Afro-modernist Aesthetics & the Poetry of Sterling A. Brown
Sterling A. Brown’s poetry and aesthetics are central to a proper understanding of African American art and politics of the early twentieth century. This study redefines the relationship between modernism and the New Negro era in light of Brown’s uniquely hybrid poetry and vision of a heterodox, pluralist modernism. Brown, also a folklorist and critic, saw the Harlem Renaissance and modernism as interactive rather than mutually exclusive and perceived the New Negro era as the dawning of African American modernity. Reading Brown’s three collections of poetry in light of their respective historical contexts, Sanders examines the ways in which Brown reconfigured black being and created alternative conceptual space for African Americans amid the prevailing racial discourses of American culture. Brown’s poetics call for revised conceptions of the Harlem Renaissance, black identity, artistic expression, and modernity that recognize the range, depth, and complexity of African American life.
What people are saying - Write a review
We haven't found any reviews in the usual places.
one Modernism and Objectified Blackness l
three The Critically Real in No Hiding Place
four Balladry and the Modern Hero in The Last Ride of Wild Bill
aesthetics affirms African American culture Afro-American Afro-modernism agency Albert Murray artistic artistry asserts ballad Big Boy Big Boy Davis blues broader Brown celebrates collection conceptual context create defining dialect dramatic dynamic essential film final fundamental Gabbin gesture Harlem Renaissance hegemonic modernism hero heroic heroism Hiding Place Ibid implications invokes James Weldon Johnson Jean Toomer Joe Meek John Henry Langston Hughes larger Last Ride literary Louis Blues Ma Rainey means metaphor Micheaux modernist myth mythic nature Negro Movement Negro Poetry Odyssey of Big oppression poem poet poetic political possibilities race racial racist Ralph Ellison reality ritual Road So Rocky sense serves signifies Slim Greer social song sonnet South Southern Road speaker specific spiritual stanza Sterling Sterling Brown stresses symbolic Tin Pan Alley tion Toomer tradition tragic transformation trickster trope ultimately University Press verse vision voice Whitman Wild Bill writing York