When it comes to writing styles, African American literature is a very complex category of writing. It is made up of three main categories. These styles are romantic embrace, realistic appraisal, and shame-faced rejection. Each style illustrates the author’s view of his or her history. European colonialism played a major role in how the writers viewed their past. The extremist categories are shame-faced rejection and romantic embrace.
The first class I will discuss is romantic embracement. The authors who fall into this category generally feel that there is a need for people to recapture and revitalize our past whether the past was positive or negative. A romanticist view usually tends to misguide or mislead people about what had really occurred. Romanticist writers tend to sugar-coat or emphasize all of the positive aspects of the past without telling us about all of the horrible events that might have occurred. An example of a romanticist is Senghor who wrote such stories as Negritude and Black Woman . Another term developed for romantic embracement was Negritude. This basically means the love of one’s African past. As I had mentioned in my opening statement, colonialism had a great effect on the African past. Some even believe that because of colonialism all of the African history was wiped out and replaced with European history. Negritude writers agreed with this and thought that it didn’t fully get rid of the history but it did sever it magnanimously. Another issue of romanticist writing is the image of Africa that is conveyed today. Chinweizu poses some very strong questions such as "Was our past one uninterrupted orgy of sensuality? One boring canvas of idyllic goodness, fraternity, and harmony? Were our ancestors a parade of plaster saints who never…struck a blow or hurt a fly, and who suffered all psychic and physical pain gladly and cheerfully, or never suffered at all?" The problem with romantic embrace writers is that they show readers a very byes view of history. By reading novels and novellas by Negritude writers we will never truly know the truth of African past.
The other extremist view incorporated in African literature is shame-faced rejection. This view of history is the total opposite of romantic embracement. It gives readers the idea that there were no positive aspects to African history. These authors go on to say that the past is filled with slavery, abuse of the African people, and showed them as animalistic beings who did not deserve the name human.
Laurence Hill’s novel, The Book of Negroes, uses first-person narrator to depict the whole life ofAminata Diallo, beginning with Bayo, a small village in West Africa, abducting from her family at eleven years old. She witnessed the death of her parents with her own eyes when she was stolen. She was then sent to America and began her slave life. She went through a lot: she lost her children and was informed that her husband was dead. At last she gained freedom again and became an abolitionist against the slave trade. This book uses slave narrative as its genre to present a powerful woman’s life.She was a slave, yes, but she was also an abolitionist. She always held hope in the heart, she resist her dehumanization.
Gates, Henry Louis, and Nellie Y. McKay. The Norton Anthology of African American Literature. New York: W.W. Norton &, 2004. Print.
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.
This paper examines the drastic differences in literary themes and styles of Richard Wright and Zora Neale Hurston, two African--American writers from the early 1900's. The portrayals of African-American women by each author are contrasted based on specific examples from their two most prominent novels, Native Son by Wright, and Their Eyes Were Watching God by Hurston. With the intent to explain this divergence, the autobiographies of both authors (Black Boy and Dust Tracks on a Road) are also analyzed. Particular examples from the lives of each author are cited to demonstrate the contrasting lifestyles and experiences that created these disparities, drawing parallels between the authors’ lives and creative endeavors. It becomes apparent that Wright's traumatic experiences involving females and Hurston's identity as a strong, independent and successful Black artist contributed significantly to the ways in which they chose to depict African-American women and what goals they adhered to in reaching and touching a specific audience with the messages contained in their writing.
Levels of Literacy in African-American Literature - Narrative of the Life of Frederick Douglass, Song of Solomon, and Push
Both Zora Neale Hurston and Langston Hughes were great writers but their attitudes towards their personal experience as an African American differed in many ways. These differences can be attributed to various reasons that range from gender to life experience but even though they had different perceptions regarding the African American experience, they both shared one common goal, racial equality through art. To accurately delve into the minds of the writers’ one must first consider authors background such as their childhood experience, education, as well their early adulthood to truly understand how it affected their writing in terms the similarities and differences of the voice and themes used with the works “How it Feels to be Colored Me” by Hurston and Hughes’ “The Negro Mother”. The importance of these factors directly correlate to how each author came to find their literary inspiration and voice that attributed to their works.
The civil rights movement may have technically ended in the nineteen sixties, but America is still feeling the adverse effects of this dark time in history today. African Americans were the group of people most affected by the Civil Rights Act and continue to be today. Great pain and suffering, though, usually amounts to great literature. This period in American history was no exception. Langston Hughes was a prolific writer before, during, and after the Civil Rights Act and produced many classic poems for African American literature. Hughes uses theme, point of view, and historical context in his poems “I, Too” and “Theme for English B” to expand the views on African American culture to his audience members.
