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More than 75 works, including a number of Lindsay's most popular performance pieces, "The Congo" and "The Santa Fe Trail" among them.
This collection of poetry by Vachel Lindsay includes some of his most famous works, such as 'The Congo' and 'The Santa Fe Trail.' Lindsay's poems are known for their musicality, vivid imagery, and unique rhythm and meter. The collection includes an introduction by Harriet Monroe, founder of the literary magazine 'Poetry.' This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Szefel investigates the use of poetry in addressing political reform at the turn of the twentieth century. It charts the work of poets and editors - many of whom were women and minorities - who created a network of organizations to nurture writers who addressed the problems wrought by Progressive-era capitalism.
Hearing the Hurt is an examination of how the New Negro movement, also known as the Harlem Renaissance, provoked and sustained public discourse and deliberation about black culture and identity in the early twentieth century. Borrowing its title from a W. E. B. Du Bois essay, Hearing the Hurt explores the nature of rhetorical invention, performance, and mutation by focusing on the multifaceted issues brought forth in the New Negro movement, which Watts treats as a rhetorical struggle over what it means to be properly black and at the same time properly American. Who determines the meaning of blackness? How should African Americans fit in with American public culture? In what way should black communities and families be structured? The New Negro movement animated dynamic tension among diverse characterizations of African American civil rights, intellectual life, and well-being, and thus it provides a fascinating and complex stage on which to study how ideologies clash with each other to become accepted universally. Watts, conceptualizing the artistic culture of the time as directly affected by the New Negro public discourse, maps this rhetorical struggle onto the realm of aesthetics and discusses some key incarnations of New Negro rhetoric in select speeches, essays, and novels.