Sociology Seminars,
Atlanta University
April 28, 1947

Notes

Langston Hughes
Prose as a social force

Why is it that there are some words that, once you learn
them, you never to get them:

DO UNTO OTHERS AS YOU WOULD HAVE OTHERS DO UNTO YOU.

THE MWOING FINGER WRITES·AND HAVING WRIT MOES ON

PIETY NOR WIT

NOR ALL YOUR MOURING CAN LURE IT BACK TO CANCEL HALF A LINE

NOR ALL YOUR TEARS WIPE OUT A WORD OF IT.

THE QUALITY OF MERCY IS NOT STRAINED.

IT DROPETH AS THE GENTLE RAIN FROM HEAVEN UPON THE PLACE BENEF

ALL MEN ARE CREATED EQUAL,

ENDOWED BY THEIR CREATOR WITH CERTAIN INALIENABLE RIGHTS.....

AMONG THESE, LIFE, LIBERTY, AND THE PURSUIT OF HAPPINESS.

MINE EYES HAVE SEEN THE GLORY OF THE COMING OF THE LORD.

HE IS TRAMPING OUT HIS VENGEANCE WHERE THE GRAPS OF WRATH
SRE STORED.

BETTER TO DIE FREE THAN TO LIVE SLAVES.

BETTER TO DIE ON YOUR FEET THAN TO LIVE ON YOUR KNEES.

Why is it in that in the dictator countries, the writers are
the first to be forced to flee into exile, or if caught to be jailed

or killed?

VOLTAIRE

KOESSLER

GORKY

PAACIDO

LORCA

THOMAS MANN

REMARQUE

-2-

KOESTLER IN RUSSIA

WRITERS IN CHINA

"STREET WITHOUT SUN" IN JAPAN

WHY IS IT WORDS CAN BECOME A PART OF MEN? WHY IS IT WRITERS CAN FRIGHTEN DIGTATORS?

ANSWER: THE PEN IS MIGHTIER THAN THE SWORD! All a sword can do is kill---those within reach. But words can move like an electric currnet among men, linking them together, making them into fighters for wht they believe.

NOT ENTIRELY AS A JOKE DID LINCOLN SAY TO HARRIETTE BRACHER STOWE,
"So you are the little woman who caused the great war."
UNCLE TOM'S CABIN......Avolitionists: Whittier, Garrison, Lowell, Longfellow.....

WHAT ARE BOOKS? WHAT ARE WORDS?-----"IDEAS IN ACTION"

Quiet on the printed page, but active in the mind.

TAKE OUR OWN COUNTRY---Based on words of FREEDOM:

THE MAYFLOWER COMPACT---"To combine ourselves together in a civil body politick....and by virtue hereof to enact, constitute and frame such just and equal laws....for the general good of the colany.

DECLARATION OF INDEPENDENCE

PREAMBLE OF THE CONSTITUTION

WASHINGTON---JEFFERSON---BEN FRANKLIN---LINCOLN

ROOSVEVELT: "THE FOUR FREEDOMS" Men remember!

IN OUR ENDLISH SPEAKING WORLD-----DICKENS---Educational System:
"OLIVER TWIST"

-2-

KOESTLER IN RUSSIA

WRITERS IN CHINA

"STREET WITHOUT SUN" IN JAPAN

WHY IS IT WORDS CAN BECOME A PART OF MEN? WHY IS IT WRITERS CAN FRIGHTEN DICTATORS?

ANSWER: THE PEN IS MIGHTER THAN THE SWORD! All a sword can do is kill---those within reach. But words can move like an electric currnet among men, linking them together, making them into fighters for wht they believe.

NOT ENTIRELY AS A JOKE DID LINCOLN SAY TO HARRIETTE BEACHER STOWE,
"So you are the little woman who caused the great war."
UNCLE TOM'S CABIN...... Avelitionists: Whittier, Garrison, Lowell, Longfellow.....

WHAT ARE BOOKS? WHAT ARE WORDS? "IDEAS IN ACTION"

THE MAYFLOWER COMPACT---"To combine ourselves together in a civil body politick....and by virtue hereof to enact, constitute and frame such just and equal laws....for the general good of the colony.

DECLARATION OF INDEPENDENCE

PREAMBLE OF THE CONSTITUTION

IN OUR ENGLISH SPEAKING WORLD---DICKENS---Educational System: "OLIVER TWIST"

BERNARD SHAW²---Socialism

Women suffrage

IBSEN's translations: HEDDA GABLER

MASTER BUILDERS
GHOSTS

D. H. LAWRENCE---LADY CHATTERLY'S LOVER

VIRGINIA WOLFE---ROOM OF ONE'S OWN

GERTRUDE ATHERWON---BLACK OXEN---rejuvenation

CHARLES NORRIS---Marriage and Birth control

UPTON SINCLAIR---THE JUNGLE

STEINBECK---GRAPES OF WRATH

SINCLAIR LEWIS---MAIN STREET

BABBITT
KINGSBLOOD ROYAL

CHICAGO SCHOOL: FARRELL

ALGREN
MEYER LEVIN
RICHARD WRIGHT

WILLARD MOTLEY---Read portin

WERFEL---MIRACLE OF BERNADETTE

**NEGROES:**
* White writers
* Negro writers

W. E. B. DuBois

The Best Possible World

ALL RIGHT, MR. RICH WHITE MAN, you like this world. Improvements? Yes, but on the whole, you regard it as the best possible world. You like your luxurious home with all its gadgets; your servants want too much pay, but they are trained and deft; your neighborhood is the most aristocratic, provided you can keep out the Jews; the city services — sewage, garbage collection, water, gas, electricity — all are satisfactory; they better be or someone will lose their job. Your income is not bad: ten thousand, twenty-five thousand will get you by — with food, clothes, luxuries, night-clubs, two new cars, a chauffeur, Palm Beach, orchestra seats. Yes, you like this world and no damn Communist is going to change it if you see him first.

It is a world which you built, Mr. Rich Man and have ruled absolutely for two centuries. Recently it has cracked and sagged about your ears. But that is but temporary. Prosperity—your Prosperity is just around the corner. You'll soon have things in hand again: cheap labor, unions smashed or at least curbed; servants cheap and cringing; Socialists in jail; Russian Communists, dead and in Hell.

In Complete Control

NO, RUSSIANS AND COMMUNISTS and Socialists and Niggers did not cause this recent collapse of civilization; you were in control—complete control when two World Wars, a World depression, armies of insane, cripples and starved offended your fastidious taste. But you are going to change all that. You are preparing for bigger and better wars; you are making atomic

bombs by the hundreds; you've got the biggest navy on earth and you'll have the biggest army as soon as you can sneak the legislation through a stupid Congress. Ask Taft.

