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Influence of African American literature and importance
Influence of African American literature and importance
Influence of African American literature and importance
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The South is a region of the United States known for lively bluegrass and jazz music, African American literature, fine cuisine, family unity, a strong prevalence of religion and racial stereotypes. These customs, important to this area, have spurred artists to write about their experiences in the South. Black American poet and educator, Terrance Hayes, has been greatly influenced by the culture of the Southern United States. Terrance Hayes’ works reflect Southern influences and how being a member of the black community in the South has shaped his identity and his perception of the world.
Terrance Hayes tested many avenues before pursuing a career in English. In fact, he “never even considered studying poetry as a child” (Alumnus Profile). Hayes sparked an interest of the English Language in high school, which has transformed into a successful poetry and teaching career. Hayes was born on November 18, 1971 in Columbia, South Carolina. He attended Coker College in 1990 on a basketball scholarship to study visual arts and graduated in 1994 with All-American recognition (Casper). Hayes privately wrote poems all throughout high school and finally showed his work to his English professor during his senior year of college, who urged him to apply to a creative writing program. Hayes graduated in 1997 from University of Pitt with a Master of Fine Arts in Poetry, and became a mentor to aspiring African American poets. (Alumnus Profile). Hayes incorporates his African American culture into his poetry in these three select poems: a Japanese styled Pecha Kucha titled, “Arbor for Butch,” a poem regarding race stigmatization titled, “What I am” and a final poem illustrating the power of the Black American voice, “Lighthead’s Guide to the Ga...
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...ed, Smart." NPR. N.p., 05 May 208. Web. 5 Dec. 2013.
Lacey, Gates. "Terrance Hayes." Terrance Hayes. N.p., 2013. Web. 24 Nov. 2013. .
"Martin Puryear." PBS. PBS, n.d. Web. 24 Nov. 2013. .
"National Book Award Winning Poet." Terrance Hayes. N.p., n.d. Web. 24 Nov. 2013. .
Poetry Foundation. Poetry Foundation, 2013. Web. 22 Oct. 2013.
Poets.org. Academy of American Poets, 2013. Web. 22 Oct. 2013.
"Terrance Hayes." Carnegie Mellon University. Department of English, n.d. Web. 24 Nov. 2013. .
"Terrance Hayes." The Poetry Center at Smith College. N.p., n.d. Web. 24 Nov. 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.
As I gazed across the book isles and leaned over carefully to pick one up out of the old dusty vaults of the library, a familiar object caught my eye in the poetry section. A picture in time stood still on this book, of two African American men both holding guitars. I immediately was attracted to this book of poems. For the Confederate Dead, by Kevin Young, is what it read on the front in cursive lettering. I turned to the back of the book and “Jazz“, and “blues” popped out of the paper back book and into my brain. Sometimes you can judge a book by it’s cover, I thought. Kevin Young’s For the Confederate Dead is a book of poems influenced by blues and jazz in the deep rural parts of the south.
Poet Henry Timrod, a Southerner, who is sometimes called "the poet of the Lost Cause," writes about a threat to Southern culture in his poem "Carolina."
Many writers begin writing and showing literary talent when they are young. Paul Laurence Dunbar, born and raised in Dayton, Ohio, was already editor of a newspaper and had had two of his poems published in the local newspaper before he’d graduated from high school. His classmate, Orville Wright, printed The Tattler which Dunbar edited and published for the local African American community. After graduating from high school, he was forced to get a job as an elevator operator which allowed him spare time for writing. He finally gained recognition outside of Dayton when, in 1892, he was invited to address the Western Association of Writers and met James Newton Matthews who praised his work in a letter to an Illinois newspaper. In 1892, he decided to publish his first book of poems entitled Oak and Ivy and four years later his second book of poems Majors and Minors was published. People began to see him as a symbol for his race, and he was thought of artistically as “a happy-go-lucky, singing, shuffling, banjo-picking being… in a log cabin amid fields of cotton” (Dunbar, AAW 2). Dunbar’s poems, written alternately in literary and dialect English, are about love, death, music, laughter, human frailty, and though Dunbar tried to mute themes of social protest, social commentary on racial themes is present in his poetry.
Ida B. Wells was born into slavery, and lived in Holly Springs Mississippi. She was later freed, and learned from her parents what it meant to be a political activist. By 1891, Wells was the owner of the newspaper, Free Speech, and was reporting on the horrors that were occurring in the south. Wells, along with other people of the African American activist community were particularly horrified about the lynching’s that were occurring in the south. As a response to the lynching that was occurring, and other violent acts that the African American community was dealing with Wells wrote three pamphlets: Southern Horrors, The Red Record, and Mob Brutality. Muckraking and investigative journalism can be seen throughout these pamphlets, as well as Wells intent to persuade the African American community, and certain members of the white community to take a stand against the crime of lynching. Wells’ writings are an effective historical text, because she serves as a voice to an underrepresented African American community.
