By Mary Helen Washington
ISBN-10: 023115271X
ISBN-13: 9780231152716
Mary Helen Washington recovers the very important position of Fifties leftist politics within the works and lives of contemporary African American writers and artists. whereas such a lot histories of McCarthyism specialise in the devastation of the blacklist and the intersection of leftist politics and American tradition, few comprise the actions of radical writers and artists from the Black renowned entrance. Washington's paintings accommodates those black intellectuals again into our knowing of mid-twentieth-century African American literature and artwork and expands our knowing of the artistic ferment energizing all of the USA in this period.
Mary Helen Washington reads 4 consultant writers—Lloyd Brown, Frank London Brown, Alice Childress, and Gwendolyn Brooks—and surveys the paintings of the visible artist Charles White. She lines resonances of leftist principles and activism of their creative achievements and follows their balanced critique of the mainstream liberal and conservative political and literary spheres. Her learn recounts the concentrating on of African American in addition to white writers through the McCarthy period, reconstructs the occasions of the 1959 Black Writers' convention in big apple, and argues for the continuing impression of the Black well known entrance a long time after it folded. Defining the contours of a rather black modernism and its far-ranging radicalization of yankee politics and tradition, Washington essentially reorients scholarship on African American and chilly conflict literature and lifestyles.
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Additional resources for The Other Blacklist: The African American Literary and Cultural Left of the 1950s
Example text
Brown, Julian Mayfield, Charles White, and Frank London Brown, which include pages of irrelevant or basic data like the subject’s height, weight, address, and marital status but also produce a comprehensive and fairly accurate list of Black Popular Front organizations they belonged to, the publications they wrote for, and the activities they engaged in. 27 Because Hoover decided Langston Hughes’s 23 INTRODUCTION poems were “communistic,” the bureau put him on its list as far back as 1925, even though its own informants said Hughes was not a communist.
14 INTRODUCTION Of course, as Kelley also notes, African Americans “brought their [own] grass-roots, race-conscious cultural traditions to the Party,” including their deep religious beliefs—and, yes, the Party may have tried to transmute every expression of black culture into communist revolutionary significance, which writers often resisted. But the presence and power of the nation thesis for black writers is clear. I point this out as a response to the claim of African American literary historians that “during the forties and fifties, as previously during the Harlem Renaissance and earlier periods, there was no consciously formulated black aesthetic” (Hill et al.
With all five artists I make 24 INTRODUCTION the connections that reestablish their relationships with the Black Popular Fronts of the 1950s, ties that were lost either because these subjects deliberately distanced themselves from their leftist pasts or because of the practices of contemporary literary and cultural histories. These portraits allow me to trace the influence of the Left over a lifetime, showing that their engagements with the Left continued to affect their work and their lives long after they had distanced themselves or disconnected from a formal relationship to the Left.
The Other Blacklist: The African American Literary and Cultural Left of the 1950s by Mary Helen Washington
by Donald
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