By Tatiana A. Tagirova-Daley
Claude McKay’s freeing Narrative: Russian and Anglophone Caribbean Literary Connections examines McKay’s look for an unique type of literary expression that begun in Jamaica and persisted in his next travels overseas. Newly came upon learn bearing on his presence in different Russian periodicals, magazines, and literary diaries brings new gentle to the writer’s contribution to the Soviet knowing of African American and Caribbean concerns and his attainable impression on Yevgeny Zamyatin, the author he met in the course of his 1922 - 1923 stopover at to Russia. the first concentration of this e-book is Claude McKay and his confident reception of Alexander Pushkin, Feodor Dostoyevsky, and Leo Tolstoy, the nineteenth-century Russian writers who encouraged his literary occupation and enabled him to discover an answer to his obstacle of a twin Caribbean id. The secondary concentration of this publication is the research of McKay’s affinity along with his Russian literary predecessors and with C.L.R. James and Ralph de Boissière, his Trinidadian contemporaries, who additionally stated the significance of Russian writers of their inventive improvement. The e-book discusses McKay as a precursor of Russian and Anglophone Caribbean hyperlinks and provides a comparative research of cross-racial, cross-national, and cross-cultural alliances among those unique but related sorts of literature. Claude McKay’s releasing Narrative is very prompt for undergraduate and graduate classes in Caribbean and comparative literature at North American, ecu, Caribbean, and African universities.
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Extra info for Claude McKay's Liberating Narrative: Russian and Anglophone Caribbean Literary Connections
100 In “Cycle 41,” McKay explains why the Negro elite and the politicians will not praise him: 30 FORMATION OF NATIONAL CONSCIOUSNESS No lady of the land will praise my book. It would not even be brought to her attention, By those advising where and how to look For items which make favorable mention Because my writings are not party stuff, For those who follow the old trodden track. ”102 The poet cares much more about the realistic portrayal of the Negro masses than about his acceptance by the Negro elite.
167–168. 155. 9. 22. 174. 173. 24–25. 150. 173. 174. 174. 167. 168. 168. I found this portrait in the James Weldon Johnson Collection of Negro Literature and Art, part of the Yale Collection of American Literature in the 34 FORMATION OF NATIONAL CONSCIOUSNESS Beinecke Rare Book and Manuscript Library, while doing my research there in the summer of 2004. 47 CMPJ 4‐119, Claude McKay Papers, James Weldon Johnson Collection of Negro Literature and Art, the Yale Collection of American Literature, the Beinecke Rare Book and Manuscript Library; hereafter cited as CMPJ and followed by the box and the folder numbers.
In a letter to James Weldon Johnson dated April 30, 1928 he states, In writing Home to Harlem I have not deviated in any way from my intellectual and artistic ideas of life. ”51 Rather than associating with white Frenchmen, the writer found a communal sense of kinship among ordinary Africans, West Indians, and African Americans he met in Marseilles. In one of his letters to Langston Hughes written in France, he expresses his fascination with this French city: Marseilles I really love more than any place in France.