Harlem Renaissance Poets, Gwendolyn, African-American
Gwendolyn was recognized for as a versatile and significant artist in the Harlem Renaissance. She was a graphic artist and maintained her profile as an activist among the Harlem activists on African-American art due to her proficiency in writing using poetry or prose. She used the Harlem Renaissance to bring the black community together and be proud of their culture. She directed the Harlem Community Art center from 1938-1941 together with the George Washington Carver Community School and helped to nurture young talents among the African American people.
Gwendolyn shows double consciousness in the way she refers to the African people at first using bitter words and praises them afterwards. She first refers to the African people as Negro. However, she again goes back to refer to them as a strange black race. The two phrases show her feeling of the American culture towards the American people.
[...] He compares the hard work with the little compensation that he gets; scattered seed enough to plant the land in 5 HARLEM RENAISSANCE POETS: ESSAY & POEM rows from Canada to Mexico, but reaping only what the hand can hold at once is all the I can show” (Bontemps, 1926) Poem The Black Negro seats and waits, For the day of redemption, To reap the fruits of what he sows, But not sure of when dawn is coming. He is energetic and productive, To sustain his own growth, and feed his children, and descendants, And turn his frowns to happiness. Merry, Merry my African brother, Together lets merry and praise, for here is the day, That we fought for; here is our freedom HARLEM RENAISSANCE POETS: ESSAY & POEM Bibliography Gwendolyn, B. (1923). Heritage. Harlem Renaissance Poets. [...]
[...] Arna, B. (1926). A Black Man Talks of Reaping. Harlem Renaissance Poets. Bloom, H. (2004). The Harlem Renaissance. Philadelphia: Chelsea House Publishers. Huggins, N. I. (2007). Harlem Renaissance. New York: Oxford University Press. Bontemps, A. [...]
[...] The children books that she published and led to her recognition in the Harlem Renaissance include “Popo and Fifina: Children of Haiti,” Can't Pet a Possum”, and the New Negro.” She worked as an educator and a 4 HARLEM RENAISSANCE POETS: ESSAY & POEM librarian. She shaped the works of Harlem renaissance to be revered for the many coming generations. Elements that present “double-consciousness” in the poem Bontemps presents the way African Americans were used as slaves to work in the farms by the American, but were given little compensation for the work. The Blacks is a segregated group that is seen as useless and worthless. However, he notes that the African American have contributed a big deal in the making of the nation. [...]
[...] She used the Harlem Renaissance to bring the black community together and be proud of their culture. She directed the Harlem Community Art center from 1938-1941 together with the George Washington Carver Community School and helped to nurture young talents among the African American people. Elements that present “double-consciousness” in the poem Gwendolyn shows double consciousness in the way she refers to the African people at first using bitter words and praises them afterwards. She first refers to the African people as Negro. [...]
[...] (1994). The Portable Harlem Renaissance reader. New York: Viking. Singh, A., Shiver, W. S., Brodwin, S., & Hofstra Cultural Center. (1989). The Harlem renaissance: Revaluations. New York: Garland. Bloom, H. (1995). Black American poets and dramatists of the Harlem Renaissance. New York: Chelsea House Publishers. [...]
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