Sterling Professor of the Humanities Harold Bloom's African-American Poets: 1700s-1940s (Bloom's Modern Critical PDF

By Sterling Professor of the Humanities Harold Bloom

ISBN-10: 1604134003

ISBN-13: 9781604134001

Specializes in the critical African-American poets from colonial occasions to the Harlem Renaissance and the area battle II period. This identify covers poets that come with Phillis Wheatley, writer of the 1st quantity of verse released via an African American, and the seminal figures Gwendolyn Brooks, Countee Cullen, Paul Lawrence Dunbar, and Langston Hughes.

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Extra resources for African-American Poets: 1700s-1940s (Bloom's Modern Critical Views)

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23. William Wordsworth, “The Simplon Pass,” in The Poetical Works of Words­ worth, pp. 109–10; Percy Bysshe Shelley, “Mont Blanc,” The Complete Works of Shelley, Cambridge ed. , 1901), pp. 347–49. B . J . B olden Gwendolyn Brooks: The 1940s: A Milieu for Integrationist Poetics G wendolyn Brooks, like many women poets, often wrote under challenging, and sometimes adverse conditions, considering the oppositional demands of artistry and domesticity. 1 Why did Brooks opt to approach the story of women—motherhood, daughterhood, womanhood—from such a complex technical perspective?

Both symbols overlap: Cane is organic and mechanical. ” This modernist principle of spatializing meaning as collage or montage determines not only the poems in Cane but also determines its double structure. Cane is not only “about” cane, it is not only built like a cane plant: it is meant to fecundate the machine that replaces it. The revolution is a spiritual one, and it happens in the mind of the readers of the new machine age. Cane is also a spiritual growth in the mind of the reader. Although this comes close to the circle concept that Toomer adopted later, it is not the same.

A Negro poet has assimilated completely the full poetic language of his time and, by implication, the language of the Anglo-American poetic tradition” (ii). Though Tate, an influential leader of the New Poetry party, initially refused Tolson’s request that he write the preface on the grounds of a too propagandistic tone in the book, he eventually complied when Tolson revised the eight-part poem by substituting the musical symbols of the diatonic scale and a broad scope of literary and historical allusions to assuage the offensive tone of propaganda and rescue his creation from the “provincial mediocrity” that Tate applied to the works of other Negro poets (Flasch 74).

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African-American Poets: 1700s-1940s (Bloom's Modern Critical Views) by Sterling Professor of the Humanities Harold Bloom


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