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"come windless invader, i am a carnival of stars, a poem of blood."

SONIA SANCHEZ

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intro

the SLAVE

NARRATIVE the GREAT

MIGRATION the HARLEM

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RENAISSANCE

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colophon bibliograpgy

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TEN TS PHILLIS WHEATLEY

FREDERICK DOUGLASS

FRANCES HARPER

WILLIAM ATTAWAY

ZORA NELSON

ANNE SPENCER

LANGSTON HUGHES

WEB DUBOISE

SONIA SANCHEZ

IN TR They make us think. They make us feel. They bleed

on pages with ink. They fill up our hearts and minds

with words that have become recorded history. They

are men and women, using their words to break social and personal boundaries of communal separations

and social injustices. They are black lyrist, writers and poets in America. From the early 18th century slave narratives filled with uplifting spiritual hymnals to

marches with screams for freedom and black rights, these writers have filled pages explaining what it

means to be black in America. Beginning with the

voice of Phyllis Wheatley, we will travel through the footsteps of subjection to the streets of Harlem, followed by the Great Migration, up until now.

Collectively and continuously, African American

literature threads itself throughout US history with

raw emotion, debunking the opposition of constraint with its continuous sound of waiting for to be heard.

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the SLAVE

NARRAT VE

1700’s In the years of the Depression, which are between 1936 and 1938, the Federal Writers’ Project (FWP) sent out of work writers to seventeen states to interview ex-slaves. Initially, there were only four states that wanted to be involved in the project which were Florida, Georgia, South Carolina, and Virginia. In 1939, the FWP lost its funding, and the states were ordered to send whatever manuscripts they had collected to Washington. Once most of the materials had arrived at the Library of Congress, Benjamin A. Botkin, the folklore editor of the FWP, organized the narratives by state, and then alphabetically by name of informant within each state, collecting them in 1941 into seventeen bound volumes in thirty-three parts under the title Slave Narratives: A Folk History of Slavery in the United States from Interviews with Former Slaves (Washington, D.C., 1941). The multi-volume set and other project files, including some earlier unbound annotated versions of the narratives, are housed in the Manuscript Division.

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IL PHILLIS WHEATLEY

Phillis Wheatley was the first African-American poet to publish a book. Born in 1753 in West Africa, she was enslaved and sold to John Wheatley in New England in 1761. Wheatley

quickly learned to read and write English and studied Latin, Greek, the Bible, and selected classics. She began writing poetry at age thirteen, garnering national acclaim for

publication in major cities including Boston and London

for her poem “On the Death of the Rev. Mr. George Whitefield.”

In 1771, she accompanied John Wheatley’s son to London, where her work was well received. In 1773, she published

“Poems on Various Subjects, Religious and Moral” a book whose

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“through thickest gloom look back, immortal shade; on that confusion which thy death has made.”

I S poems include elegies on Christian themes and race, including

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“On Being Brought from Africa to America,” Wheatley was

eventually freed, and after John Wheatley and his wife died, she supported herself as a seamstress and poet. In 1776, she wrote a letter and poem in support of George Washington, who replied with an invitation to visit him in Cambridge. In 1778, she married John Peters and had three children who did not survive childhood.

Unable to raise funds for a second volume of her work, Wheatley died alone in a boarding house on December 5, 1784, at the age of thirty-one. Many of the poems for her proposed second book have been lost.

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FREDERICK DOUGLASS

Douglass was born in 1818, though the month and day are

Massachusetts antislavery convention in 1841, Douglass was

14. Separated as an infant from his slave mother (he never

These extemporaneous remarks were so poignant and eloquent

uncertain, he later opted to celebrate his birthday on February

knew his white father). Frederick lived with his grandmother on

a Maryland plantation until he was eight years old, when his owner sent him to Baltimore to live as a house servant with the family of Hugh Auld, whose wife defied state law by teaching the boy to read. Auld, however, declared that learning would make him unfit for slavery, and Frederick was forced to continue his

education with the aid of schoolboys in the street. Upon the death

of his master, he was returned to the plantation as a field hand at

16. Later he was hired out in Baltimore as a ship caulker. Frederick tried to escape with three others in 1833, but the plot was

discovered before they could get away. Five years later, however,

he fled to New York City and then to New Bedford, Massachusetts, where he worked as a labourer for three years, eluding slave

hunters by changing his surname to Douglass. At a Nantucket,

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invited to describe his feelings and experiences under slavery.

