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Those winter sundays by robert hayden response essay
Those winter sundays by robert hayden response essay
Reading response to these winter sundays
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“Art is not an escape, but a way of finding order in chaos, a way of confronting life” (Berry, Wendell). These were the judicious words that were once stated by American poet and educator, Robert Hayden. Despite being raised in an unstable home, moving from his family to a foster family, on top of struggling with impaired vision, Hayden found an interest in black history and poetry which would later bring him great recognition and success. And he would do so by utilizing his broad study of black history to “illuminate the American black experience” (Contemporary Authors Online). Writing of historical figures such as Frederick Douglas, Malcolm X, and Harriet Tubman, he shed light on his beliefs and went on to make history in the world of poetry.
Robert Earl Hayden was born on August 4th, 1913, with his birth name of Asa Bundy Sheffey. It wasn’t until he later lived with foster parents William and Sue Ellen Hayden, that his name was legally changed. Hayden was raised in a poor neighborhood in Detroit, Michigan known as Paradise Valley. After many years of witnessing both physical and verbal confrontations amongst his foster parents, he suffered from depression, and utilized poetry as an escape. In 1932, Hayden graduated from high school and attended Detroit City College, which would later become known as Wayne State University. At the age of 27, he published his first book of poems, Heart-Shape in the Dust, and then attended the University of Michigan. There, he was taken under the wing of Anglo-American poet Wystan Hugh Auden, who soon became a huge influence in Hayden’s writing. He admired a variety of poets, Edna St. Vincent, Carl Sandburg, and Langston Hughes just to name a few, and developed an interest in African-American his...
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...ntrism that is common in contemporary literature written by blacks” (Mann, James).
Works Cited
Berry, Wendell. "The Real Work." The Writer's Almanac. N.p., 4 Aug. 2012. Web. 5 Dec. 2013.
"Robert E(arl) Hayden." Contemporary Authors Online. Detroit: Gale, 2003. Literature Resource Center. Web. 5 Dec. 2013.
Mann, James. "Robert E(arl) Hayden." American Poets Since World War II. Ed. Donald J. Greiner. Detroit: Gale Research, 1980. Dictionary of Literary Biography Vol. 5. Literature Resource Center. Web. 5 Dec. 2013.
Johnson, Jeannine. "An overview of “Those Winter Sundays”." Poetry for Students. Detroit: Gale. Literature Resource Center. Web. 5 Dec. 2013.
Gallagher, Ann M. "Hayden's 'Those Winter Sundays.' (Robert Hayden)." The Explicator 51.4 (1993): 245+. Literature Resource Center. Web. 5 Dec. 2013.
"Robert Hayden." Poets.org. N.p., n.d. Web. 5 Dec. 2013.
Although Barnes’ marriage was not a successful one, he adored his newborn baby girl, and was heartbroken when his wife left him, taking his daughter with her. At North Carolina College, Barnes majored in art, and developed his own style (Artist Vitae, 1999). When Barnes was a freshman in college he went on a field trip to the newly desegregated North Carolina Museum of Art. At the museum Barnes noticed that there weren’t any works by black artist displayed, and when he asked the guide where the black artists were exhibited, the guide responded, “your people don’t express themselves this way” (Artist Vitae, 1999). That negative response encouraged Barnes to work hard at becoming an artist.
Ed. Jennifer Smith. Vol. 11. Detroit: Gale Group, 2001. Literature Resource Center. Web. 12 Mar. 2014.
" American Literature 58.2 (May 1986): 181-202. Wright, Richard. A.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
“Those Winter Sundays” by Robert Hayden, “My Father as a Guitar” by Martin Espada, and “Digging” by Seamus Heaney are three poems that look into the past of the authors and dig up memories of the authors fathers. The poems contain similar conflicts, settings, and themes that are essential in helping the reader understand the heartfelt feelings the authors have for their fathers. With the authors of the three poems all living the gust of their life in the 1900’s, their biographical will be similar and easier to connect with each other.
