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Index Adamic, Louis,  Agee, James, ; Let Us Now Praise Famous Men,  Alexandroff, Mike,  Algren, Nelson: Somebody in Boots, n, n Allen, Philippa, – Alston, Charles,  American Writers’ Congress, –, – amnesia: and African American literary history, –; historical, –, –, , –, –, –, ; and Native American history, –; political, , , . See also memory Anderson, M. Margaret, ,  Arnold, Augusta Foote: The Sea-Beach at Ebb-Tide,  Arvin, Newton: Whitman, ,  Auden, W. H., –,  Baker, Houston, – Bakhtin, Mikhail, – Baldwin, James,  Baraka, Amiri, , ,  Barnard, Rita,  Baudelaire, Charles,  Bearden, Romare,  Beauregard, Robert,  bebop, –, –, ; contrasted with swing, , n. See also Hughes, Langston Benét, Stephen Vincent: John Brown’s Body,  Benjamin, Walter, , –; “The Author as Producer,” – Bennett, Lerone,  Bergson, Henri,  Berryman, John,  Biggers, John, – Bishop, Elizabeth, , –, ; and African Americans, –; critical reception of, n, –n; ethnographic surrealism of, , , –; and Key West, , , –; as lesbian writer, –; and Moore, , , , –, n; and the s Left, –, –; and primitivism, –, –; and Rukeyser, –, n; salvage art of, , , –, –; and social marginality, , –, –; and Stevens, , –, –, n; and World War II, –. WORKS: “Anaphora,” ; “The Bight,” –; Complete Poems –, ; “Cootchie,” ; “The End of March,” –; “Faustina, or Rock Roses,” ; “Florida,” –; “Gregorio Valdes,” –; “In Prison,” –, ; “Jéronimo’s House,” –; “Little Exercise,” ; “The Monument,” –; North & South, , , , ; “The Sea & Its Shore,” , –, , , ; “Seascape,” ; “Songs for a Colored Singer,” , ; “The U.S.A. School of Writing,” – Bishop, John Peale,  Black Arts movement, –, –, –, – Black Belt Nation thesis, –, – Blackmur, R. P.,  Blake, William: Jerusalem, , , –, ; “Little Black Boy,”  Blakely, Henry,  Bland, Edward,  Blough, Frani,  Bly, Robert,  Bodenheim, Maxwell,  279 280 index Bold, Christine, –n Bonnefoy, Yves,  Bontemps, Arna, ; They Seek a City,  Book of the Dead, , ,  Bourke-White, Margaret, ; You Have Seen Their Faces,  Bourne, Randolph: “Trans-National America,”  Bradford, Walter,  Brecht, Bertolt, , –; “An die Nachgeborenen” (To Posterity), – Britton, Edgar,  Brooks, Gwendolyn, , , , , – , , ; and African American countermemory, –, –, – , –; and Black Arts movement, –, –, –, –, –; and Chicago, –, –; critical reception of, n, –n; at Fisk University Writers’ Conference, –; and Hughes, –; literary publics of, –, –, , ; and Mecca Building, , –, , –, , –; Popular Front affiliations of, –, –, –, n. WORKS: Annie Allen, , ; “The Blackstone Rangers,” , , ; “Boy Breaking Glass,” , , , ; “The Chicago Picasso,” , , –; In the Mecca, , –, –, , –; “In the Mecca,” , –, –, –, –, ; “Malcolm X,” , , ; Maud Martha, , ; “Medgar Evers,” , ; Report from Part One, ; “The Second Sermon on the Warpland,” –; A Street in Bronzeville, , , , ; “To a Winter Squirrel,” ; “The Wall,” , , , , , –, – Brooks, Van Wyck,  Brown, John, –, ,  Brown, Sterling, , ; Southern Road,  Burke, Fielding,  Burke, Kenneth, –; “Revolutionary Symbolism in America,” – Burnham, D. H., ,  