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Claude McKay (September 15, 1889[1]– May 22, 1948) was a Jamaican writer and poet. He was a communist in his early life, but after a visit to the Soviet Union, decided that communism was too disciplined and confining. He was never an actual member of the Communist Party. McKay was involved in the Harlem Renaissance and wrote three novels: Home to Harlem (1928), a best-seller which won the Harmon Gold Award for Literature, Banjo (1929), and Banana Bottom (1933). McKay also authored a collection of short stories, Gingertown (1932), and two autobiographical books, A Long Way from Home (1937) and Harlem: Negro Metropolis (1940). His book of poetry, Harlem Shadows (1922) was among the first books published during the Harlem Renaissance. His book of collected poems, Selected Poems (1953), was published posthumously.

Contents

Early life

Claude McKay was born Festus Claudius McKay. Born in James Hill[2], Clarendon, Jamaica, McKay was the youngest in the family. His father, Thomas Francis McKay, and his mother, Hannah Ann Elizabeth Edwards, were well-to-do peasant farmers, and had enough property to qualify to vote.

At age four, McKay started school at M.D at the church he attended. At age seven, McKay was sent to live with his oldest brother, a school teacher, to be given the best education available. While living with his oldest brother, Uriah Theodore, McKay became an avid reader and started writing poetry at the age of 10. While under his brother's teachings, McKay studied classical and British literary figures and philosophers as well as science and theology.

In 1906, McKay became an apprentice to a carriage and cabinet maker known as Old Brenga. He stayed in his apprenticeship for about two years. During that time, in 1907, McKay met a man named Walter Jekyll who became a mentor and an inspiration for him. He encouraged McKay to concentrate on his writing. Jekyll convinced McKay to write in his native dialect and even later set some of McKay's verses to music. Jekyll helped McKay publish his first book of poems, Songs of Jamaica, in 1912. These were the first poems published in Patois (dialect of mainly English words with a strong African structure).

McKay's next volume, Constab Ballads, came out in the same year and was based on his experience as a police officer in Jamaica. He left for the U.S. that year as well, and went to Booker T. Washington's Tuskegee Institute. McKay was shocked by the intense racism he encountered in Charleston, South Carolina, where many public facilities were segregated. Disliking the "semi-military, machinelike existence there", McKay quickly left to study at Kansas State University. His political involvement dates from these days. He also read W. E. B. Du Bois' Souls of Black Folk, which had a major impact on him.

Despite doing well in exams, in 1914 McKay decided he did not want to be an agronomist and went to New York, where he married his childhood sweetheart Eulalie Lewars.

Career

McKay had two poems published in 1917 in Seven Arts under the Alias Eli Edwards. However, McKay continued to work as a waiter on the railways. In 1919 he met Crystal and Max Eastman, who produced The Liberator (where McKay would serve as Co-Executive Editor until 1922). It was here that he published one of his most famous poems, "If We Must Die", during the "Red Summer", a period of intense racial violence against black people in Anglo-American societies. This was among a page of his poetry which signaled the commencement of his life as a professional writer.

During McKay's time with The Liberator, he had affairs with both men and women, including Waldo Frank and Edward Arlington Robinson. Details on his relationships are few.[3]

McKay became involved with a group of black radicals who were unhappy both with Marcus Garvey's nationalism and the middle class reformist NAACP. These included other Caribbean writers such as Cyril Briggs, Richard B. Moore and Wilfrid Domingo. They fought for black self-determination within the context of socialist revolution. Together they founded the semi-secret revolutionary organization, the African Blood Brotherhood. McKay soon left for London, England.

Hubert Harrison had asked McKay to write for Garvey's Negro World, but only a few copies of the paper have survived from this period, none of which contain any articles by McKay. He used to frequent a soldier's club in Drury Lane and the International Socialist Club in Shoreditch. A militant atheist, he also joined the Rationalist Press Association. It was during this period that McKay's commitment to socialism deepened and he read Marx assiduously. At the International Socialist Club, McKay met Shapurji Saklatvala, A. J. Cook, Guy Aldred, Jack Tanner, Arthur McManus, William Gallacher, Sylvia Pankhurst and George Lansbury. He was soon invited to write for the Workers' Dreadnought.