You are going to have Democracy, by God, no matter what it costs: $400,000,000 worth of Democracy in Poland and Greece and Turkey; but not one cent's worth in Mississippi and Georgia. That's the ticket; let the Great Truman tell 'em! Down with Stalin. Up with Bilbo and Rankin. $400,000,000 for new wars and not a cent for education. Didn't the dirty Russians wipe out illiteracy in thirty years? Isn't that just like their underhanded duplicity? We've been pretending to educate Negroes for seventy-five years and a third of them still can't read and write. That's the way to keep the world in control. What's the need of reading anyway?, What the rich want is better cooks; better and cheaper plumbers, carpenters like those of the good old days, when good mechanics worked ten hours a day for ten cents an hour. Freedom, that's what we want; if this pauper wants to work for a scab's wage so as to bring other workers down to his starvation equal and increase the income of the rich—let him be free to do it; out with the closed shop. Let the closed shop only apply to banking, oil-refining, aluminum pans, railroads, telephones, and other things which the rich rightly control, because they've got the guns, the police, the jails and the Press. Thank God, for our Free Press: free to lie, free to misrepresent, free to suppress the truth, free to kick the stupid world into war any time "we" want it.

Russia's Press Cagged

LOOK AT RUSSIA? Has she got a Free Press? No, Sir! Her press is gagged with the silly idea of abolishing Poverty, curbing the rich —curbing Me! Imagine that? Why in this free land, I can do anything I damn well please. I can buy a President. I'm going to in 1948. Watch me. Who am I? I am a free white American with an income in five figures; if I'm not that, what the hell am I doing on earth anyhow?

The Winds
Of Time

POETRY AS A SOCIAL FORCE

A. U., April 29, 1947

THE BIBLE---Corinthians I---XIII

ROBERT BURNS----------A MAN'S A MAN FOR ALL THAT

THOMAS HOOD-----------SONG OF THE SHIRT

EDWIN MARKHAM--------MAN WITH THE HOE

WALT WHITMAN---------"Liberty......"

NEGRO

<table>
  <tbody>
    <tr>
      <td>FRANCES HARPER--------SLAVE AUCTION------Caravan P. 295</td>
      <td></td>
    </tr>
    <tr>
      <td>PAUL L. DUNBAR--------HARIETT BEECHER STOWE</td>
      <td>312</td>
    </tr>
    <tr>
      <td>CEAUDE MCKAY----------IF WE MUST DIE</td>
      <td>350</td>
    </tr>
    <tr>
      <td>COUNTEE CULLEN--------INCIDENT</td>
      <td>361</td>
    </tr>
    <tr>
      <td>BROOKS------------KITCHENETTE</td>
      <td>S.I.B.</td>
    </tr>
    <tr>
      <td>WARING CUNEY--------HARD TIME BLUES</td>
      <td>375</td>
    </tr>
    <tr>
      <td>LANGSTON HUGHES------SONG FOR A DARK GIRL</td>
      <td>F.C.T.J.</td>
    </tr>
    <tr>
      <td>WITTER BYNNER--------DEFEAT</td>
      <td>Manscript</td>
    </tr>
    <tr>
      <td>MARGARET WALKER------FOR MY PEOPLE</td>
      <td>409</td>
    </tr>
  </tbody>
</table>

LANGSTON HUGHES

SOCIOLOGY SEMENARS: FOUNDATIONS OF THE SOCIAL SCIENCES

ATLANTA UNIVERSITY, 1947

<table><tr><td>MONDAY, APRIL 28---PROSE AS A SOCIAL FORCE</td><td>7:30-9</td></tr><tr><td>TUESDAY, APRIL 29---POETRY AS A SOCIAL FORCE</td><td>7:30-9</td></tr><tr><td>WEDNESDAY, APRIL 30--MY ADVENTURES AS A SOCIAL POET</td><td>8--9:30</td></tr></table>

Exhibition Room---University Library

Chairman of Seminars: Dr. Mozell Hill

Chairman of Forum: Dr. N. P. Tillman

522. the
CREATIVE WRITING. A workshop course in/incentives and
forms of prose and poetry with special attention to the in-
dividual projects of each student.

492. THE NEGRO IN AMERICAN POETRY. A survey of the poetry
of the Negro from the African American/American
songs poems of
Negro folk music and the African American Phyllis Wheatley to
our living contemporaries. This is an appreciation course
relating poetry to the living backgrounds and social currents
of American history.

522---English---Creative Writing

TEXT BOOKS USED: None, but frequent use made of various books on writing in A. U. Library, and THE WRITER, Monthly magazine. Examples of great prose and poetry referred to students or read aloud in class, as well as contemporary works.

GROUND COVERED: Examples of writing required from each students on a variety of themes and in various styles. Class room lectures on incentives to and ways of writing. After first six weeks, each student chose an individual project and proceeded to develop it for remainder of semester under guidance of teacher. Workshop and individual conference methods, guidance toward publication.

METHODS EMPLOYED: Class room Lectures.

Teacher and group criticism of students' work.

Individual conferences.

Steady output of writing in project chosen by student required.

Possible sources of publication indicated for each student's material.

Atlanta University, 1947

A COURSE IN CREATIVE WRITING

Week of

January 28 - Introduction and background

A - General

1. Explanation of method, distribution of outlines and topics for reports

2. What creative writing is---general uses and purpose

B - Craftsmanship and criticism

February 3 - <u>The Essay</u>---lecture and report

February 10 - Discussion of student essays in seminar

February 17 - Character delineation---lecture and reports

February 24 - Discussion and criticism of student essays

March 3 - <u>The Short Story</u>---lecture and reports

March 10 - Discussion and criticism

March 17 - Discussion and criticism

March 24 - Poetry---lecture and readings by lecturer of types

March 31 - Discussion and criticism

April 7 - (May insert second lecture here; discussion and criticism)

Atlanta University, 1947

Preliminary outline.
not followed. L.H.
A COURSE IN CREATIVE WRITING

Week of
January

A - General

February

3 - The Essay---lecture and report

March

3 - The Short Story---lecture and reports

March

10 - Discussion and criticism

March

17 - Discussion and criticism

March

March

31 - Discussion and criticism

April

# COURSE IN CREATIVE WRITING

## Readings

In the following bibliography only a few items appear under each item, other than the "general" listings. These particular volumes are to serve as guides for further specific reading and the student is reminded that many of the books in the general category contain specific materials relating to individual subjects and should be consulted. In searching for material the course bibliographical sheet should be referred to for the full listings of volumes, since only cursory identification is made below.