that he was unexpectedly catapulted into a new career as agent

for the Massachusetts Anti-Slavery Society. From then on, despite heckling, mockery, insult, and violent personal attack, Douglass

never flagged in his devotion to the abolitionist cause. During the Civil War (1861–65) Douglass became a consultant to President

Abraham Lincoln, advocating that former slaves be armed for the North and that the war be made a direct confrontation against

slavery. Throughout Reconstruction (1865–77), he fought for full civil rights for freedmen and vigorously supported the women’s rights movement. After Reconstruction, Douglass served as

assistant secretary of the Santo Domingo Commission (1871), and in the District of Columbia he was marshal (1877–81) and recorder of deeds (1881–86). Finally, he was appointed U.S. minister and consul general to Haiti (1889–91).

“it is not light that we need, but fire; it is not the gentle shower, but thunder.we need the storm, the whirlwind, and the earthquake."

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AN FRANCES HARPER

Born Frances Ellen Watkins on September 24, 1825, in Baltimore, Maryland, Frances E.W. Harper was a leading African-American poet and writer. She was also an activist in the abolitionist in

women’s rights movements. After losing her mother at a young age, Harper was raised by an aunt. She also attended a school

for African-American children run by her uncle, Reverend William Watkins. Harper started writing poetry in her youth. She kept on

writing while working for a Quaker family after finishing school. In

1845, Harper published her first collection of poetry, titled Forest Leaves. She moved to Ohio five years later to teach domestic

skills, such as sewing, at Union Seminary. The school was run by

leading abolitionist John Brown. Harper became dedicated to the abolitionist cause a few years later after her home state of

Maryland passed a fugitive slave law. This law allowed free blacks, such as Harper, to be arrested and sold into slavery. In 1854, Harper published Poems of Miscellaneous Subjects, which

featured one of her most famous works, “Bury Me in a Free Land.”

She also became an in demand lecturer on behalf of the

abolitionist movement, appearing with the likes of Frederick Douglass, William Garrison, Lucretia Mott and Lucy Stone.

Harper made literary history in 1859 with the publication of “

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"we are all bound up together in one great bundle of humanity, and society cannot trample on the weakest and feeblest of its members without receiving the curse in its own soul.”

Two Offers.” With this work, she became the first African-American female writer to publish a short story. The following year, she

married Fenton Harper, who had several children from a previous marriage. Harper retreated from public life, choosing to live with her husband and children in Ohio. In 1862, she gave birth to a

daughter, Mary. In 1864, Harper returned to the lecture circuit after the death of her husband. She also produced several

long-form poems a short while later, including Moses: A Story of the Nile (1869) and Sketches of Southern Life (1872), which explored her experiences during the reconstruction. Harper published her most famous novel Iola Leroy in 1892. Four years later, she cofounded the National Association of

Colored Women with Ida Wells-Barnett, Harriet Tubman and several others. The organization sought to improve the lives and advance the rights of African-American women. By the turn of the century, Harper began to scale down her activities, though she still worked to support such causes as women’s suffrage and such organizations as the NACW and the Women’s Christian Temperance Union. Harper on February 22, 1911. She was buried next to her daughter, Mary, at Eden Cemetery.

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1900’s

The Great Migration was the relocation of more than 6 million African Americans from the rural South to the cities of the North, Midwest and West from about 1916 to 1970. Driven from their homes by economic opportunities and harsh segregationist laws, many blacks headed north, where they took advantage of the need for industrial workers that arose during the First World War. During this time, African Americans began to build a new place for themselves in the public life, confronting racial prejudice as well as economic, political and social challenges to create a black urban culture that would exert enormous influence in the decades to come.

When World War I broke out in Europe in 1914, industrialized urban areas in the North, Midwest and West faced a shortage of industrial laborers, as the war put an end to the steady tide of European immigration to the United States. With war production kicking into high gear, recruiters enticed African Americans to come north.

