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Harlem Renaissance
17-04-04 “A heightened concern with artistic form and a concern for representing the social world are not at odds with one another. Indeed, new social forms require new forms of representation.” Poets and writers associated with the Harlem Renaissance manage to both represent and contradict this statement, depending on the point at which we analyze them As a relatively new social caste they saw opportunities in modern forms of artistic expression like jazz or the blues, but they did not necessarily employ them in the creative process – after all they lead a stand-alone existence on the periphery of American society. What set them apart from this modernizing and inventive process was the lack of a medium accessible to both whites and blacks. In fact, it seems to me that the Harlemites’ obsession with compulsory representation arose from the fact that their work was read mainly by literate and educated whites who could spend for pleasure, not necessity. Indeed, the poet Langston Hughes was bestowed the title ‘Bard of Harlem’ not by radical literary journals but through endlessly syndicated articles in the New York Times that treated his work as that of a gifted protégé risen from the dumb gutter like a latter day, black Horatio Alger. Lets get down to brass tax here - education and wisdom in blacks was then seen as a condition or even affliction by the supra-culture that bore them. Civil war left the States in a dark age. Rich, metropolitan whites were untouched while working class men - especially from the South – were left with a bad taste in their mouths. They felt like junior partners in a great American experiment which was constantly publicizing the common white man’s complicity in their own devolution. The hard life on farms traditionally staffed by slaves was exacerbated by what was now clear and unavoidable racial tension. Black workers became a burden, not an advantage, and many southern communities began to opt ... Please login to view comments from other users.
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