### General

Anderson, Maxwell, Rhys Carpenter and Roy Harris. *The Basis of Artistic Creation.*

Anderson, Sherwood. *A Writer's Conception of Realism.*

Babcock, Robert W., R. D. Horn and T. H. English. *Creative Writing for College Students.*

Brophy, John, L. Eyles, and E. Farjeon. *The Writers' Desk Book.*

Burack, A. S. *The Writer's Handbook.*

Caldwell, James R. *John Keat's Fancy.*

Bildersee, Adele. *Imaginative Writing.*

De La Mare, Walter. *Behold, This Dreamer.*

Dewey, John. *Construction and Criticism.*

Downey, June Etta. *Creative Imagination.*

Ellsworth, William W. *Creative Writing.*

Fulton, Maurice G. *Writing Craftsmanship.*

Gill, E. M. *Writing for a Living.*

Goodyear, Robert A. H. *Writing for Fame and Fortune.*

Greenough, Chester and Frank W. Hersey. *Writing Well.*

Hall, Samuel R. *Writing and Advertising.*

Harding, Rosamond E. M. *An Anatomy of Inspiration.*

Hepburn, Anthony G. *Writers' Guide to Information.*

Holmes, Elizabeth. *Aspects of Elizabethan Imagery.*

Creative Writing - Readings: Page -2-

Horler, Sydney. *Writing for Money*.

Knowlson, Thomas S. *Creating New Ideas*.

Lewis, C. Staples. *Psycho-analysis and Literary Criticism*.

Lindsay, Jack. *Inspiration*.

Lowes, John L. *The Road to Xanadu*.

Lundy, Miriam. *Writing Up the News*.

MacCampbell, Donald. *Writing as a Hobby*.

Marks, Percy and Adolphus J. Bryan. *The College Writer*.

Nelson, Joseph R. *Writing the Technical Report*.

Nethercot, Arthur H. *The Road to Tryermame*.

Nicolson, Marjorie Hope. *The Microscope and English Imagination*.

Northcroft, George J. H. *Writing for Children*.

Patterson, Helen M. *Writing and Selling Special Feature Articles*.

Peyre, Henri. *Writers and Their Critics*.

Porterfield, Austin L. *Creative Factors in Scientific Research*.

Price, Lucien. *The Will to Create*.

Rees, Helen E. *A Psychology of Artistic Creation as Evidenced in Autobiographical Statements of Artists*.

Reid, Mildred I. *Writers, Here's How*.

Richards, Ivor Anderson. *Coleridge on Imagination*.

Russell, George William (A.E.). *Imagination and Realism*.

Rinehart, Mary Roberts. *Writing is Work*.

Sachs, Hanns. *The Creative Unconsciousness*.

Schwartz, William Leonard. *The Imaginative Interpretation of the Far East in Modern French Literature*.

Sherwood, Margaret P. *Coleridge's Imaginative Conception of the Imagination*.

Smith, Bertha W. *The Writing Art*.

Smith, Henry J. *It's The Way It's Written*.

Creative Writing - Readings: Page -3-

Spearman, Charles Edward. <u>Creative Mind.</u>

Steeksma, John. <u>The Writing Way.</u>

Steel, Eric M. <u>Diderot's Imagery.</u>

Swaffer, Hannen. <u>Adventures With Inspiration.</u>

Uzzell, Thomas H. <u>Writing as a Career.</u>

Vestal, Stanley. <u>Writing Magazine Fiction.</u>

Warren, Clarence Henry. <u>The Writers Art.</u>

Wickes, E. M. <u>Writers Library.</u>

Wharton, Edith N. J. <u>The Writing of Fiction.</u>

Whitaker-Wilson, Cecil. <u>Writing for Broadcasting.</u>

Wilhelm, Donald George. <u>Writing for Profit.</u> (Both 1930, and 1937)

<u>Writers' Program.</u>

<u>Writers' Project.</u>

## <u>The Essay</u>

Dewey, John. <u>Construction and Criticism.</u>

Ellsworth, William W. <u>Creative Writing.</u>

## <u>The Short Story</u>

Robinson, Mabel L. with Helen Hull. Creative Writing.

## <u>Poetry</u>

Andrews, Clarence Edward. <u>The Writing and Reading of Verse.</u>

Hughes, Glenn. <u>Imagism and the Imagist.</u>

<u>Imagist Anthology.</u>

Lyons, Jeanne Marie (Sister). <u>The Role of the Imagination in the Making of Poetry.</u>

Maritain, Jacques. <u>Art and Poetry.</u>

Miller, Harry A. <u>Creative Writing of Verse.</u>

Creative Writing - Readings: Page -4-

Smith, Charles W. Browning's _Star-Imagery_.

Wells, Henry Willis. _Poetic Imagery_.

James, D. G. _Scepticism and Poetry_.

## The Drama

Anderson, Maxwell, Rhys Carpenter and Roy Harris. _The Bases of Artistic Creation._

Hillebrand, Harold N. _Writing the One-Act Play._

Jackson, Arrar. _Writing for the Screen._

Oneal, Billie. _The Inspiration._

Rowe, Kenneth T. _Write That Play._

_Writers Radio Theater._

## The Novel

Geismar, Maxwell D. Writers in Crisis.

NOTE: Bibliographies and Periodicals should be consulted regularly by the students, both for general readings and for data referring to specific subject matter. (See main bibliography)

# A COURSE IN CREATIVE WRITING
## Tentative Bibliography

Andrews, Clarence Edward. THE WRITING AND READING OF VERSE (Variation and poetics). New York: D. Appleton & Co., 1932.

Fulton, Maurice G. (Compiler). WRITING CRAFTSMANSHIP (Models and readings). New York: The Macmillan Company, 1933.

Geismar, Maxwell D. WRITERS IN CRISIS (The American novel between two wars. Uses Ring Lardner, Ernest Hemingway, John Dos Passos, William Faulkner, Thomas Wolfe, and John Steinbeck as examples of 20th century American fiction. These are historically analyzed and criticized). Boston: Houghton Mifflin Co., 1942.

Hughes, Glenn. IMAGISM AND THE IMAGIST (A study in modern poetry). Stanford, University, California: Stanford University Press, 1931.

Lowes, John L. THE ROAD TO XANADU (A study in the ways of imagination using Samuel Taylor Coleridge's "Rime of the Ancient Mariner" and "Kubla Khan" as examples). New York: Houghton Mifflin, 1930.

