The Black Cultural Front: Black Writers and Artists of the Depression GenerationUniv. Press of Mississippi, 9.7.2012 - 288 sivua The Black Cultural Front describes how the social and political movements that grew out of the Depression facilitated the left turn of several African American artists and writers. The Communist-led John Reed Clubs brought together black and white writers in writing collectives. The Congress of Industrial Organizations's effort to recruit black workers inspired growing interest in the labor movement. One of the most concerted efforts was made by the National Negro Congress (NNC), a coalition of civil rights and labor organizations, which held cultural panels at its national conferences, fought segregation in the culture industries, promoted cultural education, and involved writers and artists in staging mass rallies during World War II. The formation of a black cultural front is examined by looking at the works of poet Langston Hughes, novelist Chester Himes, and cartoonist Ollie Harrington. While none of them were card-carrying members of the Communist Party, they all participated in the Left at one point in their careers. Interestingly, they all turned to creating popular culture in order to reach the black masses who were captivated by the movies, radio, newspapers, and detective novels. There are chapters on the Hughes' "Simple" stories, Himes' detective fiction, and Harrington's "Bootsie" cartoons. Collectively, the experience of these three figures contributes to the story of a "long" movement for African American freedom that flourished during the 1930s, 1940s, and 1950s. Yet this book also stresses the impact that McCarthyism had on dismantling the Black Left and how it affected each individual involved. Each was radicalized at a different moment and for different reasons. Each suffered for their past allegiances, whether fleeing to the haven of the "Black Bank" in Paris, or staying home and facing the House Un-American Activities Committee (HUAC). Yet the lasting influence of the Depression in their work was evident for the rest of their lives. |
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... South, and fascism spread throughout Europe. The common understanding has been that the Communist Party hindered black cultural expression during this period. As I will show, the Communistled Left promoted several cultural organizations ...
... South Side. Barbara Foley, in Wrestling With the Left (2010), examines Ellison's earlier reporting in the leftwing press, short stories, and early drafts of Invisible Man (1952) to uncover the proletarian elements that were expunged ...
... South Side Writers' Group. It was not until he had written a bestselling novel and no longer needed the Communist Party that Wright broke with it. In his first novel If He Hollers Let Him Go, Himes—through his main character Bob Jones ...
... South, which was his first and last time in the movie business. When it came out, the film reinforced the Uncle Tom stereotypes he was trying to avoid. In a speech titled “Democracy and Me” given at the 1941 Writers' Congress, Hughes ...
... South that were untainted by the appropriations of mass culture. An outgrowth of the “Black Belt Thesis” during the Third Period when the Communist Party advocated for black selfdetermination in the South, Smethurst says this tendency ...
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The Black Cultural Front: Black Writers and Artists of the Depression Generation Brian Dolinar Rajoitettu esikatselu - 2012 |
The Black Cultural Front: Black Writers and Artists of the Depression Generation Brian Dolinar Esikatselu ei käytettävissä - 2012 |