By the end of 1919, some 1 million blacks had left the South, usually traveling by train, boat or bus; a smaller number had automobiles or even horse-drawn carts. In the decade between 1910 and 1920, the black population of major Northern cities grew by large percentages, including New York (66%), Chicago (148 %),

Philadelphia (500%) and Detroit (611%). While segregation was not legalized in the North, as it was in the South, racism and prejudice were nonetheless widespread. The black experience during the Great Migration became an important theme in the artistic movement known first as the New Negro Movement and later as the Harlem Renaissance, which would have an enormous impact on the culture of the era. The civil rights movement directly benefited from this activism. Black migration slowed considerably in the 1930s, when the country sank into the Great Depression, but picked up again with the coming of World War II and the need for wartime production. But returning black soldiers found that the GI Bill didn’t always promise the same postwar benefits for all. By 1970, when the Great Migration ended, its demographic impact was unmistakable: Whereas in 1900, nine out of every 10 black Americans lived in the South, and three out of every four lived on farms, by 1970 the South was home to less than half of the country’s African-Americans, with only 25% living in the region’s rural areas. the BLACK PEN

the GREAT

MIGRAT ON " melody had heard

some of these people from the ukraine singing. he hadn't understood one word. yet, he didn't have to know the words to understand what they were wailing about. words didn't count when the music had a tongue. the field hands of the sloping red hill country in kentucky sang that same tongue."

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ANNE SPENCER Harlem Renaissance poet and activist, Anne Bethel Scales

Bannister Spencer was born on a Virginia farm in 1882. The

daughter of former slaves, Spencer’s mother enrolled her in school for the first time when she was 11, at the Virginia

Theological Seminary and College (now Virginia University of

Lynchburg). Six years later, Spencer graduated as valedictorian.

Though she lived in Virginia her whole life, she maintained close friendships with many Harlem Renaissance writers, including

James Weldon Johnson, Langston Hughes, and W.E.B. Du Bois.

She worked with Johnson and others to establish the Lynchburg chapter of the NAACP and served for 20 years as the librarian

for Dunbar High School. Spencer’s poetry engages themes of religion, race, and the natural world. Thirty of her poems were

published during her lifetime, in such anthologies as The Book

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NA E “i proudly love being a negro woman, it’s so involved and interesting.”

of American Negro Poetry (1922) and Caroling Dusk (1927).

She was the first African American woman poet to be featured

in the Norton Anthology of Modern Poetry (1973). Her work was gathered posthumously in Time’s Unfading Garden: Anne

Spencer’s Life and Poetry (1977). She is also the subject of Half My World: The Garden of Anne Spencer: A History and

Guide (2003), by Rebecca T. Frischkorn and Reuben M. Rainey, and Lessons Learned from a Poet’s Garden (2011), by Jane

Baber White. Spencer died of cancer at the age of 93 and is

buried in Forest Hills Cemetery in Lynchburg. The Anne Spencer House & Garden Museum is included on the National Register

of Historic Places and is designated a Virginia Historic Landmark.

A selection of her papers is archived at the Albert and Shirley Small Special Collections Library at the University of Virginia.

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I

WL WILLIAM ATTAWAY

Writer and composer, Attaway was born in Greenville, Mississippi.

His mother, Florence Parry Attaway, worked as a teacher and

his father, William Alexander Attaway, was a doctor who helped create the National Negro Insurance Association. In 1910, the family moved to Chicago, Illinois. Langston Hughes’s work

inspired Attaway to start writing in high school, an avocation

he continued while studying at the University of Illinois. When

his father died in 1931, Attaway took a two-year leave of absence from school. Traveling around the country, Attaway worked a

variety of jobs, including seaman, dockworker, and salesman.

After Attaway returned to college in 1933, he wrote the play

Carnival (1935) for his sister Ruth’s theatre group which was first staged at the University of Illinois. The same year, Attaway also became involved in the Federal Writers Project (FWP). Through

the FWP, he met Richard Wright, who would become an important literary influence and friend. In 1936, he earned his B.A. from the University of Illinois and Challenge published his short story,

“The Tale of the Blackamoor.” After graduation, Attaway travelled the country and then settled in New York City. He became an

actor and performed with the touring company of 'You Can’t Take It With You'. He also supported himself as a salesman and labor organizer. In 1939, he published his first novel, "Let Me Breathe

Thunder", about two white migrant farmers in the Depression Era

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West. He received a grant from the Rosenwald Foundation, which

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"let me breath thunder." helped him write his second novel "Blood on the Forge" (1941)

about the Great Migration experience of three black brothers. As a result of this novel, Attaway often is remembered as a writer

of the Great Migration experience. Although praised by critics,

Attaway’s novels were not commercially successful, leading him to turn to writing for television, radio, and film as well as composing.