Peyre, Henri. WRITERS AND THEIR CRITICS (A study of misunderstanding). Ithaca, New York: Cornell University Press, 1944.

Richards, Ivor Anderson. COLERIDGE ON IMAGINATION. New York: Harcourt, Brace & Company, 1935.

Robinson, Mabel L., with Helen Hull. CREATIVE WRITING (The story form, authorship, and short story). Cincinnati, 1932.

Wharton, Edith N. J. THE WRITING OF FICTION (Fiction technique). New York: Scribner's Sons, 1925.

Wilhelm, Donald George. WRITING FOR PROFIT (Authorship and diction). New York: McGraw-Hill Book Company, Inc., 1930.

WRITERS' PROGRAM (Project superseded by Federal Writers Project at its end in 1939). For publications see United States Works Progress Administration by state.

WRITERS' PROJECT (Project of the Works Progress Administration of the Federal Government). For publications see United States, W. P. A.

## Periodicals

WRITER, THE A monthly magazine for literary workers. (Bound)

WRITERS' ASSOCIATION OF AMERICAN WRITERS. A monthly magazine, published monthly, containing articles by writers on their art, reviews of books and plays, and other literary news.

BLUE BOOK, THE. A useful manual for all who write---rules, dictionary of ready reference, and index. (San Francisco: Crown Publishing Company).

A COURSE IN CREATIVE WRITING

Tentative Bibliography

Anderson, Maxwell, Rhys Carpenter and Roy Harris. THE BASES OF ARTISTIC CREATION (Basis of artistic creation in literature, music, and the fine arts). New Brunswick, N.J.: Rutgers University Press, 1942 (Publication of 175th Ann. Celebration)

Anderson, Sherwood. A WRITER'S CONCEPTION OF REALISM (An address delivered January 20, 1939 at Olivet College, Olivet, Mich.). Treats of realism in literature). Olivet, Michigan: Olivet College, 1939.

Babcock, Robert W., R. D. Horn and T. H. English. CREATIVE WRITING FOR COLLEGE STUDENTS (Summary of theory of exposition, argumentation, narration, and description, with a selective and illustrative anthology of college student themes and selections from literature). Cincinnati: American Book Co., 1938.

Brophy, John, L. Eyles, and E. Farjeon. THE WRITERS' DESK BOOK. London: A. & C. Black, Ltd., 1934.

Burack, A. S. THE WRITER'S HANDBOOK (Authorship and manuscript market section by Udia G. Olsen). Boston: The Writer, Inc., 1941.

Caldwell, James R. JOHN KEAT'S FANCY (The effect on Keats of the psychology of his day). Ithaca, N.Y.: Cornell University Press, 1945.

De La Mare, Walter. BEHOLD, THIS DREAMER (Collection of poems and passages in prose showing creative results in literature arising from reverie, sleep, dreams, nightmares, death, the unconscious, the imagination, divination, the artistic impulse, etc.). London: Faber and Faber, 1939.

Dewey, John. CONSTRUCTION AND CRITICISM (Individuality and criticism). New York: Columbia University Press, 1930. (The Davies Memorial Lectures series).

Downey, June Etta. CREATIVE IMAGINATION (Studies in the psychology of literature). New York: Harcourt, Brace & Co., 1929.

Ellsworth, William W. CREATIVE WRITING (A guide to those aspiring to authorship). New York: Funk & Wagnalls, 1929.

Gill, E. M. WRITING FOR A LIVING (Authorship, information on practical beginnings for journalists and authors). London: C. A. Pearson, Ltd., 1931.

Goodyear, Robert A. H. WRITING FOR FAME AND FORTUNE (A guide to a pleasant and profitable authorship). London: L. Williams, 1936.

Greenough, Chester and Frank W. Hersey. WRITING WELL (Rhetoric and composition). New York: Macmillan Company, 1932.

Grew, Eva Mary. THE CREATIVE FACULTY (Music and letters). London: Music and Letters, April, 1946 (A periodical) Article, pp. 102-108.

Hall, Samuel R. WRITING AND ADVERTISING (An analysis of methods and mental processes in writing advertising). Boston: Houghton Mifflin Co., 1915.

Harding, Rosamond E. M. AN ANATOMY OF INSPIRATION (A study of inspiration in literary, artistic and other types of creation). Cambridge, England: W. Heffner & Sons, Ltd., 1940.

Hepburn, Anthony G. WRITERS' GUIDE TO INFORMATION (Reference books, bibliography, best books, etc.). London: A. & C. Black, 1937.

Hillebrand, Harold N. WRITING THE ONE-ACT PLAY (A manual for beginners, with a bibliography). New York: A. A. Knopf, 1925.

Holmes, Elizabeth. ASPECTS OF ELIZABETHAN IMAGERY (The predecessors of Shakespeare, Chapman, Masters, Tourneur, and Webster). Oxford: B. Blackwell Publishers, 1929.

Horler, Sydney. WRITING FOR MONEY (Information on authorship according to the subject). London: Nicholson & Watson, Ltd., 1932.

IMAGIST ANTHOLOGY. (Poetry by the imagists Richard Aldington, John Gould Fletcher, F. S. Flint, Ford Maddox Ford, James Joyce, D. H. Lawrence, and William Carlos Williams). New York: Covici, Friede, 1930.

Jackson, Arrar. WRITING FOR THE SCREEN (Technique for writing film plays). London: A. & C. Black, Ltd., 1929.

James, D. G. SCEPTICISM AND POETRY (An essay on poetic imagination discussing the activity of imagination in poetry, especially in the works of Wordsworth and Shakespeare). London: G. Allen & Unwin, Ltd., 1937.

Knowlson, Thomas S. CREATING NEW IDEAS (Shows how, when, and where). London: Thorsons Publishers, Ltd., 1945.

Lewis, C. Staples. PSYCHO-ANALYSIS AND LITERARY CRITICISM (In essays and studies by members of the English association--A paper read to a literary society at Westfield College). Oxford: 1942.

Creative Writing - Tentative Bibliog. -3

Lindsey, Jack. INSPIRATION (An anthology of utterances by creative minds defining the creative act and its lyrical basis in life). London: The Fanfrolic Press, 1928.

Lundy, Miriam. WRITING UP THE NEWS (Behind the scenes of the great newspapers. Stories by top ranking editors and reporters of the inside of newspaper work. Data on journalism, reporters, and reporting). New York: Dodd, Mead & Company, 1939.

Lyons, Jeanne Marie, (Sister). THE ROLE OF THE IMAGINATION IN THE MAKING OF POETRY (Has bibliographical footnotes---this is a study in creative poetry). New York: Thomist Magazine, V.2, 1940.

