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

By Sterling Professor of the Humanities Harold Bloom

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

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

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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.

Joachim Schultz has compiled a dictionary of primitivist terms and techniques widely used by European avant-garde artists who dealt in primitivism or exoticism. Some of them are relevant to McKay and Toomer, although we do not know exactly how much they recognized European primitivism or their American equivalents like Lindsay’s The Congo (1915). Here are some of the terms listed and analyzed in Schultz’s dictionary: animal, banjo, dance, dark, fetish, jazz, jungle, laughter, mask, naive, negro, night, religion, woman.

Trunk, branches, structure. Leaves the fillers-out, one might almost say the padding. The sap is carried in the trunk etc. From it the leaves get their sustenance, and from their arrangement comes their meaning, or at least leaves upon the ground do not 42 Wolfgang Karrer make a tree. Etc. This symbol is wanting, of course, because a tree is stationary, because it has no progressions, no dynamic movements. A machine has these, but a machine is all form, it has no leaves. Its very abstraction is now the death of it.

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