In the late 1950s and 1960s, his television writing credits included Dave Garroway’s "Wide Wide World," "The Colgate Hour," and a

special "One Hundred Years of Laughter" (1966) on black humor.

Attaway adapted Irving Wallace’s novel "The Man" into a screenplay, but the script was never produced. He studied Caribbean music and published a song collection, "Calypso Song Book" (1957), as well as a history of music for children, "Hear America Singing" (1967).

He wrote and adapted songs for artists such as Harry Belafonte,

including the “Banana Boat Song (Day-O),” which he co-wrote with Irving Burgie. In 1962, Attaway married Frances Settele and they had two children, William and Noelle. For eleven years, his family

lived in Barbados where he continued to study Caribbean culture and music. He spent the last years of his life in Berkeley and Los Angeles, California. Attaway died of a heart attack on June 17, 1986 in Los Angeles.

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A

OR Z ZORA Neale Hurtston

Zora Neale Hurston was born on January 7, 1891.

She was an American author, anthropologist, and filmmaker. She portrayed racial struggles in the

early 1700s American South and published research on hoodoo. The most popular of her four novels is

"Their Eyes Were Watching God", published in 1937.

She also wrote more than 50 short stories, plays, and essays. Hurston was born in Notasulga,

Alabama, and moved with her family to Eatonville.

She later used Eatonville as the setting for many of her stories. It is now the site of the “Zora! Festival”,

held each year in her honor. In her early career, Hurston

conducted anthropological and ethnographic research while a student at Barnard College and Columbia

University. She had an interest in African-American

and Caribbean folklore, and how these contributed to

the community’s identity. She also wrote fiction about contemporary issues in the black community and

became a central figure of the Harlem Renaissance.

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Her short satires, drawing from the African-American experience and racial division, were published in

anthologies such as The New Negro and Fire!!. After

moving back to Florida, Hurston wrote and published

her literary anthropology on African-American folklore in North Florida, Mules and Men (1935), and her first three novels: Jonah’s Gourd Vine (1934); Their Eyes Were Watching God (1937); and Moses, Man of the

Mountain (1939). Also published during this time was Tell My Horse: Voodoo and Life in Haiti and Jamaica (1938), documenting her research on rituals in

Jamaica and Haiti. Hurston’s works concerned both

the African-American experience and her struggles as

an African-American woman. During a period of financial and medical difficulties, Hurston was forced to enter

St. Lucie County Welfare Home, where she suffered a stroke. She died of hypertensive heart disease on

January 28, 1960, and was buried at the Garden of Heavenly Rest in Fort Pierce, Florida.

“If you are silent about your pain, they’ll kill you and say you enjoyed it.”

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the HARLEM

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“let me learn now where beauty is; i was born to know her mysteries.”

ANNE SPENCER

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ANCE The Wife-Woman

1920’s

The origins of the Harlem Renaissance lie in the Great Migration of the early 20th century, when hundreds of thousands of black people migrated from the South into dense urban areas that offered relatively more economic opportunities and cultural capital. It was, in the words of editor, journalist, and critic Alain Locke, “a spiritual coming of age” for African American artists and thinkers, who seized upon their “first chances for group expression and self-determination.” The Harlem Renaissance poets explored the beauty and pain of black life and sought to define themselves and their community outside of white stereotypes. Poetry from the Harlem Renaissance reflected a diversity of forms and subjects. Some poets brought specifically black cultural creations into their work, infusing their poems with the rhythms of ragtime, jazz, and blues.

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LA “i

swear to the Lord, i still can’t see, why democracy means everybody but me.”

