Richard Wright's Assessment for the Negro Writers - Research Paper Example

?Richard Wright's Assessment for the Negro Introduction Richard Wright’s plead in the Blueprint for Negro Writing could be very well summarized in one of the famous words from Thomas Kempis, “Be not angry that you cannot make others as you wish them to be, since you cannot make yourself as you wish to be.” In this popular essay, Richard Wright denounced the Negro writers as he perceived them to be merely begging for the sympathy of the bourgeoisie instead of striving to present a life that is more worth living for the Black Americans (Mitchell 98). This paper argues that Richard Wright was justified in his assessment that literature was so concentrated on pandering to white readers thereby neglecting the needs of the “Negro masses.” In the following paragraphs, two literary works are examined namely Langston Hughes “The Negro Speaks of Rivers,” and Claude McKay’s “If We Must Die.” In these literary works, it is evident that indeed the Negro writers were so engrossed with the idea of racial discrimination instead of suggesting positive actions that would help uplift the Black American’s condition. Marxism as the Key Wright, in this essay, asserted that the "Negro writers have not reflected any consciousness and mobility geared towards political and economic action"--which further enlarges the gap between the militant Negro workers and the Negro literates. He pointed out that the Negro writers are futile in following the past standards, merely examining the criticism against themselves. He proposed that Marxism is the key to this problem in the society because the Black Americans’ condition is something that can be changed. He also compelled the Negro writers to use their writing to influence the Negro masses since these people have very high regard for the Negro literates. Thus, he asserted that writing should be used as an instrument through which the culture of the Negro should be addressed (Mitchell 98-106). The Harlem Renaissance Firstly, it is worthwhile to examine the time when both of these literary works were written. The writers studied in this paper are part of the Harlem renaissance, the period of rebirth of the African American creative expression. During this time, the time of so-called “New Negro,” the African American communities more likely developed a sense of Negro pride (Rasche 5). In addition, the Harlem Renaissance writers attempted to relate their history to their present condition, as well the urban and rural experience of the African Americans. Thus, writing was the product of and their respond to their historical and cultural context (Rasche 6). On Langston Hughes and his poem “The Negro Speaks of Rivers” One of the Harlem Renaissance writer was Langston Hughes (1902-1967). He was an American poet who was at the same time a social activist, novelist, playwright, and columnist. He was also one of the pioneers of the literature art form jazz poetry. Hughes’ began to write poems when he was still in his eighth grade. Particularly, he wrote “The Negro Speaks of Rivers” when he was passing by the Mississippi River, on board on a train down to Mexico with his father (Shmoop 4). Hughes was a key icon during the Harlem Renaissance because his works has helped the black arts and culture flourish in the 1920s. Hughes’ writing reflected his advocacy that “Black is Beauty,” which further captured the Black culture’s moods and passions (Shmoop 2). Essentially, in “The Negro Speaks of Rivers,” Langston Hughes shows his innocence, his simple yet profound observation of the rivers in relation to the Black people, and his melancholic appreciation with the beauty of life and nature (Shmoop 2). He showed the celebration of black American life. Further, in this poem, Hughes projected a splendid and powerful images of Black people’s history--tracing back from ancient Egypt to as far as the cradle of civilization (“About the Poet” n. pag). Moreover, he depicted the people from the African descent still have ancient spiritual and physical ties to nature. Basically, his ideas and images were that of a primitive, tribal culture that permeates in the Black American life. Langston Hughes in his “The Negros speaks of Rivers” has depicted what Wright is asserting that the Negro writers are writing about what is “seemingly” fixed and constant” rather than a race that is “of becoming.” As a matter of fact, among critics and historians, they have agreed that Hughes’s poetry was self-reflexive in that he is explaining and elucidating his deepest beliefs ("Poetics in the Poem" qtd. in Rasche 7). Basically, Hughes view the Black community as a place that is a primitive society, further reflecting racial inequality. However, there are some signs in Hughes’ poem that nearly conformed to Wright. In the lines of his poem wherein Hughes personified “gold that is being produced from mud,” he exemplified what Wright has been talking about: the poet, indeed, has the power to bring in changes in the African condition by stretching his imagination. However, Hughes went back to the ancient culture of Black Americans, which further shows that he is still reluctant to separate from self-criticism. Thus, it is still distant to what Wright has proposed. Perhaps, the last lines were merely Hughes’ hopes for a possible change, that “the muddy bosom” could be turned into a “golden in the sunset,” but still it did not present some possible actions to that change. On Claude McKay and His Poem “If We Must Die” Another Harlem Renaissance writer was Claude McKay, who was a Jamaican-American poet. Claude McKay actually started the Harlem renaissance in the 1918 when he published “Harlem Dancer” (Rhodes n. pag). McKay’s observation of the aggressive racism in America during that time provoked him to write literature works that fought against this oppression. McKay could be best remembered by his poems that reflected his radical and political protests against Black people racism and discrimination. His poems depicted boldness, militancy, and confidence that Negros ought to have. In “If We Must Die,” McKay introduced a pleasing approach in writing--a defiant attitude towards racial prejudice (Miller n. pag). This poem was written in 1919, during which there was a vast wave of riots in New York City and other cities; all riots brought about by White attacks on Black Americans. He got mad with the fact that African American men who helped the US military in their battle of Europe were welcomed with mobs, threatened with violent attacks and of racial discrimination (Marshall Cavendish Corporation 1505). In effect, he made this poem to appeal directly to the people to fight with courage and determination. Similar to Hughes’ poem, this poem does not conform to Wright’s ideal Negro writing because apparently, it continues to battle with the White Americans. Obviously, it is a clear retaliation of the attacks of the White people. This may seem justified but it is still not enough to exemplify the Negro Writing that Wright wants to suggest. It still neglects the fact that some White people, no matter how deeply ruined the Black Americans are, would not pay attention to the Black people’s agonies. Therefore, unless the Black Americans will initiate the improvement of their condition, they would still be suffering from their “conceived” oppression. Conclusion In examining Wright’s essay in relation to both literary works by McKay and Hughes, it could be concluded that the oppression “suffered” by the Black Americans is only a matter of perspective. In other words, what these works are trying to suggest is that Black Americans could actually choose to be seen whether as “oppressed” or “alleviated.” Wright’s essay serves as an eye-opener to a lot of Negro writers, e.g. McKay and Hughes, that it is not helpful to write in their “ivory tower,” barring their eyes from the Negro masses’ suffering; rather, these writers should be insightful enough to consider the conditions of their fellow countrymen. Works Cited "About the Poet." PoetryArchive.org. Poetry Archive, n.d. Web. 25 Nov. 2011. . Marshall Cavendish Corporation. America in the 20th Century, Volume 12. New York: Marshall Cavendish, 2003. Print. Miller, Nelson. “Introduction.” Theotherpages.org. The Other Pages, 1999. Web. 25 Nov. 2011. . Mitchell, Angelyn. Within The Circle: An Anthology Of African American Literary Criticism From The Harlem Renaissance To The Present. USA: Duke University Press, 1994. Print. Rasche, Rebecca. Transcendence in Langston Hughes' "The Negro Speaks of Rivers": A Short Analysis. Germany: GRIN Verlag, 2008. Print. Rhodes, Henry. “The Social Contributions of The Harlem Renaissance.” Yale University. Yale-New Haven Teachers Institute, n.d. Web. 25 Nov. 2011. . Shmoop. Langston Hughes: Schmoop Biography. USA: Shmoop University Inc., 2010. Print. Read More