After a journey into the dark history of Europe and Africa with Sven Lindqvist, I found myself shocked. It’s earth shattering. Ideas and historical events are presented through a journal/proposal of his unique view on racism. Lindqvist raises questions as to where racism was spurred and why what happened in late 1800’s and early 1900’s lead to the holocaust. Including religion, personal human values, advanced warfare and even societies’ impact as a whole. His travels through the Sahara and Africa in the early chapters show a more current day view of society over seas. The description of the desolate continent and harsh conditions paints a picture of what previous civilization lived through. He explains that part of the reason he has traveled to the desert is to feel the space all around him, a definite emptiness if you will. As his travels progress he introduces his own family life that pertains to the human emotion, which is also a big focus point in this book. Childhood beatings over taking the lord’s name in vain, dropped calls from his daughter that leave him torn and sad. He does an excellent job on taking the reader on a personal journey with him through his current day traveling and even his early life. Linking these personal experiences and tying in histories misconceptions of “right and wrong” is what makes this book so valuable. Lindqvist gives a relevant and educated answer to the question of how racism became such a terrible tribulation in all parts of the world.
James, Johson Weldon. Comp. Henry Louis. Gates and Nellie Y. McKay. The Norton Anthology of African American Literature. New York: W.W. Norton &, 2004. 832. Print.
When a writer starts his work, most often than not, they think of ways they can catch their reader’s attention, but more importantly, how to awake emotions within them. They want to stand out from the rest and to do so, they must swim against the social trend that marks a specific society. That will make them significant; the way they write, how they make a reader feel, the specific way they write, and the devotion they have for their work. Washington Irving, Nathaniel Hawthorne, and Edgard Allan Poe influenced significantly the American literary canon with their styles, themes, and forms, making them three important writers in America.
To show how stories can affect colonialism, we will be looking at British authors during the time of colonialism. During this period of British colonialism, writers like Joyce Cary, author of “Mister Johnson” wrote novels about Africa and more specifically, a Nigerian named Johnson. Johnson in this novel is represented as “[an] infuriating principal character”. In Mr. Cary’s novel he demeans the people of Africa with hatred and mockery, even describing them as “unhuman, like twisted bags of lard, or burst bladders”. Even though Cary’s novel displayed large amounts of racism and bigotry, it received even larger amounts of praise, even from Time Magazine in October 20, 1952. The ability to write a hateful novel and still receive praise for it is what Chinua Achebe likes to describe as “absolute power over narrative [and...
While Collins does a succinct job of examining the economic and political factors that heightened colonization, he fails to hone in on the mental warfare that was an essential tool in creating African division and ultimately European conquest. Not only was the systematic dehumanization tactics crippling for the African society, but also, the system of racial hierarchy created the division essential for European success. The spillover effects of colonialism imparted detrimental affects on the African psyche, ultimately causing many, like Shanu, to, “become victims to the white man’s greed.”
One of the most baffling aspects of European interest in African people is the civilizations collective distaste of and fascination with people of African descent. The initial journey into Africa, and the planning that preceded it, spawned many of the most enlightening theories about African people. These theories, usually in support of African savagery and inferiority and in favor of European superiority and civility were based in the colonial mentalities of that time. Of the most notable theories is the idea that African religious system was pagan and that African people were inferior because of their darker skin pigmentation and “beast-like” nature. These theories dispersed rapidly across the globe, and even today people of African-descent collectively, however subconsciously, grow into them. Moving forward, how are these theories presented in post-modern works of literature? Equally so, how do authors weave the colonial and post-colonial mentalities into the framework of certain texts. Charles Johnson’s Middle Passage advances both colonial mentalities as well as post-colonial perspectives. The novel sheds light on traditional European colonial notions African savagery, the inferiority of African people as sub-human and commodities, and—at the same instant—presents the post-colonial perspective of the archetypical American Negro serving as a “middle man” between Europeans and Africans.
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.
Chinua Achebe states in his essay, “An Image of Africa: Racism in Conrad’s Heart of Darkness”, that, “Africa is to Europe as the picture is to Dorian Gray--a carrier onto whom the master unloads his physical and moral deformities so that he may go forward, erect and immaculate. Consequently Africa is something to be avoided just as the picture has to be hidden away to safeguard the man’s jeopardous integrity” (Achebe, p. 259-260). Achebe is essentially arguing that Conrad’s portrayal of civilization uses Africa as a scapegoat so that it can hide the hypocrisy of European imperialism. It is not Africa that is responsible for their madness, but it is their own delusion. Additionally, this doubles as a driving force in regards to the creation of Things Fall Apart where Achebe contrasts this theme through the explanation of the Igbo tribe’s structure and order that was in place before the arrival of the