, but chiefly one of mental growth from that of a victim of the injustices of the Southern U.S. to an active agent of change for her fellow African-Americans.
In the first section of Frazier’s Black Bourgeoisie, “The World of Reality”, Frazier introduces his discussion of the interplay of class and race. He outlines the historical roots of the social place of most African-Americans in the U.S.A. and that of the black middle class. Frazier asserts the inconsequential place of middle class African-Americans and their resulting inferiority complex. He depicts the black middle class as living in a “no man’s land” in the dominant white culture of America.
Often identity is only thought of as a collection of individual characteristics that are independent such as sex, gender, race, class, sexuality, etc. Intersectionality is when these characteristics are transformed by one another and “tend to collapse into one another in the context of everyday life”. Dorothy Allison wrote Two of Three Things I Know for Sure where she explains aspects of her life through chronological stories revealing details and providing the reader with lessons she learned throughout her experiences. This book can be read with an intersectionality lens focusing on the moments or stories where gendered poverty shapes people’s experience of sex and sexuality as well as how gender, sexuality, and class transforms whiteness into a stigmatizing attribute rather than it’s usual power given attribute. Allison’s scene with her Aunt Maudy and the scene with her girlfriend both show intersectionality in different aspects and times of Allison’s life.
“She couldn’t see anything but 116th Street and a job that paid barely enough for food and rent and a handful of clothes. “(147). This world she was living contrasts with places that were “filled with sunlight and good food and where children were safe, was fenced off to African-Americans so people like Lutie could only look at it with no expectation of ever being able to have it.”(147). Lutie came to the realization as to why white people hate black people so much. It is because they are entitled to white privilege at birth.
Sofia’s encounter with Millie is a daily occurrence in nations worldwide. Her “Hell no” is a justified response to the subservience white people have forced upon African Americans and the constant struggle against black women have against abuse and sexism. Millie is an example of the everyday white woman whose class and social standing prompt her unawareness about social problems and her own racist misgivings. Alice Walker’s novel explores this deep-rooted racism intertwined with social class and sexism. Walker’s writes from the events that have marked her life, other’s lives, and the cruelty that has scarred the black community for years. Hence, the softened racism in the form of stereotypical comments, white superiority complexes, and the sexism towards women of color that fills the
Within a society that still holds the vestiges of 400 years of chattel slavery, black and white racial identity has formed within a dichotomist system that maintains racial hierarchy. Multi-racial identities are not exempt from these restrictive categories but instead have been shaped by it. As miscegenation grew in the United States, so did mixed race bodies and as brown, tan and olive complexions populated the United States, whiteness and its purity became threatened. Mixed race women have been primary targets for racial scrutiny, including being subject to sexual objectification and stereotyping. In this paper I will argue that because of a history of dichotomizing black and white racial identity, biracial or multiracial are still not racial categorizations that are visibly recognized by most Americans. In...
In life, there are many things that a person cannot control about themselves. One’s race, gender, sexual orientation, and economic status are all things someone is born into. Unfortunately, these traits tend to be the ones that cause judgement in our society. For C. Vivian Stringer, author of Standing Tall, she was born in the 1940’s. In many ways, it was a more difficult time than today, considering the social constructions. Stringer was an African-American woman who was born to an impoverished family in Edenborn, Pennsylvania. She was born during the civil rights movements, which made it difficult for African-Americans at the time. Being a minority was made even more difficult for Stringer, because she was a woman. At the time, women were
The early 1900s was a very challenging time for Negroes especially young women who developed issues in regards to their identities. Their concerns stemmed from their skin colors. Either they were fair skinned due mixed heritage or just dark skinned. Young African American women experienced issues with racial identity which caused them to be in a constant struggle that prohibits them from loving themselves and the skin they are in. The purpose of this paper is to examine those issues in the context of selected creative literature. I will be discussing the various aspects of them and to aid in my analysis, I will be utilizing the works of Nella Larsen from The Norton Anthology of African American Literature, Jessie Bennett Redmond Fauset, and Wallace Brown.
Although artists like Al Bernard and Bert Williams were performers of physical blackface on stage in the 20th century, the hipster has shown to become a form of non-physical blackface. A type of blackface that isn’t ridiculed or criticized by society, but accepted or sometimes even ignored as a grand section of American popular culture. The essay gives us a walkthrough by Mailer on how he thinks the hipster and the Negro have joined together in the form of the White Negro. The psychoanalysis and exploration of the struggle of the hipster by Mailer throughout his essay leads to an almost perfect understanding of the new concept that he is trying to convey.