...967): 18-28. Rpt. in Literature Resource Center. Detroit: Gale, 2014. Literature Resources from Gale. Web. 14 Jan. 2014.
The title of the poem “July Man”, at first impression seems like it is going to deal with a season or weather. When the reader takes a deeper look into the poem the reader comes to a realization that it has nothing to deal with a season and weather. Instead, the poem talks about the narrator. The reader is able to learn more about the narrator through Margaret Avison’s use of natural imagery/imagery, hyphenated words and the brackets in a few of her stanzas.
Vol. 136. The. Detroit: Gale Books, 2008. Literature Resource Center -.
It is important to not that the direction of Brooks’s literary career shifted dramatically in the late 1960’s. While attending a black writers’ conference she was struck by the passion of the young poets. Before this happened, she had regarded herself as essentially a universalist, who happened to be black. After the conference, she shifted from writing about her poems about black people and life to writing for the black population.
The poem “Those Winter Sundays” displays a past relationship between a child and his father. Hayden makes use of past tense phrases such as “I’d wake and hear the cold splintering, breaking” (6) to show the readers that the child is remembering certain events that took place in the past. Although the child’s father did not openly express his love towards him when he was growing up, the child now feels a great amount of guilt for never thanking his father for all the things he actually did for him and his family. This poem proves that love can come in more than one form, and it is not always a completely obvious act.
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.
As an infant, his biological father fled from Hayden and his mother, and at eighteen months, Hayden’s biological mother abandoned him as well, in hopes of “pursuing a stage career in a different state” (Feast 1-5). She handed Robert Hayden over to the next door neighbors, the Haydens, and left without any consideration; however, she moved back to Detroit and would make random frequent reappearances as an attempt to be a part of the Hayden’s life (Feast 1-5). As he grew, the reappearances and disappearances granted nothing but confusion and sadness for him (Feast 1-5). Hayden’s foster mother and biological mother were constantly fighting over him, and as Kelman states, “vi[ed] for his attention” (1016). With Hayden’s best interest in mind, his foster mother attempted to rid his life of the unhealthy and unstable relationship with his biological mother by having his name legally changed to “Robert Earl Hayden” (Kelman 1016). What originated as a kind gesture from his foster mother’s heart quickly sprouted from consolation into a greedy desire for praise. Although Hayden was grateful, his foster mother would not only constantly remind him of the deeds she had done but also constantly force him to thank her repeatedly for them, almost as if she were seeking his praise (Kelman 1016). While his mother received some sort of ecstasy by demanding Hayden’s
Langston Hughes was born in Joplin, Missouri on February 1st, 1902, and is the second child to James Hughes and Carrie Langston. Not too long after his birth, his mother and father got divorced. Hughes’s childhood was rough. His mom and dad never came around to spend time with him. His mom was seeking employment and his father was trying to move away from all segregation. They moved around to many Midwest towns in Missouri and Illinois, until his parents divorced. His father moved to Cuba and then to Mexico to escape segregation that was still happening. Hughes went to live with his Grandma Mary in Lawrence, Kansas, until he was thirteen. She instilled in Hughes racial pride that would last his whole life. His mother continued moving from place to place and eventually remarried. After Hughes’s Grandmother died, his mother came and took him to live with her and her husband in Lincoln, Illinois. Hughes attended many different schools but most of his grammar school was attended in Lincoln. It was during the time that he lived in Lincoln that he started writing poetry. His teacher encouraged him and told him about two writers, Carl Sandburg and Walt Whitman. He enjoyed their poetry so much, he began writing poetry like them and later would write about how much they influenced his writing. They did not live there very long before finally mov...
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.
Greenblatt, Stephen, eds. The Norton Anthology English Literature. 9th ed. Crawfordsville: R.R. Donnelley & Sons, 2012. Print.