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LANGSTON HUGHES

James Mercer Langston Hughes was born February 1, 1902, in

actual culture, including both their suffering and their love of

and his father moved to Mexico. He was raised by his grandmother

noted in the introduction to Modern Black Poets: A Collection of

Joplin, Missouri. His parents divorced when he was a young child,

until he was thirteen, when he moved to Lincoln, Illinois, to live with his mother and her husband, before the family eventually settled in Cleveland, Ohio. It was in Lincoln that Hughes began writing poetry. After graduating from high school, he spent a year in

Mexico followed by a year at Columbia University in New York City.

He also traveled to Africa and Europe working as a seaman. In

November 1924, he moved to Washington, D. C. Hughes’s first

book of poetry, The Weary Blues was published by Alfred A. Knopf in 1926. He finished his college education at Lincoln University in

Pennsylvania three years later. In 1930 his first novel, Not Without Laughter won the Harmon gold medal for literature. Hughes, who

claimed Paul Lawrence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insight-

ful, colorful portrayals of black life in America from the twenties

music, laughter, and language itself. The critic Donald B. Gibson Critical Essays (Prentice Hall, 1973) that Hughes “differed from most of his predecessors among black poets “ in that he

addressed his poetry to the people, specifically to black people.

During the twenties when most American poets were turning

inward, writing obscure and esoteric poetry to an ever decreasing

audience of readers, Hughes was turning outward, using language and themes, attitudes and ideas familiar to anyone who had the ability simply to read . Until the time of his death, he spread his

message humorously—though always seriously—to audiences throughout the country, having read his poetry to more people than any other American poet.”In addition to leaving us a large

body of poetic work, Hughes wrote eleven plays and countless

works of prose, including the well-known “Simple” books: Simple Speaks His Mind, Simple Stakes a Claim, Simple Takes a Wife,

through the sixties. He wrote novels, short stories and plays, as

and Simple’s Uncle Sam. He edited the anthologies The Poetry of

world of jazz and the influence it had on his writing, as in his

autobiography, The Big Sea and co-wrote the play Mule Bone with

well as poetry, and is also known for his engagement with the

book-length poem Montage of a Dream Deferred. His life and work

were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period—Claude McKay, Jean Toomer, and Countee Cullen—Hughes refused to differentiate between his personal experience and the common experience of black America. He

wanted to tell the stories of his people in ways that reflected their

the Negro and The Book of Negro Folklore, wrote an acclaimed

Zora Neale Hurston. Langston Hughes died of complications from prostate cancer on May 22, 1967, in New York City. In his memory, his residence at 20 East 127th Street in Harlem has been given

landmark status by the New York City Preservation Commission, and East 127th Street has been renamed “Langston Hughes Place.”

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"most men today cannot conceive of a freedom that does not involve sombody's slavery."

W.E.B. Du BOIS

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William Edward Burghardt Du Bois, better known

his landmark study — the first case study of an

as W.E.B. Du Bois, was born on February 23, 1868,

African American community — The Philadelphia

in Great Barrington, Massachusetts. He was an

Negro: A Social Study (1899), marking the beginning

influential African American rights activist during

of his expansive writing career. In the study, he coined

the early 20th century. He co-founded the NAACP

the phrase "the talented tenth," a term that described

and wrote ‘The Souls of Black Folk.’ While growing

the likelihood of one in 10 black men becoming

up in a mostly white American town, Du Bois identified

leaders of their race. While working as a professor

himself as mulatto, but attended school with whites

at Atlanta University, He then rose to the national

and was greatly enthusiastically supported in his

prominence where he very publicly opposed Booker

academic studies by his white teachers. In 1885,

T. Washington's “Atlanta Compromise," an agreement

he moved to Nashville, Tennessee, to attend Fisk

that asserted that vocational education for blacks

University. It was there that he first encountered

was more valuable to them than social advantages

Jim Crow laws. For the first time, he began

like higher education or political office. Du Bois

analyzing the deep troubles of American racism.

