’s Forward To Caroling Dusk Essay, Research Paper
Countee Cullen
It is now five years since James Weldon Johnson edited with a
brilliant essay on "The Negro’s Creative Genius" The Book of American Negro
Poetry, four years since the publication of Robert T. Kerlin’s Negro Poets and
Their Poems, and three years since from the Trinity College Press in Durham, North
Carolina, came An Anthology of Verse by American Negroes, edited by Newman Ivey
White and Walter Clinton Jackson.
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[T]here would be scant reason for the assembling and publication of another such
collection were it not for the new voices that within the past three to five years have
sung so significantly as to make imperative an anthology recording some snatches of their
songs. To those intelligently familiar with what is popularly termed the renaissance in
art and literature by Negroes, it will not be taken as a sentimentally risky observation
to contend that the recent yearly contests conducted by Negro magazines, such as Opportunity
and The Crisis, as well as a growing tendency on the part of white editors to give
impartial consideration to the work of Negro writers, have awakened to a happy
articulation many young Negro poets who had thitherto lisped only in isolated places in
solitary numbers. It is primarily to give them a concerted bearing that this collection
has been published. For most of these poets the publication of individual volumes of their
poems is not an immediate issue. However, many of their poems during these four or five
years of accentuated interest in the artistic development of the race have become familiar
to a large and ever-widening circle of readers who, we feel, will welcome a volume
marshaling what would otherwise remain for some time a miscellany of deeply appreciated
but scattered verse.
The place of poetry in the cultural development of a race or people has always been one
of importance; indeed, poets are prone, with many good reasons for their conceit, to hold
their art the most important. Thus while essentially wishing to draw the public ear to the
work of the younger Negro poets, there have been included with their poems those of modern
Negro poets already established and acknowledged, by virtue of their seniority and
published books, as worthy practitioners of their art. There were Negro poets before Paul
Laurence Dunbar, but his uniquity as the first Negro to attain to and maintain a
distinguished place among American poets, a place fairly merited by the most acceptable
standards of criticism, makes him the pivotal poet of this volume.
I have called this collection an anthology of verse by Negro poets rather than an
anthology of Negro verse, since this latter designation would be more confusing than
accurate. Negro poetry, it seems to me, in the sense that we speak of Russian, French, or
Chinese poetry, must emanate from some country other than this in some language other than
our own. Moreover, the attempt to corral the outbursts of the ebony muse into some
definite mold to which all poetry by Negroes will conform seems altogether futile and
aside from the facts. This country’s Negro writers may here and there turn some singular
facet toward the literary sun, but in the main, since theirs is also the heritage of the
English language, their work will not present any serious aberration from the poetic
tendencies of their times. The conservatives, the middlers, and the arch heretics will be
found among them as among the white poets; and to say that the pulse beat of their verse
shows generally such a fever, or the symptoms of such an ague, will prove on closer
examination merely the moment’s exaggeration of a physician anxious to establish a new
literary ailment. As heretical as it may sound, there is the probability that Negro poets,
dependent as they are on the English language, may have more to gain from the rich
background of English and American poetry than from any nebulous
toward an African inheritance. Some of the poets herein represented will eventually find
inclusion in any discriminatingly ordered anthology of American verse, and there will be
no reason for giving such selections the needless distinction of a separate section marked
Negro verse.
While I do not feel that the work of these writers conforms to anything that can be
called the Negro school of poetry, neither do I feel that their work is varied to the
point of being sensational; rather is theirs a variety within a uniformity that is trying
to maintain the higher traditions of English verse. I trust the selections here presented
bear out this contention. The poet writes out of his experience, whether it be personal or
vicarious, and as these experiences differ among other poets, so do they differ among
Negro poets; for the double obligation of being both Negro and American is not so unified
as we are often led to believe. A survey of the work of Negro poets will show that the
individual diversifying ego transcends the synthesizing hue. From the roots of varied
experiences have flowered the dialect of Dunbar, the recent sermon poems of James Weldon
Johnson, and some of Helene Johnson’s more colloquial verses, which, differing essentially
only in a few expressions peculiar to Negro slang, are worthy counterparts of verses done
by John V. A. Weaver "in American." Attempt to hedge all these in with a name,
and your imagination must deny the facts. Langston Hughes, poetizing the blues in his zeal
to represent the Negro masses, and Sterling Brown, combining a similar interest in such
poems as "Long Gone" and "The Odyssey of Big Boy" with a capacity for
turning a neat sonnet according to the rules, represent differences as unique as those
between Burns and Whitman. Jessie Fauset with Cornell University and training at the
Sorbonne as her intellectual equipment surely justifies the very subjects and forms of her
poems: "Touch?," "La Vie C’est la Vie," "Noblesse Oblige,"
etc.; while Lewis Alexander, with no known degree from the University of Tokyo, is equally
within the province of his creative prerogatives in composing Japanese hokkus and tankas.
Although Anne Spencer lives in Lynchburg, Virginia, and in her biographical note
recognizes the Negro as the great American taboo, I have seen but two poems by her which
are even remotely concerned with this subject; rather does she write with a cool precision
that calls forth comparison with Amy Lowell and the influence of a rock-bound seacoast.
And Lula Lowe Weeden, the youngest poet in the volume, living in the same Southern city,
is too young to realize that she is colored in an environment calculated to impress her
daily with the knowledge of this pigmentary anomaly.
There are lights and shades of difference even in their methods of decrying race
injustices, where these peculiar experiences of Negro life cannot be overlooked. Claude
McKay is most exercised, rebellious, and vituperative to a degree that clouds his lyricism
in many instances, but silhouettes most forcibly his high dudgeon; while neither Arna
Bontemps, at all times cool, calm, and intensely religious, nor Georgia Douglas Johnson,
in many instances bearing up bravely under comparison with Sara Teasdale, takes advantage
of the numerous opportunities offered them for rhymed polemics.
If dialect is missed in this collection, it is enough to state that the day of dialect
as far as Negro poets are concerned is in the decline. Added to the fact that these poets
are out of contact with this fast-dying medium, certain sociological considerations and
the natural limitations of dialect for poetic expression militate against its use even as
a tour de force. In a day when artificiality is so vigorously condemned, the Negro
poet would be foolish indeed to turn to dialect. The majority of present-day poems in
dialect are the efforts of white poets. . . .