finalexamdatoya brown
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Datoya Brown
Professor Allison Van Nyhuis
English Composition-110 Sec.16
8 December 2009
IMAGES OF AFRICA
African- American Writers Perspectives on Black Culture and Eurocentric
One of the most significant occurrences in America during the 20th century was the
growth of African-American writers to the forefront of literature. Documenting their views on
American culture and its devastating and glorious history, African-American writers'
contributions revealed their great effort for equality and paved the way into a brighter outlook for
their country. What precisely distinguishes the picture of Black culture? African -American
culture is a blend of what was brought to this land by the African slaves and the segregation of
blacks throughout American history. Aspects of black culture inform American life in a
multitude of ways.
From the different perceptions of the three writers of the Images of Africa selections;
Aim Csaire, Lopold Sdar Senghor, and Gwendolyn Brooks black culture is depicted in their
works by means of overall messages. As stated in the introduction to this section Chinua Achebe
defines in his counter to Joseph Conrads Heart of Darkness that many colonized black s and
those of the Diaspora living in Europe and America absorbed this [Africa as a savage continent
in need of civilizing and Christianizing] Eurocentric point of view, and as they degenerated
Africa, they denied their heritage and themselves. (Davis, H arrison, Johnson, and Crawford
1694) This phenomenon is best summed up as W.E.B. Du Boiss coined term of double -
consciousness; state in which the African is in conflict with the American. In -depth comparison
of the three writers approaches to illuminat ing the importance of knowing your roots and
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identifying unhesitant is sure to come in this progressing essay however before submitting an
analytical critical comparison between the three poets it is necessary to discuss dominant
influences that persuaded and guided the writers during a time of lost African identity among
blacks in America.
One ever feels his two- ness, an American, a Negro; two souls, two thoughts, two
unreconciled strivings; two warring ideals in one dark body, whose dogged strength
alone keeps it from being torn asunder. W.E.B. Du Bois (1696)
This quote is from an individual who affirmed his African heritage early on in life and
encouraged the efforts of others to pursue the same objective. Du Bois referred to the race of
African-Americ ans as the advance guard of the Negro people (1696), establishing that this sub
cultural group had the development of schooling and experience in contemporary America that
could potentially aid in the progression of the Pan-Africanism movement. Another significant
occurrence during the writings of a couple of the authors in the Images of Africa section is the
Ngritude movement. This movement boldly manipulates the poems of Senghor and Csaire.
Brooks differs from the other two in regards to her acknowl edgement of African heritage upon
her actual visit to the continent. By giving pertinent information of the background nature of the
three poets, their attitude of black culture can now be examined in their texts of their most
popular works.
Lopold Sdar Senghor has two major poems in the Images of Africa section of the
anthology, which are titled Black Woman and Prayer to the Masks. In Black Woman Senghor
uses a repertoire of aspects of a black woman to attest to her beauty Naked woman, black
woman/ dr essed in your color that is life, I your form that is beauty!In contrast however, before
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this was written the use of the term black to describe dark -skinned African peoples came with
negative connotations ( Hine, Darlene Clark, and McLeod, Jacqueline, 88) so Senghor literally
pushes the envelope of expression when inspiring this piece. Senghors p oetry expresses the
importance and role of African culture in the world development. Through his work, he
celebrates the ethnic self and develops his own philosophy of ngritude. He explores the
dynamic relationship between Africa and Europe and exposes their cultural dependency upon
one another. In Prayer to the Masks, Senghor sheds light on a multicultural perspective; with an
opening statement of Masks! O Ma sks! / Black mask, red mask, you white-and-black masks//
Masks of the four cardinal points where the spirit blows/ I greet you in silence! (Senghor Lines1-4).
Aim Csaire alongside Senghor was an influential man in the founding of the
Ngritude movement. This had an extensive toll on his style of writing as an individual
questioning black culture. In order to understand the heightened logic of historical criticism
suggested by Csaire s work, there is a need to remember the predicament of black intellectuals
of his generation, a predicament that formed its basis in the degradation they had internalized as
an insistent factor of their black self-awareness. Notebook of a Return to the Native Land
explores Csaires unreformed aggression towards Eurocentric domination and concepts of re-
establishing an African identity; the voice proclaims that for centuries Europe has force -fed
us with lies and bloated us with pestilence (Csaire 1715 -1716). One primary difference
between the two aforementioned writers is that Csaire observes the ongoing cultural difficulties
of a descendant of slaves who has found his roots in the land he lives in. Csaire does not look to
Africa in reference to a return to the native land, while Senghor is more attached to both Afr ica
as the origins of his heritage. However, the fact remains that the poetry of both Csaire and
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Senghor invokes others of Africa and of the African Diaspora to embrace their blackness, and it
bestows inspiration to all who take part in reading there masterpieces.
The last poets holds opposing views in her technique at discussing black culture in
modern day American society. In her work To the Diaspora , Gwendolyn Brooks focus is that of
exploiting the lives of everyday African-Americans and their great effort to reveal their hidden
self-identity. Being born in the Midwestern state of Kansas, Brooks was not open to the elements
of her African roots until her journey to the Africa in 1971; there she gained conscious awareness
of her heritage. In her poems she gets her point across in a voice resonant with a new sense that
each member of her audience is "es sentially and essential African (Callahan 59). From the first
stanza in To the Diaspora Books states her overall affect of becoming one with her audience
because they participate in the surprising, late discovery, and because of that, her language is
moderate, loving, and triumphant in conveying a rhetorical message that keeps her audience
intrigued as to their own black identity. Janis Faye correlates with Gwendolyn Brooks within the
text of To the Diaspora; she says that The self has many identities, including racial, ethnic,
national... (Faye 145). Brooks calling upon her audience to locate their internal connection
with Afrika; can only be initiated by their willingness at their own pace by using their self as a
source.
Knowing blackness and acknowledging self -identity rehabilitate Africa-Americans and
all blacks from European beliefs. Generations of African American writers, such as Lopold
Sdar Senghor, Aim Csaire, and Gwendolyn Brooks continue the intellectual texts that inspire
different approaches to issues of race, and ethnicity throughout the America. The three writes
perspectives show an amplified black classification with Africa and the world, and the
persuasion of the United States on a global extent
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Works Cited
Callahan, John F. Essentially an Essential African: Gwendolyn Brooks and the Awakening to
nnnnn Audience." North Dakota Quarterly 55.4 (Fall, 1987): pg. 59Print.
Davis, Paul, Gary Harrison, David M. Johnson, and John F. Crawford. The Bedford Anthology of
nnnnn World Literature: The Modern World, 1650-The Present . Compact. vol 2. New York, NY:
nnnnn Bedford/ St. Martin, 2009. 1694-1721. Print.
Hine, Darlene Clark, and Jacqueline McLeod. Crossing Boundaries: Comparative History of
bbnnn Black People in Diaspora . Bloomington, Indiana: Indiana University Press, 1991. 87-88,
bbbbb 91,105-106,109. Print.
Faye, Janis. Cultural Portrayals of African Americans; Creating an Ethnic/Racial Identity . West
bbbbb Port, Connecticut/ London: Bergin & Garvey, 1997. Print.