James Weldon Johnson

2012 ◽  
Author(s):  
Michael Nowlin
Keyword(s):  
New York ◽  
African American ◽  
African Americans ◽  
American Literature ◽  
African American Literature ◽  
The United States ◽  
James Weldon Johnson ◽  
New York University ◽  
Daily Newspaper ◽  
Fisk University

James Weldon Johnson (b. 1871–d. 1938) was born and raised in Jacksonville, Florida. After graduating with a BA from Atlanta University, he became principal of his former grammar school, established the first daily newspaper for Jacksonville’s African American population, and gained admission to the Florida bar. With his brother, the musician J. Rosamond Johnson, he also wrote the song “Lift Ev’ry Voice and Sing” for a commencement ceremony (in 1900), and it eventually became known as the “Negro National Anthem.” He joined his brother in New York in 1902 to launch a successful songwriting team with Bob Cole. Johnson gave up show business in 1906 to become US Consulate, first in Venezuela, then Nicaragua, where he completed his novel The Autobiography of an Ex-Colored Man, which was published anonymously in 1912. In 1914 he moved to Harlem with his wife Grace Nail Johnson (whom he married in 1910). He began writing editorials on a range of subjects for the New York Age, a nationally circulating African American newspaper, and in 1915 he joined the recently established National Association for the Advancement of Colored People (NAACP). He became secretary of the organization in 1920 and remained so until 1930. Fifty Years and Other Poems, his first collection, was published in 1917. In 1922 he edited The Book of American Negro Poetry, the first anthology of its kind, and established himself as a pioneering theorist of African American poetics and a guiding light of the Harlem Renaissance. Johnson modeled his poetic ideas in the 1927 volume God’s Trombones, which appeared in the same year he reissued The Autobiography of an Ex-Colored Man under his name. In 1929, a Julius Rosenwald Fellowship enabled him to devote a year to writing, which resulted in Black Manhattan, a history of African Americans in New York. From 1930 onward, Johnson taught creative writing and African American literature at Fisk University as well as New York University. His 1933 autobiography Along This Way was widely acclaimed, and he collected both new and old poems in the 1935 volume St. Peter Relates an Incident. When he died in a car accident in 1938, Johnson was one of the most honored and respected African Americans in the United States, recognized at once as a man of letters, an advocate of black America’s cultural achievements, and a tireless political opponent of America’s Jim Crow system.

Romare Bearden

2020 ◽  
Author(s):  
Jacqueline Francis
Keyword(s):  
New York ◽  
African American ◽  
World War Ii ◽  
African Americans ◽  
Bryn Mawr ◽  
The United States ◽  
New York University ◽  
Media Work ◽  
The Rich ◽  
Limited Edition

Romare Bearden (b. 1911–d. 1988) is an artist best known for his inventive collage methods, evident in his production from the mid-1950s to the time of his death. Influenced by synthetic cubism, fauvism, and German expressionism, Bearden created intimate collages of cut-out magazine and book images—figures and forms of everyday life and of canonical art from around the world as well. The collages served as the basis of other projects in which Bearden photographed, photocopied, and enlarged them to produce matte, black-and-white prints. Bearden also made unique mixed media work, bringing together a variety of papers and materials and reworking the bas-relief surfaces additively with paint, ink, and graphite and subtractively by abrading them. His mature production included watercolor drawings, oil monoprints, sculpture, limited edition prints (etchings, lithographs, and serigraphs), fabric and textile work, and commissioned public murals and stage design as well. A student of George Grosz during the 1930s, Bearden started out as a social realist painter who admired Mexican muralism of the period that heroicized the poor and working classes and satirized the rich and powerful. Early in his career, Bearden was a political cartoonist and illustrator for student publications at Boston University and New York University as well as for African American newspapers and magazines. In search of universal themes, Bearden, in an expressionist mode, interpreted ancient Greek myths, biblical narratives, and Federico Garcia Lorca’s poems during the 1940s, a decade during which he enjoyed some success. His work was included in the annuals of major museums and in African American art surveys, and it was the subject of monographic exhibitions organized by galleries in New York and Washington, DC, even during World War II when he served in the US Army. The Museum of Modern Art and Bryn Mawr College acquired his paintings. When support for Bearden’s art dwindled, he traveled in Europe for several months, and, once back in the United States, he returned to his job as a New York City social worker. He also took up songwriting, penning lyrics for jazzy tunes and romantic ballads that won popular acclaim. Encouraged by friends, among them Hannah Arendt and Henrich Blucher, Bearden returned to visual art making in the mid-1950s. He made abstract paintings and Dada-influenced collages. The latter mostly featured people of African descent as totemic forms and as dramatis personae in diverse narrative traditions. The iconic figures of his compositions included working-class African Americans whom he knew from spending summers in Pittsburgh, Pennsylvania, with his grandmother, Harlem’s Big Band leaders, and black healers, conjurers, and musicians from the rural US South and from the Caribbean island of St. Martin. An artist, curator, writer, and community organizer, Bearden often worked collaboratively: he co-wrote books on art theory and art history and he co-founded artists’ groups and art exhibitions spaces. A humanist and anti-racist activist, Bearden was a vocal advocate for the arts, for African Americans, and for greater opportunities for artists of all races and backgrounds.