In 1920, the Daily Herald, a socialist paper published by George Lansbury, included a racist article written by E. D. Morel. Entitled "Black Scourge in Europe: Sexual Horror Let Loose by France on the Rhine", it insinuated gross hypersexuality on black people in general, but Lansbury refused to print McKay's response. This response then appeared in Workers' Dreadnought. This started his regular involvement with Workers' Dreadnought and the Workers' Socialist Federation, a Council Communist group active in the East End and which had a majority of women involved in it at all levels of the organization. He became a paid journalist for the paper; some people claim he was the first black journalist in Britain. He attended the Communist Unity Conference which established the Communist Party of Great Britain. At this time he also had some of his poetry published in the Cambridge Magazine, edited by C. K. Ogden.

When Sylvia Pankhurst was arrested under the Defence of the Realm Act for publishing articles "calculated and likely to cause sedition amongst His Majesty's forces, in the Navy, and among the civilian population," McKay had his rooms searched. He is likely to have been the author of "The Yellow peril and the Dockers" attributed to Leon Lopez, which was one of the articles cited by the government in its case against the Workers' Dreadnought.

In 1922 he visited the Soviet Union and attended the fourth congress of the Communist International in Moscow. There, he met many leading Bolsheviks including Leon Trotsky, Nikolai Bukharin and Karl Radek.

McKay and the Harlem Renaissance

McKay was a substantial figure who emerged as one of the first and most militant voices of the Harlem Renaissance. He was regarded as one of the first major poets of the movement. Some of his most famous poems during that period were the militant If We Must Die (1919) and his self portrait Outcast, which was collected in Harlem Shadows (1922).

McKay also wrote lyrics reminiscent of his Jamaican homeland and works about love and exile, such as the Tropics in New York and Harlem Dancer. The tone for many of his works have been described as race-conscious and revolutionary. He was an advocate for full civil liberties and racial solidarity. McKay’s pride in his culture and racial awareness helped stimulate expression in African American literacy.

Home to Harlem and Other Works

In 1928, McKay published his most famous novel, Home to Harlem (1928), which won the Harmon Gold Award for Literature. The novel, which depicted street life in Harlem, would have a major impact on black intellectuals in the Caribbean, West Africa, and Europe.[4]

McKay's novel gained a substantial readership, especially with people who wanted to know more about the intense, and sometimes shocking, details of Harlem nightlife. His novel was an attempt to capture the energetic and intense spirit of the "uprooted black vagabonds." Home to Harlem was a work in which McKay looked among the common people for a distinctive black identity.

Despite this, the book drew fire from one of McKay's heroes, W. E. B. Du Bois. To Du Bois, the novel's frank depictions of sexuality and the nightlife in Harlem only appealed to the "prurient demand[s]" of white readers and publishers looking for portrayals of black "licentiousness." As Du Bois said, "Home to Harlem ... for the most part nauseates me, and after the dirtier parts of its filth I feel distinctly like taking a bath."[4] Modern critics now dismiss this criticism from Du Bois, who was more concerned with using art as propaganda in the struggle for African American political liberation than in the value of art to showcase the truth about the lives of black people.[5]

McKay's other novels were Banjo (1930), and Banana Bottom (1933). Banjo was noted in part for its portrayal of how the French treated black colonists, as the novel centers on black seamen in Marseilles. Césaire stated that in Banjo, blacks were described truthfully and without "inhibition or prejudice". Banana Bottom was McKay's third novel. The book is said to follow a principal theme of a black individual in search of establishing a cultural identity in a white society. The book discusses underlying racial and cultural tensions.

McKay also authored a collection of short stories, Gingertown (1932), and two autobiographical books, A Long Way from Home (1937) and Harlem: Negro Metropolis (1940). His book of collected poems, Selected Poems (1953), and his second autobiography, My Green Hills of Jamaica (1979), were published posthumously.

Becoming disillusioned with communism, McKay embraced the social teachings of the Roman Catholic Church, to which he converted in 1944.[6] He died from a heart attack in Chicago at the age of 59.

