Oxford University Press, USA
Voices from the Harlem Renaissance
Voices from the Harlem Renaissance
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The Harlem Renaissance of the 1920s symbolized black liberation and sophistication--the final shaking off of slavery, in the mind, spirit, and character of African-Americans. It was a period when the African-American came of age, with the clearest expression of this transformation visible in
the remarkable outpouring of literature, art, and music. In these years the New Negro was born, as seen in the shift of black leadership from Booker T. Washington to that of W.E.B. Du Bois, from Tuskegee to New York, and for some, even to the African nationalism of Marcus Garvey. In Voices from the Harlem Renaissance, Nathan Irvin Huggins provides more than 120 selections from the political writings and arts of the period, each depicting the meaning of blackness and the nature of African-American art and its relation to social statement. Through these pieces, Huggins
establishes the context in which the art of Harlem Renaissance occurred. We read the call to action by pre-Renaissance black spokesmen, such as A. Philip Randolph and W.E.B. DuBois who--through magazines such as The Messenger (the only radical Negro magazine), and the NAACP's Crisis--called for a
radical transformation of the American economic and social order so as to make a fair world for black men and women. We hear the more flamboyant rhetoric of Marcus Garvey, who rejected the idea of social equality for a completely separate African social order. And we meet Alain Locke, whose work
served to redefine the New Negro in cultural terms, and stands as the cornerstone of the Harlem Renaissance. Huggins goes on to offer autobiographical writings, poetry, and stories of such men and women as Langston Hughes, Nancy Cunard, Helen Johnson, and Claude McKay--writings that depict the impact of Harlem and New York City on those who lived there, as well as the youthfulness and exuberance of the
period. The complex question of identity, a very important part of the thought and expression of the Harlem Renaissance, is addressed in work's such as Jean Toomer's Bona and Paul and Zora Neale Hurston's Sweat. And Huggins goes on to attend to the voices of alienation, anger, and rage that appeared
in a great deal of the writing to come out of the Harlem Renaissance by poets such as George S. Schuyler and Gwendolyn Bennett. Also included are over twenty illustrations by such artists as Aaron Douglas whose designs illuminated many of the works we associate with the Harlem Renaissance: the
magazines Fire and Harlem; Alain Locke's The New Negro; and James Weldon Johnson's God's Trombones. The vitality of the Harlem Renaissance served as a generative force for all New York--and the nation. Offering all those interested in the evolution of African-American consciousness and art a link to this glorious time, Voices from the Harlem Renaissance illuminates the African-American struggle
for self-realization.
Author: Nathan Irvin Huggins
Publisher: Oxford University Press, USA
Published: 01/26/1995
Pages: 448
Binding Type: Paperback
Weight: 1.45lbs
Size: 9.21h x 6.11w x 1.16d
ISBN: 9780195093605
the remarkable outpouring of literature, art, and music. In these years the New Negro was born, as seen in the shift of black leadership from Booker T. Washington to that of W.E.B. Du Bois, from Tuskegee to New York, and for some, even to the African nationalism of Marcus Garvey. In Voices from the Harlem Renaissance, Nathan Irvin Huggins provides more than 120 selections from the political writings and arts of the period, each depicting the meaning of blackness and the nature of African-American art and its relation to social statement. Through these pieces, Huggins
establishes the context in which the art of Harlem Renaissance occurred. We read the call to action by pre-Renaissance black spokesmen, such as A. Philip Randolph and W.E.B. DuBois who--through magazines such as The Messenger (the only radical Negro magazine), and the NAACP's Crisis--called for a
radical transformation of the American economic and social order so as to make a fair world for black men and women. We hear the more flamboyant rhetoric of Marcus Garvey, who rejected the idea of social equality for a completely separate African social order. And we meet Alain Locke, whose work
served to redefine the New Negro in cultural terms, and stands as the cornerstone of the Harlem Renaissance. Huggins goes on to offer autobiographical writings, poetry, and stories of such men and women as Langston Hughes, Nancy Cunard, Helen Johnson, and Claude McKay--writings that depict the impact of Harlem and New York City on those who lived there, as well as the youthfulness and exuberance of the
period. The complex question of identity, a very important part of the thought and expression of the Harlem Renaissance, is addressed in work's such as Jean Toomer's Bona and Paul and Zora Neale Hurston's Sweat. And Huggins goes on to attend to the voices of alienation, anger, and rage that appeared
in a great deal of the writing to come out of the Harlem Renaissance by poets such as George S. Schuyler and Gwendolyn Bennett. Also included are over twenty illustrations by such artists as Aaron Douglas whose designs illuminated many of the works we associate with the Harlem Renaissance: the
magazines Fire and Harlem; Alain Locke's The New Negro; and James Weldon Johnson's God's Trombones. The vitality of the Harlem Renaissance served as a generative force for all New York--and the nation. Offering all those interested in the evolution of African-American consciousness and art a link to this glorious time, Voices from the Harlem Renaissance illuminates the African-American struggle
for self-realization.
Author: Nathan Irvin Huggins
Publisher: Oxford University Press, USA
Published: 01/26/1995
Pages: 448
Binding Type: Paperback
Weight: 1.45lbs
Size: 9.21h x 6.11w x 1.16d
ISBN: 9780195093605
About the Author
The late Nathan Irvin Huggins was W.E.B. Du Bois Professor of History and Director of the W.E.B. Du Bois Institute at Harvard University. His books include The Harlem Renaissance.
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