When Pushkin's Blackness Was in Vogue: Rediscovering the Racialization of Russia's Preeminent Poet and His Descendants

Slavic Review ◽  
2021 ◽  
Vol 80 (2) ◽  
pp. 245-257
Author(s):  
Korey Garibaldi ◽  
Emily Wang
Keyword(s):  
United States ◽  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
Henry James ◽  
African American Literature ◽  
The United States ◽  
African Heritage ◽  
Queen Of Spades ◽  
Racially Ambiguous

This essay investigates interconnections between the novelist, Henry James, Ivan Turgenev, and Aleksandr Pushkin and identifies the racial subtext of these associations. Several scholars have connected Pushkin and James. But none of this scholarship has speculated on whether it was the poet's African heritage that was at the root of hidden connections between these authors. Moreover, though most scholarship on Pushkin's reception in the United States focuses on twentieth-century African American literature, his African heritage was publicized much earlier. In fact, nineteenth-century commentators on both sides of the Atlantic frequently discussed Pushkin's racial heritage as a canonical European writer of African descent. This essay recovers how Henry James used Pushkin's daughter, the morganatic Countess Merenberg, as a model for the racially ambiguous “morganatic” Baroness Münster in The Europeans (1878). A decade later, James seems to have invoked the Countess Merenberg once more in his rewriting of Pushkin's “The Queen of Spades” (1833) in The Aspern Papers (1888). While James publicly attributed Byron and Shelley as inspirations, the discourse surrounding the African heritage of Pushkin and his heirs helps explain why the novelist minimized and erased the racial lineage at the center of The Europeans and The Aspern Papers.

Africa in the Shuffle

1995 ◽  
Vol 23 (1) ◽  
pp. 22-23
Author(s):  
Immanuel Wallerstein
Keyword(s):  
United States ◽  
New York ◽  
African American ◽  
African Americans ◽  
New York Times ◽  
The United States ◽  
The New York Times ◽  
The U.S

Once upon a time, not so very long ago, the study of Africa in the United States was a very rare and obscure practice, engaged in almost exclusively by African-American (then called Negro) intellectuals. They published scholarly articles primarily in quite specialized journals, notably Phylon, and their books were never reviewed in the New York Times. As a matter of fact, at this time (that is, before 1945) there weren't even very many books written about African-Americans in the U.S., although the library acquisitions were not quite as rare as those for books about Africa.

From Absence to Flight

2018 ◽  
Author(s):  
Terrence T. Tucker
Keyword(s):  
African American ◽  
African Americans ◽  
Civil Rights ◽  
American Literature ◽  
Civil Rights Movement ◽  
Black Power ◽  
African American Literature ◽  
Slave Narratives ◽  
Black Power Movement

This chapter explores radicalization of comic rage in Douglas Turner Ward’s Day of Absence and Ishmael Reed’s Flight to Canada. Emerging in the middle of the transition from the integrationist period of the civil rights movement to the nationalism of the Black Power movement, both works openly challenge fundamental concepts about race. In addition to targeting fundamental assumptions of Western superiority, these works also question simplistic counter-representations that African Americans present to combat racist stereotypes. Using forms increasingly important in African American literature, like drama and neo-slave narratives, these works enact comic rage as way to depict unique and powerful forms of resistance.

This Is Your Book: Marketing America to Itself

PMLA ◽  
2003 ◽  
Vol 118 (1) ◽  
pp. 90-102 ◽  
Author(s):  
Lori Ween
Keyword(s):  
New York ◽  
African American ◽  
American Literature ◽  
New York Times ◽  
The United States ◽  
Ivory Tower ◽  
American Novel ◽  
Per Se ◽  
Book World ◽  
Important Shift

In February 2001, Knopf Publishing Company, a division of Random House, reportedly purchased the rights to publish two novels by Stephen L. Carter for $4 million. As the Daily Variety Gotham stated, “Yale law professor Stephen L. Carter emerged from the ivory tower last week and shook the book world from its February doldrums” (Bing 43). And the New York Times wrote, “The advance is among the highest ever paid for a first novel and is all the more unusual because of the author's background. Mr. Carter, 46, is an African-American who has written several works of nonfiction, including ‘Reflections of an Affirmative Action Baby’ and ‘The Culture of Disbelief‘” (Kirkpatrick, “Knopf”). Whether this purchase is considered “unusual” because it is a first novel or because the author is African American, it is part of an important shift for American literature: the jacket art, prepublication publicity, and sales materials shape this novel as a mainstream, blockbuster, best-selling legal thriller, not as an African American novel per se. The mainstream feel of Carter's novel brings up pertinent questions about race, literature, and the marketing of ethnic identity in the United States. Looking at the positioning of this novel allows us to understand how the publishers, newspaper reporters, and marketers have planted seeds that will influence the reception of the text by reviewers and readers.

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