criticized Washington for not demanding full

After earning his bachelor's degree at Fisk, Du

equality for African Americans, as granted by the

Bois entered Harvard University. He paid his way

14th Amendment. In 1903, Du Bois published a

with money from summer jobs, scholarships and

seminal work, The Souls of Black Folk, a collection

loans from friends. After completing his master's

of 14 essays. In the years following, he adamantly

degree, he was selected for a study-abroad program

opposed the idea of biological white superiority and

at the University of Berlin. While a pupil in Germany,

vocally supported women's rights. In 1909, Du Bois

he studied with some of the most prominent social

co-founded the National Association for the Advance-

scientists of his day and was exposed to political

ment of Colored People (NAACP) and served as editor

perspectives that he touted for the remainder of his

of its monthly magazine, The Crisis. He helped

life.Du Bois became the first African American to earn

organize several Pan-African Congresses to free

a Ph.D. from Harvard University in 1895. He went on

African colonies from European powers. He died on

to enroll as a doctoral student at Friedrich-Wil-

August 27, 1963, one day before Martin Luther King Jr.

helms-Universität (now Humboldt-Universität). He

delivered his "I Have a Dream" speech at the March on

would be awarded an honorary doctoral degree from

Washington , at the age of 95, in Accra, Ghana, while

Humboldt decades later, in 1958.Du Bois published

working on an encyclopedia of the African Diaspora.

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" i gather up each sound you left behind and stretch them on our bed. each nite i breathe you, and become high."

SONIA SANCHEZ Poet, playwright, professor, activist and one of the foremost

leaders of the Black Studies movement, Sonia Sanchez was born Wilsonia Benita Driver on September 9, 1934, in Birmingham,

Alabama. Her mother died when she was very young and Sanchez

was raised by her grandmother, until she too died when the author was six years old. Sanchez eventually moved to Harlem with her father, a school teacher, in 1943. She earned a BA from Hunter College in 1955 and attended graduate school at New York University, where she studied with the poet Louise Bogan.

Sanchez also attended workshops in Greenwich Village, where she met poets such as Amiri Baraka, Haki R. Madhubuti, and Etheridge Knight, whom she later married. During the early

1960s Sanchez was an integrationist, supporting the ideas of the Congress of Racial Equality. But after listening to the

ideas of Malcolm X, her work and ideas took on a separationist slant. She began teaching in 1965, first on the staff of the

Downtown Community School in New York and later at San Francisco State College (now University). There she was a the BLACK PEN

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pioneer in developing Black Studies courses, including a

articles on black culture to anthologies and periodicals. She

class in African American women’s literature. In 1969, Sanchez

is one of 20 African American women featured in the interactive

followed that up with 1970’s We a BaddDDD People, which e

important and influential scholar and teacher, Sanchez taught at

published her first book of poetry for adults, Homecoming. She specially focused on African American vernacular as a poetic medium. At about the same time her first plays, Sister Son/ ji and The Bronx Is Next, were being produced or published. In

1971, she published her first work for children, It’s A New Day: Poems for Young Brothas and Sistuhs. Sanchez’s other work for children include The Adventures of Fathead, Smallhead,

and Squarehead (1973) and Sound Investment: Short Stories

for Young Readers (1980). As William Pitt Root noted in Poetry magazine: “One concern [Sanchez] always comes back to is

the real education of Black children.” Sanchez’s work for adults is similarly committed to radical politics as well as visionary

imagery. The author of over sixteen books of poetry, Sanchez has also edited several books, and contributed poetry and

exhibit “Freedom Sisters,” at the Cincinnati Museum Center. An Manhattan Community College, Amherst College, and Temple

University, where she was the first Presidential Fellow. Her many

honors and awards include the PEN Writing Award, the American

Book Award for Poetry, the National Academy of Arts and Letters

Award, the National Education Association Award, and fellowships from the National Endowment for the Arts and the Pew Arts

Foundation. She has received the Peace and Freedom Award

from the Women International League for Peace and Freedom,

The Pennsylvania Governor’s Award for Excellence in the Humanities, the Langston Hughes Poetry Award, the Robert Frost Medal, the Robert Creeley Award, the Harper Lee Award, and the National Visionary Leadership Award, among many others.

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a people may become great through many means, but there is only one measure by which its greatness is recognized and acknowledged. the final measure of the greatness of all people is the amount and standard of the literature and art they have produced. no people that has produced great literature and art has ever been looked upon by the world as distinctly inferior.

JAMES WELDON JOHNSON

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