Legacy

In 2002, scholar Molefi Kete Asante listed Claude McKay on his list of 100 Greatest African Americans.[7] He is regarded as the "foremost left-wing black intellectual of his age" and his works heavily influenced a generation of black authors including James Baldwin and Richard Wright.[8]

Awards

  • Jamaican Institute of Arts and Sciences, gold medal, 1912, for two volumes of poetry, Songs of Jamaica and Constab Ballads;
  • Harmon Foundation Award for distinguished literary achievement, NAACP, 1929, for Harlem Shadows and Home to Harlem;
  • James Weldon Johnson Literary Guild Award, 1937.

References

  1. ^ See James, Winston (2003), "Becoming the People's Poet: Claude McKay's Jamaican Years, 1889-1912," in Small Axe: A Caribbean Journal of Criticism, March 2003, No. 13, pp. 17-45; footnote 8. There has been much confusion over whether McKay was born in 1889 or 1890, but his birth certificate has been discovered showing that he was, in fact, born in 1889.
  2. ^ Many sources claim this birthplace; however, James, Winston (2003) says McKay was born in the village of Nairne Castle.
  3. ^ Aldrich, Robert; Wotherspoon, Garry (2001), Who's Who in Contemporary Gay and Lesbian History, Routledge, pp. 287, ISBN 0415159822 
  4. ^ a b Haiti and Black Transnationalism: Remapping the Migrant Geography of Home to Harlem - Critical Essay | African American Review | Find Articles at BNET.com
  5. ^ The Johns Hopkins Guide to Literary Theory and Criticism
  6. ^ James, Winston (2001). A Fierce Hatred of Injustice: Claude McKay's Jamaica and His Poetry of Rebellion (London: Verso), p. 46.
  7. ^ Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8.
  8. ^ Claude McKay
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Quotes

Up to date as of January 14, 2010

From Wikiquote

Claude McKay (September 15, 1889May 22, 1948) was a Jamaican writer and communist and part of the Harlem Renaissance.

Sourced

  • The shivering birds beneath the eaves
    Have sheltered for the night.
    • After the Winter, l. 3-4
  • The pavement slabs burn loose beneath my feet,
    A chafing savage, down the decent street;
    And passion rends my vitals as I pass,
    Where boldly shines your shuttered door of glass.
    • The White House, l. 5-8
  • Oh, I must keep my heart inviolate
    Against the potent poison of your hate.
    • The White House, l. 13-14
  • If we must die, O let us nobly die,
    So that our precious blood may not be shed
    In vain; then even the monsters we defy
    Shall be constrained to honor us though dead!
    • If We Must Die, l. 5-8
  • Although she feeds me bread of bitterness,
    And sinks into my throat her tiger’s tooth,
    Stealing my breath of life, I will confess
    I love this cultured hell that tests my youth!
    • America, l. 1-4
  • The wine-flushed, bold-eyed boys, and even the girls,
    Devoured her with their eager, passionate gaze;
    But looking at her falsely-smiling face,
    I knew her self was not in that strange place.
    • The Harlem Dancer, l. 11-14
  • Deep in the secret chambers of my heart
    I muse my life-long hate, and without flinch
    I bear it nobly as I live my part.
    • The White City, l. 2-4
  • I have forgotten much, but still remember
    The poinsiana's red, blood-red in warm December.
    • Flame-Heart, l. 9-10
  • Oh some I know! I have embalmed the days,
    Even the sacred moments when we played,
    All innocent of passion, uncorrupt,
    At noon and evening in the flame-heart’s shade.
    • Flame-Heart, l. 26-29
  • Like men we’ll face the murderous, cowardly pack,
    Pressed to the wall, dying, but fighting back!
    • If We Must Die, l. 13-14
  • And, hungry for the old, familiar ways,
    I turned aside and bowed my head and wept.
    • The Tropics in New York, l. 11-12

Unsourced

  • I know the dark delight of being strange,
    The penalty of difference in the crowd,
    The loneliness of wisdom among fools.
  • Idealism is like a castle in the air if it is not based on a solid foundation of social and political realism.
  • If a man is not faithful to his own individuality, he cannot be loyal to anything.
  • Nations, like plants and human beings, grow. And if the development is thwarted they are dwarfed and overshadowed.
  • Upon the clothes behind the tenement, That hang like ghosts suspended from the lines, Linking each flat, but to each indifferent, Incongruous and strange the moonlight shines.

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