MacCampbell, Donald. WRITING AS A HOBBY (Material on authorship, handbooks, manuals, etc.). New York: Harper & Brothers, 1940.

Maritain, Jacques. ART AND POETRY (Translated by E. de P. Matthews). (Poetry, art and philosophy, literary and artistic creation). New York: The Philosophical Library, 1943.

Miller, Harry A. CREATIVE WRITING OF VERSE (A constructive study of poetry). Cincinnati: American Book Company, 1932.

Nelson, Joseph R. WRITING THE TECHNICAL REPORT (Preparation and language of technical reports). New York: McGraw-Hill Book Company, Inc., 1940.

Nethercot, Arthur H. THE ROAD TO TRYERMAME (A study of the history, background, and purposes of Coleridge's "Christobel.") Chicago: University of Chicago Press, 1939.

Nicolson, Marjorie Hope. THE MICROSCOPE AND ENGLISH IMAGINATION (English literature---its history and criticism). Northampton, Mass.; Smith College, 1935.

Northcroft, George J. H. WRITING FOR CHILDREN (Authorship, juvenile literature and fiction, and technique). London: A. & C. Black, Ltd., 1935.

Oneal, Billie. THE INSPIRATION (A one act play in "Prize Winning One Act Plays", compiled by the author). Dallas, Texas: 1930.

Patterson, Helen M. WRITING AND SELLING SPECIAL FEATURE ARTICLES (Journalism, authorship, special feature articles). New York: Prentice-Hall, Inc., 1939.

Porterfield, Austin L. CREATIVE FACTORS IN SCIENTIFIC RESEARCH (The interplay of psychology and cultural factors in science, with emphasis upon imagination). Durham, N.C.: Duke Univ. Press, 1941.

Creative Writing - Tentative Bibliog. -4-

Price, Lucien. THE WILL TO CREATE (Studies in the will to create, in free fantasia---literary and artistic creation). (This is a report of the text of two addresses delivered at the Berkshire Music Center, Tanglewood, Lenox, Mass., on July 30 and August 3, 1942.) Boston: Old Corner Book Store, 1943.

Rees, Helen E. A PSYCHOLOGY OF ARTISTIC CREATION AS EVIDENCED IN AUTOBIOGRAPHICAL STATEMENTS OF ARTISTS (Literary and artistic creation). New York: Teachers College, Columbia University, 1942.

Reid, Mildred I. WRITERS, HERE'S HOW! (Fiction technique and authorship). New York: The House of Little Books, 1940.

Rinehart, Mary Roberts. WRITING IS WORK (Authorship). Boston: The Writers, Inc., 1939.

Rowe, Kenneth T. WRITE THAT PLAY (Text and analysis). New York: Funk & Wagnalls Company, 1939. (Drama technique, history, and criticism).

Russell, George William (A.E.). IMAGINATION AND REALISM. London: Mausel & Company, Ltd., 1915.

Sachs, Hanns. THE CREATIVE UNCONSCIOUSNESS (Studies in psycho-analysis of art and literary creation, and studies in aesthetics). Cambridge, Mass: Science-Art Publishers, 1942.

Schwartz, William Leonard. THE IMAGINATIVE INTERPRETATION OF THE FAR EAST IN MODERN FRENCH LITERATURE (1800-1925). (French literature, history and criticism, comparative literature of Oriental and French). Paris: H. Champion, 1927.

Sherwood, Margaret P. COLERIDGE'S IMAGINATIVE CONCEPTION OF THE IMAGINATION. Wellesley, Mass: Hathaway House Bookshop, 1937.

Smith, Bertha W. THE WRITING ART (Authorship, as expressed and experienced by the great writers---an anthology). Boston: Houghton Mifflin Company, 1931.

Smith, Charles W. BROWNING'S STAR-IMAGERY (Study of a detail in poetic design). Princeton, N. J.: Princeton University Press, 1941. (Princeton Studies in English, Volume 21).

Smith, Henry J. IT'S THE WAY IT'S WRITTEN (Writing versus everything else; about journalism mainly, with some observation on literature). Chicago: L. Mariano, 1940.

Spearman, Charles Edward. CREATIVE MIND (Imagination, thought and thinking, art). New York: D. Appleton & Co., 1931.

Creative Writing - Tentative Bibliog. -5-

Steeksma, John. THE WRITING WAY (A guide to written expression as a cultural and creative medium). London: I. Pitman & Sons, Ltd., 1933.

Steel, Eric M. DIDEROT'S IMAGERY (A study of literary personality). New York: Corporate Press, 1941.

Swaffer, Hannen. ADVENTURES WITH INSPIRATION (A study of creative-ness and inspiration). London: Morley and Mitchell, 1929.

Uzzell, Thomas H. WRITING AS A CAREER (A handbook of literary vocational guidance; material on authorship). New York: Harcourt, Brace & Company, 1939.

Vestal, Stanley. WRITING MAGAZINE FICTION (Fiction technique and authorship). New York: Doubleday, Doran & Co., Inc., 1940.

Warren, Clarence Henry. THE WRITERS ART (Talks about authorship). London: G. Newnse, Ltd., 1935.

Wells, Henry Willis. POETIC IMAGERY (A study illustrated from Elizabethan literature). New York: Columbia University Press, 1924.

Wickes, E. M. editor of the WRITERS LIBRARY (contains volumes on writing the popular song, playwriting, short story, writing for magazines, art of versification, writing for the theatre, etc.). Rather old material but good for background of that period. Springfield, Mass.: 1916 (13 volumes)

Whitaker-Wilson, Cecil. WRITING FOR BROADCASTING (Data on drama and radio technique and radio broadcasting). London: A. & C. Black, Ltd., 1935.

Wilhelm, Donald George. WRITING FOR PROFIT (Authorship and journalism). New York: McGraw-Hill Book Company, Inc., 1930.

---------WRITING FOR PROFIT (A manual of professional patterns and procedures). New York: Whittlesey House-McGraw-Hill Book Company, Inc., 1937.

WRITERS' PROGRAM (Project superseded. Federal Writers Project at its end in 1939). For publications see United States works Progress Administration by state.

WRITERS RADIO THEATER, THE (American radio drama collection---outstanding plays of the year). New York: Harper & Brothers, 1941-1942.

Creative Writing - Tentative Bibliog. -6-

Periodicals

WRITER, THE. A monthly magazine for literary workers. (bound)

WRITERS AND ARTISTS YEARBOOK. A directory.

WRITERS BLUE BOOK, THE. A useful manual for all who write---rules, dictionary of ready reference, and index. (San Francisco: Crown Publishing Company).

