The New Negro (1925) is an anthology by Alain Locke. Expanded from a March issue of Survey Graphic magazine, The New Negro compiles writing from such figures as Countee Cullen, Langston Hughes, Zora Neale Hurston, Jean Toomer, and Locke himself. Recognized as a foundational text of the Harlem Renaissance, the collection is organized around Locke's writing on the function of art in reorganizing the conception of African American life and culture. Through self-understanding, creation, and independence, Locke's New Negro ...
The New Negro (1925) is an anthology by Alain Locke. Expanded from a March issue of Survey Graphic magazine, The New Negro compiles writing from such figures as Countee Cullen, Langston Hughes, Zora Neale Hurston, Jean Toomer, and Locke himself. Recognized as a foundational text of the Harlem Renaissance, the collection is organized around Locke's writing on the function of art in reorganizing the conception of African American life and culture. Through self-understanding, creation, and independence, Locke's New Negro came to represent a break from an inhumane past, a means toward meaningful change for a people held down for far too long. "[F]or generations in the mind of America, the Negro has been more of a formula than a human being--a something to be argued about, condemned or defended, to be 'kept down, ' or 'in his place, ' or 'helped up, ' to be worried with or worried over, harassed or patronized, a social bogey or a social burden." Identifying the representation of black Americans in the national imaginary as oppressive in nature, Locke suggests a way forward through his theory of the New Negro, who "wishes to be known for what he is, even in his faults and shortcomings, and scorns a craven and precarious survival at the price of seeming to be what he is not." Throughout The New Negro , leading artists and intellectuals of the Harlem Renaissance offer their unique visions of who and what they are; voicing their concerns, portraying injustice, and illuminating the black experience, they provide a holistic vision of self-expression in all of its colors and forms. With a beautifully designed cover and professionally typeset manuscript, this edition of Alain Locke's The New Negro is a classic of African American literature reimagined for modern readers.
Choose your shipping method in Checkout. Costs may vary based on destination.
New. Sewn binding. Paper over boards. 352 p. Mint Editions. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Buy it. Locke's anthology is an astounding collection of the period and belongs in every Harlem Renaissance buff's personal library. Beware of misinformed reviewers. What is important to remember is that Locke was indeed black, NOT white, and that like so many other black writers of the Renaissance and the generations that came after them, broken relationships between former friends should never reduce the significance of their individual contributions. If we boycotted every book because of perceived "sellouts," we'd have very few books on our shelves.
May 18, 2010
Boycott this book all Langston Hughes Fans
Alain Locke's history with Langston Hughes began as friendly and supportive as friends should be, especially during the era of the Harlem Renaissance. However, their friendship and association in literature, mostly due to the financial support of a highly controlling white patron in New York (Locke was white as well), Hughes could not write what he grew into desiring to write. She funded his college education but also controlled all that he had written during the time she was Hughes and Locke's financial patron. As a result, Hughes broke lose from not only the patron's relationship but also Locke, who eventually served as a type of spy for his benefactor, carefully watching and documenting every trip, person and writings Hughes did as his political leanings went left during the early 1930s. Indeed, Locke would go as far as to manufacture reports of poems and books Hughes was writing as well as raising a dispirited reputation in the literary world on NY. Locke and Hughes never regained what was a prime relationship, one that benefited them both. Locke was insulted by Hughes' writings, believing that a number of the fictional characters reflected on him. That is partially true but, according biographical texts on Hughes, Locke manufactured so many lies he could have developed his own factory of false attacks and innuendos. Finally, Negro writers was a hip thing during those days. Locke and his benefactors wanted Hughes to produce an abundant amount of material about the Negro in America. Hughes eventually became far too radical for monied people in NY with Locke joining them despite the fact he belonged to the wealthy class as much as Hughes did. Locke could not survive without such wealth supporting his literary works as well as his deviousness. Yes, "The New Negro" includes Hughes as well as Zora Neale Hurston and others. Frankly, Hurston received money from the same patroness which eventually led to a falling out between her and Hughes. Hurston would continue receiving funding as she, too, would report on Hughes' whereabouts and growing radical writings. This book, with its contents revealing the voices of the Harlem Renaissance in the 1920s, is a step in the direction for students to learn about these writers. However, as a former teacher, K-12/LD and specialized reading instruction, and currently a poet, there are, today, far more edited literary work on the growth of "Negro" literature in the bold and bohemian decade called the Harlem Renaissance. Leave Locke out of it, entirely, giving Langston Hughes his due deserve of high recognition without others attempting to destroy his character (along with the FBI, American Intelligence, Soviet Intelligence, Japanese Intelligence and KKK/white supremacists calling themselves Vigilantes). As a collector of Hughes' work, this I ask of all who are considering purchasing this book. Look to people like Arna Bontemps and Faith Berry to provide an honest look at both Locke and Hughes. This book is not worth the money.
Alibris, the Alibris logo, and Alibris.com are registered trademarks of Alibris, Inc.
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.