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2000 marks the centenary of "Lift Every Voice and Sing," James Weldon Johnson's most famous lyric, which is now embraced as the Negro National Anthem. In celebration, this Penguin original collects all the poems from Johnson's published works—Fifty Years and Other Poems (1917), God's Trombones (1927), and Saint Peter Relates an Incident of the Resurrection Day (1935)—along with a number of previously unpublished poems. Sondra Kathryn Wilson, the foremost authority on Johnson and his work, provides an introduction that sheds light on Johnson's many achievements and his pioneering contributions to recording and celebrating the African American experience. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
This selection of more than forty poems from a reading figure of the Harlem Renaissance includes both uncompromising indictments of racial injustice and celebrations of the triumphs of African-Americans.
Traces the evolution of Afro-American poetry, highlighting individual poets up to the time of the Harlem Renaissance.
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
This selection of more than forty poems from a leading figure of the Harlem Renaissance includes both uncompromising indictments of racial injustice and celebrations of the triumphs of African-Americans. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
This classic study of American Black poetry, first published in 1939 and long out of print, is the work of perhaps the pre-eminent figure in Black Studies of the past two generations. A major contribution to the history of Black thought in America, it ranges widely, beginning in the late eighteenth century with Jupiter Hammon, the first American Black writer, and ending in the 1930s with Countee Cullen and Langston Hughes.
Library of America presents a classic novel of the Harlem Renaissance: Wallace Thurman's anguished, provocative look at prejudice and exclusion in Jazz Age Harlem. The Blacker the Berry (1929), Wallace Thurman’s debut novel, broke new ground as an exploration of issues of “colorism,” intra-racial prejudice, and internalized racism in African American life. Its protagonist, the young Emma Lou Morgan, is simply “too dark” for a world in which every kind of advancement seems to require a light complexion. Seeking acceptance and opportunity, she moves––much like the dark-skinned young Thurman had, four years before the novel’s publication––from Idaho to California to New York. Harlem, the “city of surprises,” is in many ways the novel’s true subject, its low-down, licentious streets, glittering cabarets, and variegated cast of characters offering a rich backdrop for Emma Lou’s ambivalent, picaresque progress.
Jean Toomer’s revolutionary masterpiece Cane (1923) ushered in the era we now know as the Harlem Renaissance, and has come to be considered one of the classic works of American literary modernism. A boldly experimental “novel” mixing prose, poetry, and dramatic sketches, the book’s hallmark is its formal sophistication; sexuality, racism, and industrialization are among its major themes. Above all else it offers unforgettably evocative portraits of the African American lives Toomer encountered in rural Georgia, by turns down-to-earth, heartfelt, hauntingly lyrical.
This work is a detailed study of how Americans in the 1920s and 1930s interpreted and remembered the First World War. Steven Trout asserts that from the beginning American memory of the war was fractured and unsettled, more a matter of competing sets of collective memories—each set with its own spokespeople— than a unified body of myth. The members of the American Legion remembered the war as a time of assimilation and national harmony. However, African Americans and radicalized whites recalled a very different war. And so did many of the nation’s writers, filmmakers, and painters. Trout studies a wide range of cultural products for their implications concerning the legacy of the war: John Dos Passos’s novels Three Soldiers and 1919, Willa Cather’s One of Ours, William March’s Company K, and Laurence Stallings’s Plumes; paintings by Harvey Dunn, Horace Pippin, and John Steuart Curry; portrayals of the war in The American Legion Weekly and The American Legion Monthly; war memorials and public monuments like the Tomb of the Unknown Soldier; and commemorative products such as the twelve-inch tall Spirit of the American Doughboy statue. Trout argues that American memory of World War I was not only confused and contradictory during the ‘20s and ‘30s, but confused and contradictory in ways that accommodated affirmative interpretations of modern warfare and military service. Somewhat in the face of conventional wisdom, Trout shows that World War I did not destroy the glamour of war for all, or even most, Americans and enhanced it for many.