WRITERS CLUB BULLETIN, THE. Publication of the Columbia University Writers Club.

WRITERS DIGEST. Authorship, publishers, and publishing.

WRITERS FORUM, THE. A monthly. (Vol. I, Nos. 1-2, December, 1939, contain material on "The Amateur writer.") Publication of Artioch Press, Yellow Springs, Ohio.

WRITERS JOURNAL, THE. A monthly publication.

WRITERS MARKET. Publishers, publishing, and authorship. (Published at intervals by publishers of Writers Digest--see above)

WRITERS YEARBOOK. An annual (Published by publishers of Writers Digest--see above).

NOTE: See James Weldon Johnson's THE BOOK OF AMERICAN NEGRO POETRY.
It contains an essay on Negro creative genius. New York:
Harcourt, Brace & Company, 1922.

CREATIVE WRITING - FIRST ASSIGNMENT

"My First Class"

Instructor's comments as written on papers:

Name Theme
Carrie Connally Imaginary Impressions

A very good straight-forward statement.

Griffith J. Davis On Cockroaches and a
Langston Hughes Class

Amusing: Don't lose the cockroaches in the middle.

Arthenia B. Jackson The Realist's Impression
of Mr. Hughes' First Class

Pleasant verse.

Robert E. Johnson Staccato

Good simple statement - except that A(below) { I wish
to immortalize the most vivid moment I have ever lived--
my first class meeting with a real American poet,
Langston Hughes } sounds like jive. If true, problem
is to write it so it will <u>sound</u> true.

Ellen L. Barnette Impressions: On the First
Meeting of Creative Writing

Good personalized statement: Avoid too many commas.
Paragraph more often.

Marvin A. Jackson A Class in Creative Writing
(Title?)

Not clear. (Voice of many similar experiences). Try
a simpler final sentence. (instrumental toward a
designed end). Try simplifying sentences a bit.

Melvin L. Hudson Phantasy Versus Actuallity

Good clear statement.

Lynward W. Stevenson My First Impression of
Langston Hughes

Good poem - but could stand a bit more experimenting
with possible changes.

Junnita Toomer An Adventure in Star-Gazing

Pleasant approach. Has a very nice quality.

CREATIVE WRITING CLASS

Atlanta University

February 5, 1947

1. Resume of past week's discussion for those who were absent.

2. Discussion of new assignment: .SOMEONE I LOVE.

3. Class readings of examples of varying treatments of persons loved and admired by the writer:

CARL SANDBURG: Passage from Abraham Lincoln:

The Prairie Years, concerning Lincoln's family background, as found in the *Modern Omnibus*; pages 481 - 482

MEZZ MEZZROW: *Really the Blues:* Passage concerning Louie Armstrong, pages 257 - 260

PAUL L. DUNBAR: *COMPLETE POEMS:* Poem, *Li'l Gal*

GARCIA LORCA: *Lament for the Death of a BullFighter*

The first third of the poem.

4. Discussion of these works.

5. Brief picture of Margaret Walker and her work habits.

6. Next Monday's assignment: To attend lecture of Henry Noble M McCraken at Spelman College.

7. Wednesday's assignment: To use class period working on

written assignment: *Someone I Love.*

Atlanta University

February 17, 1947

CREATIVE WRITING

4th Session with teacher:

1. ROLL

2. COLLECT ASSIGNMENTS---REPORT ON McCRACKEN

3. NEXT ASSIGNMENTS:

FACTS---The basis of creation

JOURNALISM

FICTION

POETRY

OPINION & THE ESSAY

a. "CAN RELIGION SAVE THE WORLD?"
For Wednesday, February 19.

b. Read Richard Wright's "12 MILLION BLACK VOICES"
For Monday, February 24.

4. INTRODUCTION OF GUESTS:

MARION PALFI

STETSON KENNEDY

NOTICE

STETSON KENNEDY, author of SOUTHERN EXPOSURE, and distinguished American journalist, also Marion Palfi, EBONY, LOOK, and PM photographer, will visit the Creative Writing Class in Sale Hall, Basement, Room 2, Monday, February 17, at 7:30 P.M. Students interested in the creative aspects of journalism are invited to attend.

Langston Hughes

ATLANTA UNIVERSITY

February 24, 1947

CREATIVE WRITING

Sixth Session

1. ROLL

HEIMSATH CLASS

2. OFFICE HOURS: TUESDAY 4:30--5:30
Wednesday---By Appointment

3. USE OF FACTS---

KENNEDY---THE PROVOCATIVE FACT

MARRIOTT---THE DRAMATIC FACT

PAUL MORAND---COLORFUL, UNUSAL FACT

ZORA HURSTON---"TELL MY HORSE"

AUTOBIOGRAPHY: THE BIG SEA

LIFE OF ISADORE DUNCAN

LANTERNS ON THE LEVEE---Percy

SEMI-AUTOBIOGRAPHY---BLACK BOY

BEGGARS OF LIFE

CIRCUS PARADE---Jim Tully

NOVEL OR SHORT STORY---HEMMINGWAY

WAYS OF WHITE FOLKS

"Cora Unashamed"

"Father & Son"

4. POETRY GIVES ADDED GLOW TO FACTS:

READ PORTIONS OF "12 MILLION BLACK VOICES"
& Harper & Gwendolyn Brooks Poems

ASSIGNMENT: WHITMAN'S "SONG OF MYSELF"
JOHNSON'S "GOD'S TROMBONES"

6. WORK IN PROGRESS---Collect & interview

CREATIVE WRITING

March 3, 1947

Eighth Session

1. ROLL

2. FACTS TO POETRY:

"The book is on the table."

"The book is a stab in my heart."

"His head is on his shoulders."

"His head is in a noose."

OVERTONES IN WORDS:

HARLEM---PARIS

SAPPHO---HELEN OF TROY---DON MAUM JUAN

MEDUSA---MEDEA---CONSTANTINOPLE---MISSISSIPPI

WHAT IS POETRY: CONVEYED
EMOTION/IN RYEMYM, CADENCE

"Emotion remembered in tranquility"

SEPTEMBER SONG---THESE POOLISH THINGS

"GReek to me!"---FOREIGN POETRY---Lorca
HIGH BROW POETRY
DIALECT POETRY
TOO PERSONAL POETRY

POETRY IN PROSE---Richard Wright

3. READ CLASS EXAMPLES: "SOMEONE I LOVE"

"HOW DO I LOVE THEE"---Eliz. Browning

"THE COLLOSSUS"

"HAYDEN

"SANDBURG

"WHITMAN

# HOW DO I LOVE THEE? LET ME COUNT THE WAYS.

I LOVE THEE TO THE DEPTH AND BREADTH AND HEIGHT
MY SOUL CAN REACH, WHEN FEELING OUT OF SIGHT
FOR THE ENDS OF BEING AND IDEAL GRACE.