Burnshaw, Stanley,  Burroughs, Margaret, ,  Byron, George Gordon: Childe Harold’s Pilgrimage,  Caldwell, Erskine: You Have Seen Their Faces,  Callahan, John,  Catlett, Elizabeth, – Caudwell, Christopher, ; Illusion and Reality: A Study of the Sources of Poetry, – Cherniack, Martin, – Chicago, –, –; and urban decline, . See also Brooks, Gwendolyn; Chicago Renaissance; Popular Front Chicago Defender: Brooks’s writing published in, , ; Hughes’s writings published in, , , , , ,  Chicago Freedom movement, , – Chicago Renaissance, , – Chopin, Kate: The Awakening,  Christmas, Edward,  Clarke, John Henrik,  Clay, Eugene,  Clifford, James, , , –, – Common Council for American Unity, ,  Common Ground, , – Communist Party of the United States, , , –, , , ; and African American culture, –, –; and “the Negro question,” –; and “the woman question,”  Conroy, Jack, ; The Disinherited, n; They Seek a City,  Cornell, Joseph,  Cowley, Malcolm,  Crane, Hart, ; The Bridge, , , ; and Whitman,  Crisis,  Cronin, A. J.: The Citadel,  Danner, Margaret, –,  Darwin, Charles,  Davidson, Michael, , ,  Davis, Frank Marshall,  Degnan, June Oppen,  Denning, Michael, , –, , n Depression. See Great Depression Des Pres, Terrence,  DeVeaux, Scott,  Dickinson, Emily,  documentary, –, –, . See also Rukeyser, Muriel Doolittle, Hilda. See H.D. Dos Passos, John, ,  Douglas, Aaron,  Du Bois, W. E. B.,  DuPlessis, Rachel Blau, , ,  Ebony,  Eliot, T. S., , , , , n; and McGrath, , , n; and ruins topos, –; and Rukeyser, , ; and Stevens, , –, –; The Waste Land, , , –, –, , , ,  Ellison, Ralph, , , ; on bebop, , ; Invisible Man,  Erkkila, Betsy, ,  Ernst, Max,  Evans, Walker, ; Let Us Now Praise Famous Men,  Fair, Ronald,  Farrell, James, ,  Fearing, Kenneth, , –, –, , ; and Whitman,  Federal Art Project, – Federal Writers’ Project, , ; American Guide Series, , , –, , –n; American Stuff, ; Florida, –; and Harlem, –; U. S. One: Maine to Florida, , –,  Filreis, Alan,  Finkelstein, Norman,  Fisk University Writers’ Conference, – Flanner, Hildegarde,  Foley, Barbara,  Frank, Waldo, ,  Fraser, Nancy, , ,  Fredman, Stephen, – Freeman, Joseph,  Freud, Sigmund,  Funaroff, Sol,  Garman, Bryan, n Gauley Bridge, –, n, n. See also Rukeyser, Muriel Geertz, Clifford,  Gibbons, Reginald,  Gillespie, Dizzy,  Ginsberg, Allen: “Wichita Vortex Sutra,”  Gold, Michael, , , , , ; Jews without Money, , n, –n; Life of John Brown, ; and Whitman – Golding, Alan,  Gordon, Don,  Gordon, Eugene,  Gramsci, Antonio,  Great Depression, –, –; and cultural memory, –, , ; and literary public, –, ; natural disaster metaphors of, , n; and vocation of the writer, – index 281 282 index Gregory, Horace, ; “Social Poets” issue of Poetry, – Guillén, Nicolás, ,  Halbwachs, Maurice,  Hardy, Thomas, ; “The Oxen,” – Harlem, –; as black mecca, –; economic impact of the Great Depression on, –. See also Hughes, Langston Harlem Quarterly,  Harlem Renaissance, , , –; and the s Left, –, n Harrington, Joseph, – Hart, Henry,  Hatlen, Burton, , ,  Hayden, Robert, , ,  Hayes...

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