Download The Collected Writings of Wallace Thurman: A Harlem by Amritjit Singh, Daniel M. Scott III PDF
By Amritjit Singh, Daniel M. Scott III
This e-book is the definitive choice of the writings of Wallace Thurman (1902–1934), supplying a complete anthology of either the printed and unpublished works of this bohemian, bisexual author. generally considered as the enfant bad of the Harlem Renaissance, Thurman was once a pace-setter between a gaggle of younger artists and intellectuals that integrated Langston Hughes, Zora Neale Hurston, Gwendolyn Bennett, and Aaron Douglas. in the course of the book of magazines corresponding to Fire!! and Harlem: A discussion board of Negro lifestyles, Thurman attempted to prepare the more youthful iteration opposed to the ideologies of the older new release of black leaders and intellectuals resembling W.E.B. Du Bois and Benjamin Brawley. Thurman additionally left an enduring mark at the interval via his prolific paintings as a novelist, playwright, brief tale author, and literary critic. This assortment brings jointly all of Thurman’s essays, the majority of his letters to black and white figures of the Twenties, and 3 formerly unpublished significant works: Aunt Hagar’s young children, that is a set of essays, and full-length performs, Harlem and Jeremiah the marvelous. The creation presents a tough new reevaluation of Thurman and the Harlem Renaissance for either the overall reader and student.
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Extra resources for The Collected Writings of Wallace Thurman: A Harlem Renaissance Reader
Sample text
In some measure, women’s lives in patriarchal society have been more fully identified with continuities—birthing, rearing, civilizing children; maintaining family and cultural stability. Indeed, . . the rituals of female experience—regular, periodic, sustained—are culturally distinguishable from those of males. In this regard, emphasizing distinct chronological or literary periods may be one-dimensional, obscuring what is ongoing, continued. The color line persists, although its conventions and the forms of its literary expression are different in colonial and in modern, urbanized society” (40).
As discussed in our introduction to Part Four, Thurman attempts to articulate his theory of a black aesthetic in many of his literary essays and reviews—in especially positive terms in the “Nephews of Uncle Remus”—anticipating in some ways the more celebrated but controversial writings on the subject in the 1970s. Thurman also worked continually for years on a collection of essays on black leaders and on Harlem life. This collection, entitled Aunt Hagar’s Children, is being published in this Reader for the first time (see Part Five).
Thus, in most accounts of the Harlem Renaissance, Thurman is more often treated as a lens through which to view the movement than as an artist and public intellectual in his own right. Ironically, the Harlem Renaissance’s greatest individualist is very seldom appreciated as an individual—for his uncompromising artistic goals or for his sharp critical mind. To appreciate fully Thurman’s Harlem Renaissance, we need also to confront a certain view of his personality that has been part of much discussion and speculation among students of the Harlem Renaissance and among some of the writers from the period who lived beyond the 1930s.