One of the things I miss about our move from New Orleans to Alabama and to another university is facilitating courses in African American literature, particularly 19th and early 20th century literature. A friend recently gifted me an amazing set of postcards that exacerbated my desire to teach the literature.
The postcard project, Sisters of the Harlem Renaissance: The Found Generation, coordinated by Sona L. Chambers and edited by Gail Cohee and Leslie Lewis, features 26 photographs of African American women writers, scholars, entertainers, artists, and political thinkers of the 1920s and 30s. The collection “uncovers the personal and political conflicts” and “remind us of triumphs as well as ongoing struggles of African American women” from 1920-1932, “a time during which Harlem was the focus of a new spirit of race consciousness and pride, embodied in a veritable explosion of artistic, literary, political, and intellectual activity.”
At the mention of the Harlem Renaissance, most people quickly identify writers like Langston Hughes, Claude McKay, Arna Bontemps, Alain Locke, who were all men. Even though there are quite a number of women writers, we hear of few of them outside or inside the classroom. In fact, Zora Neale Hurston is typically the only woman writer of the era with which some are familiar. And with the exception of Ethel Waters, many are unfamiliar with the many women entertainers of the era.
Today, I’m using the postcards to introduce you to (or maybe, reacquaint you with) four women writers of the Harlem Renaissance. I will introduce other writers, singers, and entertainers from the collection over the next several weeks.
Alice Moore Dunbar-Nelson, one of the first African American women to voice the “lyric cry” of the Harlem Renaissance, was unique as both a precursor to and central participant in the movement. The Dunbar Speaker and Entertainer, edited by her and dedicated to the poet Paul Laurence Dunbar, to whom she was briefly married, was the movement’s first anthology. Educated as an English teacher at Straight University (now Dillard University) in her native New Orleans, she found early success as a writer of short stories exploring the lives of the region’s Creoles and Cajuns. Her careers included public lecturer, parole officer, suffragist, politician, and civic worker. She headed the Anti-Lynching Crusade in Delaware and helped to draft the Black club women’s 1920 political manifesto, A Platform of the Colored Women of America. Although certainly best known for her still-uncollected poems, particularly, “I Sit and Sew,” and now for her remarkable diary, Dunbar-Nelson was known during the period as a prolific journalist whose essays, book reviews, and stage reviews appeared regularly in such magazines as The Crisis, Opportunity, and Colliers. –Sharon G. Dean
See some of Dunbar-Nelson’s poetry here: Alice Moore Dunbar Nelson.
Angelina Weld Grimké was a gifted poet, dramatist, and teacher. She was born in Boston to a former slave father and a white Bostonian mother. Although primarily reared by her father, Grimké was also influenced by her famed abolitionist-feminist aunts, Sarah M. Grimké and Angelina Grimké Weld. After graduating from the Boston Normal School of Gymnastics in 1902, Grimké began a long teaching career in Washington, D.C. She became a regular member of the African-American artistic circle that gathered around Georgia Douglas Johnson. In the 1920s, Grimké’s poems began appearing in Opportunity and The Crisis. Her works also appeared in several Harlem Renaissance anthologies, including Alain Locke’s 1925 collection The New Negro. Grimké’s poetry tended to avoid racial subjects, but her three-act play, Rachel, was an angry and painful drama about the personal impact of lynching. The vast majority of Grimké’s poetry remained unpublished during her lifetime, perhaps because of its explicit “woman-identified” voice. –Eric Garber
See some of Grimké’s poetry here: Angelina Weld Grimké.
Jessie Redmon Fauset, the first Black woman to be selected to the Phi Beta Kappa honor fraternity (Cornell 1905), also earned advanced degrees from the University of Pennsylvania and the Sorbonne, Paris. In 1919, after fourteen years of teaching French at Dunbar High School, Washington D.C., Fauset left teaching for New York City and the offices of the NAACP’s publication, The Crisis. As literary editor from of The Crisis from 1919-1926, Fauset was one of the people who “mid-wifed” the Harlem Renaissance into being by publishing numerous writers who later became well known. She was also an accomplished writer, publishing four novels between 1922 and 1933, and hundreds of poems, essays, articles, reviews, and children’s works. Many of the latter appeared in the twenty-four issues of the children’s magazine she also edited, The Brownies’ Book (1920-21). –Carolyn Wedin
See some of Fauset’s poetry here: Jessie Redmon Fauset.
Anne Spencer was hailed by critics of the Harlem Renaissance as its most technically sophisticated and modern poet. Born Annie Bethel Bannister to newly freed slaves in Henry County, Virginia. Anne Spencer (as she was “pen-named” by friend and mentor James Weldon Johnson) was, like many of her Harlem Renaissance sisters already 40 and a working mother of three at the movement’s outset. Strongly influenced by Olive Schreiner, Spencer’s poems are more about gender than race, about rebellious wives, male fantasies, muses, and washerwomen. Yet she founded her hometown of Lynchburg’s first NAACP chapter, spent 20 fitful years as librarian at that town’s Jim Crow library, protested segregation, wore pants as an adult, founded a suffrage club, and cultivated a renowned garden that became both the metaphorical center of her poems, her “soul,” and the centerpiece of what is now an historical landmark–her home and writing cottage. Anne Spencer is the most consistently anthologized woman poet of the Harlem Renaissance. –Sharon G. Dean
I hope this feeds your literary soul this weekend…
Until next time…