When Gwendolyn Brooks published her first collection of poetry A Street In Bronzeville in 1945 most reviewers recognized Brooks versatility and craft as a poet.
Yet, while noting her stylistic successes few of her contemporaries discussed the critical question of Brooks relationship to the Harlem Renaissance. How had she addressed herself, as a poet, to the literary movements assertion of the folk and African culture, and its promotion of the arts as the agent to define racial integrity?
The New Negro poets of the Harlem Renaissance expressed a deep pride in being Black; they found reasons for this pride in ethnic identity and heritage; and they shared a common faith in the fine arts as a means of defining and reinforcing racial pride. But in the literal expression of this impulse, the poets were either romantics, or realists and, quite often within the same poem, both. The realistic impulse, as defined best in the poems of McKays Harlem Shadows (1922), was a sober reflection upon Blacks as second class citizens, segregated from the mainstream of American socio-economic life, and largely unable to realize the wealth and opportunity that America promised. The romantic impulse, on the other hand, as defined in the poems of Sterling Browns Southern Road (1932), often found these unrealized dreams in the collective strength and will of the folk masses.
In comparing the poems in A Street in Bronzeville with various poems from the Renaissance, it becomes apparent that Brooks brings many unique contributions to bear on this tradition. The first clue that A Street In Bronzeville was, at its time of publication, unlike any other book of poems by a Black American is its insistent emphasis on demystifying romantic love between Black men and women. During the Renaissance, ethnic or racial pride was often focused with romantic idealization upon the Black woman. A casual streetwalker in Hughes’ poem, "When Sue Wears Red," for example, is magically transformed into an Egyptian
Queen. In A Street In Bronzeville, this romantic impulse runs headlong into the biting ironies of racial discrimination. There are poems in which Hughes, McKay and Brown recognize the realistic underside of urban life for Black women. But for Brooks, unlike the Renaissance poets, the victimization of poor Black women becomes not simply a minor chord but a predominant theme.
Brooks relationship with the Harlem Renaissance poets, as A Street in Bronzeville ably demonstrates, was hardly imitative. As one of the important links with the Black poetic tradition of the 1920s and 1930s, she enlarged the element of realism that was an important part of the Renaissance world-view. Although her poetry is often conditioned by the optimism that was also a legacy of the period, Brooks rejects outright their romantic prescriptions for the lives of Black women.
And in this regard, she serves as a vital link with the Black Arts Movement of the 1960s that, while it witnessed the flowering of Black women as poets and social activists as well as the rise of Black feminist aesthetics in the 1970s, brought about a curious revival of romanticism in the Renaissance mode.
According to the passage, the poems in A Street in Bronzeville are similar to the poems in Harlem Shadows because they each:
Comments