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dime piece

dime piece
Posted By: Marquita hogan on February 07, 2008









 



Of the Coming of the

New Red Negro


Mob Voices: (snarling)

Quick! Quick! Death there!

The chair! The electric chair!


8th Boy:


No chair!

Too long have my hands been idle.

Too long have my brains been dumb.

Now out of the darkness

The new Red Negro will come:

That's me!


- LANGSTON HUGHES,

"SCOTTSBORO LIMITED"



The 1930s and 1940s saw the publication of significant works by such African­

American poets as Gwendolyn Brooks, Sterling Brown, Countee Cullen, Waring

Cuney, Frank Marshall Davis, Owen Dodson, Robert Hayden, Langston Hughes,

Melvin Tolson, Margaret Walker, and Richard Wright.



While some of these writers

retain a relatively "minor" status within current assessments of African-American po­

etry, others, especially Brooks, Brown, Cullen, Hayden, and Hughes (and Wright for

his fiction), figure prominently in virtually any survey of twentieth-century African­

American literature. With the exception of Cullen, and to a certain extent Hughes,

the poets listed above developed their mature style during the 1930s and 1940s. Even

Hughes, who was certainly an accomplished artist before the 1930s, developed more

fully the poetic stance rooted in popular urban African-American culture with which

he is most frequently associated by both "popular" and "literary" audiences.


Yet African-American poetry of the 1930s and 1940s has received little serious and

focused scholarly consideration as a whole. The few studies that do treat poetry by

black authors during those decades do so only as part of a larger survey (as in the case

of Eugene Redmond Drumvoices) or as a coda to the study of an earlier period of lit­



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