I LOVE THEE TO THE LEVEL OF EVERY DAY'S
MOST QUIET NEED, BY SUN AND CANDLELIGHT.

I LOVE THEE FREELY, AS MEN STRIVE FOR RIGHT;

I LOVE THEE PURELY, AS THEY TURN FROM PRAISE.

I LOVE THEE WITH THE PASSION PUT TO USE
IN MY OLD GRIEFS, AND WITH MY CHILDHOOD'S FAITH.

I LOVE THEE WITH A LOVE I SEEMED TO LOSE
WITH MY LOST SAINTS,--I LOVE THEE WITH THE BREATH,
SMILES, TEARS, OF ALL MY LIFE!--AND, IF GOD CHOOSE,
I SHALL BUT LOVE THEE BETTER AFTER DEATH.

ELIZABETH BARRETT BROWNING

Juanita Toomer

To the instructor:

As you will see when you read the accompanying composition, my style is the heavy, formal type rather than the simple, informal kind.

Previous instructors whom I've had have spared no pains in the effort to make me see the superiority of a chatty, conversational style over my kind.

The decorative style, however, is my natural milieu, the one which, for me, comes more naturally. Despite this fact, though, I have, as a result of instructors' criticism, made an effort to change my style. The result is frequently a mixture of my naturally embellished diction with an extremely simple, unadorned form, which mixture is, in my opinion, infinitely worse than the consistently pompous style, as bad as that may be.

safe, as fed so that may be.

in, in my opinion, infinitely worse than the consistently positive
tried doctrine with an entirely simple, unCORRUPTED form, which mixture
my style. The result is frequently a mixture of my naturally endef-
have, in a result of instructors, criteria, made an effort to change
which, for me, comes more naturally. Despite this fact, though, I
the decorative style, however, is my natural written, the one
over my kind.

content to make me see the superiority of a chatty, conversational
previous instructors whom I've had here abridged no more in the
king.

style in the heavy, former type rather than the simple, informal
style in the heavy, former type rather than the simple, informal

To the instructor:

Is it possible?

An adventure in 5 stars -

Atlanta University,
May 27, 1947.

492---English---The Negro in American Poetry

NOTE: This course was originally catalogued wrong. It covered poetry alone, therefore was not The Negro In American Literature---but rather Poetry.

TEXT BOOKS USED: THE NEGRO CARAVAN. Entire *Folk Literature* and *Poetry* sections covered, as well as prose therein by the poets studied.

TO MAKE A POET BLACK by J. Saunders Redding.
Used frequently for reference and reading aloud in class.

For research and reference the class made
extensive use of the various books of Negro poetry and
critical works in the Slaughter Negro Collection of the
A. U. Library.

GROUND COVERED: From primitive African poetry and folk songs through Phillis Wheatley, American Negro folk poetry and songs, to the contemporary Negro poets such as Robert Hayden and Gwendolyn Brooks, with reference to Negro themes and material as found in white American poets, and to the social backgrounds and history of the times in which poets lived and wrote.

METHODS EMPLOYED: Class room lectures. Recitation and reading aloud by students. Written mid-year examination. Individual research projects by each student on a single poet and his Final Oral Report instead of written examination. Each student kept a Note Book on entire course evaluated by teacher periodically.

Langston Hughes

A Course in Negro Poetry, 1947

Page -2-

May 5 - Foreign Negro poetry

May 12 - Negro poetry and race relations

May 19 - Opportunities for aspiring poets

May 26 - Final examinations begin

## Suggestions:

Reading assignments to be made to students for each topic. Bibliography is made out according to this plan, but students must seek supplementary materials, especially in periodicals, aside from what is listed.

Frequent reference to individual poets for each topic---some based on personal reading and knowledge, and some on actual acquaintance with poets, places, and experiences.

Consult librarian about visual materials that might be used in conjunction with lectures---films, pictures, dramas to be seen, etc.

Student reports on each topic---these to be done outside and discussed and criticised in class under lecturer's guidance.

**Textbook:** There is really no volume suitable for a textbook in a course of this kind. Actually, an anthology would be somewhat appropriate, but there is no late anthology on Negro poetry. You might possibly use NEGRO CARAVAN, although it has only one chapter on the subject, or something like Caroling Dusk. But a course like this ordinarily, and by an expert in particular, is a straight lecture course.

No attempt has been made to list individual poets, but with each topic outstanding poets should be discussed, noting their influence on the poetry of the period, poetry in general, and the types of poetry.

SURVEY COURSE IN NEGRO POETRY

A Bibliography

* Indicates anthologies and collections and bibliographies

* BIBLIOGRAPHY OF AMERICAN NEGRO POETRY. New York: Charles F. Heartman, 1916.

Blackburn, Mary Johnson. FOLKLORE FROM MAMMY DAYS. Boston: Walter H. Baker Co., 1934.

Brawley, Benjamin Griffith. EARLY NEGRO AMERICAN WRITERS (Contains material on Negro poets). Chapel Hill: University of North Carolina Press, 1935.

Brooks, Gwendolyn. A STREET IN BRONZEVILLE. New York: Harper & Brothers, 1945.

* Brown, Sterling, Arthur P. Davis, and Ulysses Lee. NEGRO CARAVAN (Chapters III Poetry, IV Folk Literature). New York: The Dryden Press, 1941.

Brown, Sterling A. NEGRO POETRY AND DRAMA. Washington: Associated Publishers, 1937 (Bronze Booklet No. 7).

OUTLINE FOR THE STUDY OF THE POETRY OF AMERICAN NEGROES
(Prepared to be used with the Book of American Negro Poetry,
by James Weldon Johnson). New York: Harcourt, Brace & Co., 1931.

SOUTHERN ROAD. New York: Harcourt, Brace & Co., 1932.

Bryant, Franklin H. BLACK SMILES. Nashville, Tennessee: Southern Missionary Society, 1909.

* Bryson, Clarence F. and J. H. Robinson. DUNDO (An anthology of poetry by Cleveland Negro youth). Cleveland, Ohio: The January Club, 1931.

Calverton, Victor P. ANTHOLOGY OF AMERICAN NEGRO LITERATURE.

Cannon, David W. BLACK LABOR CHANT. New York: The National Council on Religion in Higher Education, 1939.

