However, in the early twentieth century, the poetry of the untested Negro/Harlem Renaissance, particularly the works of Claude McKay, Langston Hughes, and Jean Toomer, debunked MacLeishs celebrated modernist dictum; though attentive to the modernist use of language, these three authors of the Harlem Renaissance proved, through their focus on either the African-American in two ways consciousness, the black presence in America, or the horrid macrocosm of American racial oppression, that American modernist poetry does indeed go for material, political, and social consequences and implications. Early in the twentieth century, the lack of a black voice in the American literary legislation startled many African-American writers and philosophers. At this time, the poetry and literature of the white American male grew steadily popular, allowing many of these authors the latitude to define modernist poetry themselves. But soon a argufy to this white male... If you want to get a full essay, site it on our website: Ordercustompaper.com
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