3. Dictionary of Literary Biography, Volume 51: Afro-American Writers from the Harlem Renaissance to 1940. A Bruccoli Clark Layman Book. Edited by Trudier Harris, University of North Carolina at Chapel Hill. The Gale Group, 1987. pp. 133-145.
...ition, she presents the reader with the differing generations of the old and new south, and she illustrates the contrasting views between the two. O’Connor is not afraid to question Christian theology or the Southern culture. Her irony and satire add depth to ther stories, and her deep cultural analysis of the South brings a higher level to her writings. O’Connor also explores the concept of fallen human nature and how it is brought about. Overall, O’Connor’s works prove to be very in depth in both her social and cultural analysis of the South. She is not afraid to critique the society in which she grew up and lived.
Paul Laurence Dunbar is one of the most influential African American poets to gain a nationwide reputation. Dunbar the son of two former slaves; was born in 1872 in Dayton, Ohio. His work is truly one of a kind, known for its rich, colorful language, encompassed by the use of dialect, a conversational tune, and a brilliant rhetorical structure. The style of Dunbar’s poetry includes two distinct voices; the standard English of the classical poet and the evocative dialect of the turn of the century black community in America. His works include a large body of dialect poems, standard English poems, essays, novels, and short stories. The hardships encountered by members of is race along with the efforts of African Americans to achieve equality in America were often the focus of his writings. http://www.dunbarsite.org/
Cobb, James C. Away Down South: A History of Southern Identity. Oxford University Press. 2005. Print.
Over the course of his decades-long career as a respected and influential man of letters, he also wrote an extensive collection of critical essays. In such piece, “A Southern Mode of Imagination,” he argues that the renascence of Southern letters occurred because of a shift in the way Southerners thought; a change from what he termed the extroverted “rhetorical mode” of tall-tales and politicking, to the introspective and hitherto primarily Northern “dialectical mode.” From his unique position as both a critic of the Renaissance and one of its vanguards, Tate posits that the antebellum Southern mind lacked the self-consciousness necessary to produce great writing because it was wholly occupied with defending slavery against the attacks of the North upon the ‘peculiar institution.’ The mind of the South focused outwards in response to those attacks, seeking to justify itself with one foot “upon the neck of a Negro Slave” ; that is to say, Southerners were rhetorical in defense of the indefensible. Their all-consuming and unwinnable defensive stance absorbed any potential for great literature even well after the cause was lost: Southern literature was practically non-existent prior to the publication of the first issue of The Fugitive in 1922. According to Tate’s theory, it was not until the South underwent a shift in its “mode of the imagination” that it was capable of producing writers like those of the Renaissance. Tate theorizes that this change occurred in part because the South ended its self-imposed isolation with the advent of World War I and “saw for the first time since 1830 that the Yankees were not to blame for everything.” The South’s mental energies were no longer entirely engrossed in resistance to Northerners ...
Percival Everett’s “The Appropriation of Cultures” (2004), demonstrates the power of a symbol and the meanings that it can carry. In the story, Daniel Barkley is a highly accomplished African American man who graduated from Brown and frequently plays guitar near the campus of The University of South Carolina. From the beginning of the story, Barkley exposes a distinct independent personality that isn’t afraid to break stereotypes or labels. The first scene describes an instance in a bar where white fraternity boys were challenging Barkley to play ‘Dixie’ for them. Instead of refusing, like most would have done, he instead begins to play and take ownership of the song. Later in the story, Barkley decides to purchase a truck with a giant confederate flag decal in the back. Despite the strange stares and confusion
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.
This paper takes Terrance Hayes’ recent poem, “Another Great Ravager of the Crops Was the Boll Weevil,” as a retrieval and remix of the blues protest tradition that emphasizes resilience, desire, and countermobilization within the violent conditions of plantation capitalism. The poem was occasioned as part of a series commemorating Jacob Lawrence’s landmark 1941 paintings on African American mass movement and makes reference to the “boll weevil blues.” This selective blues tradition carried stories of the boll weevil’s devastation of the Cotton Belt’s agriculture and economy in the early twentieth-century. While taking on apocalyptic significance for southern white landowners in the plantation bloc, early blues performers mythologized the boll weevil as a folk hero that was “just a-lookin’ for a home.” For the black working class in neo-plantation capitalism, this signifying beetle was valorized by artists like Charley Patton, Ma Rainey, and Lead Belly as a trickster that disrupted normative power arrangements and gave expression to opposition to white dominance. Terrance
The author was born in Washington D.C. on May 1, 1901. Later, he received a bachelor’s degree from Williams College where he studied traditional literature and explored music like Jazz and the Blues; then had gotten his masters at Harvard. The author is a professor of African American English at Harvard University. The author’s writing
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.