Carmichael, Waverley Turner. FROM THE HEART OF A FOLK (A book of songs). Boston: The Cornhill Company, 1918.

CAROLINA MAGAZINE, THE. (Official literary publication of the University of North Carolina, Chapel Hill). See volumes 57, 58, and 59 (1927-1929) for Negro poetry.

Childs, Mrs. Mary Fairfax. DE NAMIN' OB DE TWINS. (Sketches from the cotton land). New York: D. W. Dogde Company, 1908.

Conroy, Jack and Ralph Cheyney (editors). UNREST (Poetry collection and selections). New York: Henry Harrison Co., 1931.

Negro Poetry -2-

Cook, Josephine. BANDANNA DAYS. New York: Broadway Publishing Company, 1908.

Cotter, Joseph Seamon. COLLECTED POEMS. New York: Henry Harrison Company, 1938.

Crady, Kate McAlpin (Mrs.). FREE STEPPIN'. Dallas, Texas: Mathis, Van Nort & Company, 1938.

* Cullen, Countee P. CAROLING DUSK (An anthology of verse by Negro poets). New York: Harper & Brothers, 1927.

Culbertson, Anne Virginia. BANJO TALKS. Indianapolis: Bobbs-Merrill Company, 1905.

Dandridge, Raymond G. ZALKA PETRUZA AND OTHER POEMS. Cincinnati: The McDonald Press, 1928.

Davis, Frank Marshall. BLACK MAN'S VERSE. Chicago: The Black Cat Press, 1935.

--------I AM THE AMERICAN NEGRO. Chicago: Black Cat Press, 1937.

Dodson, Owen V. POWERFUL LONG LADDER. New York: Farrar, Straus, 1946.

Douglass, Louis Archibald. POSTHUMOUS POEMS (Compiled by C. E. Thomas). New York: Henry Harrison Company, 1931.

Dunbar, Alice Ruth Moore. THE DUNBAR SPEAKER AND ENTERTAINER. Napierville, Illinois: J. L. Nichols & Company, 1920.

Dunbar, Paul Laurence. CANDLE-LIGHTIN' TIME. New York: Dodd, Mead & Company, 1901.

--------THE COMPLETE POEMS OF PAUL LAURENCE DUNBAR. New York: Dodd, Mead & Company, 1905-1913.

--------JOGGIN' ERLONG. New York: Dodd, Mead & Company, 1906.

--------LITTLE BROWN BABY (Poems for young people). New York: Dodd, Mead & Company, 1940.

--------A PLANTATION PORTRAIT. New York: Dodd, Mead & Co., 1905.

--------POEMS OF GABIN AND FIELD. New York: Dodd, Mead & Co., 1904.

Dungee, John R. RANDOM RHYMES (Funeral, chant, serious, humorous, racial, religious, patriotic, and sentimental types). Norfolk, Virginia: Guide Publishing Company, Inc., 1929.

Duras, Claire de Durford (duchess de). MADAME DE DURAS' OURIKA. Atlanta, Georgia: Atlanta University (Atlanta University French series).

Eastlund, Claude T. LIGHT AND SHADOWS. Boston: The Christopher Publishing House, 1934.

Negro Poetry - 3-

* Eleazer, Robert B. SINGERS IN THE DAWN. (A brief anthology of American Negro poetry). Atlanta, Georgia: Conference on Education and Race Relations, 1934.

Fabian, Sister Mary. THE CONTRIBUTION OF THE NEGRO TO CONTEMPORARY AMERICAN POETRY. New York: Fordham University (M. A. thesis in the Department of English, n.p.)

Gardner, Benjamin Franklin. BLACK. Caldwell, Idaho: The Gaxton Printers, Ltd., 1933.

Goodlett, Lucille D. WALK, GOD'S CHILLUN. Dallas, Texas: The Kaleidograph Press, 1933.

* Granger, Edith. GRANGER'S INDEX TO POETRY AND RECITATION (A reference book covering 592 books and 75,000 titles. Edited by Helen H. Bessey). Chicago: McClurg Company, 1940.

* GRANGER'S INDEX SUPPLEMENT. New York: Columbia University Press, 1945. (Covers material from 1938 to 1944).

Haines, Elwood Lindsay. POEMS OF THE AFRICAN TRAIL. Milwaukee, Wisconsin: Morehouse Publishing Company, 1928.

Harrison, Mrs. Belle (Richardson). POMP'S PEOPLE (Poems and sketches of Negro life). New York: Lewis Copeland Company, 1929.

Henderson, Elliott B. DARKEY DITTIES. Columbus, Ohio: 1915.

PLANTATION ECHOES (Original Negro dialect poems). Columbus, Ohio: F. J. Heer Press, 1904.

Heyward, DuBose. JASBO BROWN AND SELECTED POEMS. New York: Farrar & Rinehart, Inc., 1931.

Hill, Elizabeth Reid, PICKIN' COTTON. Boston: Richard G. Badger, 1930.

Hughes, Langston. FINE CLOTHES TO THE JEW. New York: A. A. Knopf, Inc., 1927.

Hughes, Langston. THE NEGRO MOTHER. New York: Golden Stair Press, 1931.

SHAKESPEARE IN HARLEM. New York: A. A. Knopf, Inc., 1942

THE WEARY BLUES. New York:

THE DREAMKEEPER. New York:

and Arna Bontemps. POPO AND FIFINA (omit from this list)

Jarvis, Antonio. FRUITS IN PASSING. St. Thomas, Virgin Islands: The Art Shop, 1932.

Johnson, James Weldon. THE BOOK OF AMERICAN NEGRO POETRY. (Contains also an essay on Negro Creative genius). New York: Harcourt, Brace, & Company, 1922.

Negro Poetry -4-

Johnson, James Weldon. GOD'S TROMBONES (Seven Negro sermons in verse). New York: Viking Press, 1927.

SAINT PETER RELATES AN INCIDENT (Selected poems). New York: Viking Press, 1935.

* Kerlin, Robert Thomas. NEGRO POETS AND THEIR POEMS. Washington: Associated Publishers, Inc., 1935.

King, Benjamin Franklin. BEN KING'S SOUTHLAND MELODIES. Chicago: Farber and Company, 1911.

* Kreymborg, Alfred and Lewis Mumford (editors). THE AMERICAN CARAVAN. (with Paul Rosenfeld). New York: The Macaulay Company, 1928.

LAYS OF LIBERTY (Poems during slavery). Boston: Bela Marsh Co., 1854.

Locke, Alain LeRoy. FOUR NEGRO POETS (The pamphlet poets). New York: Simon & Schuster, 1927.

McClellan, George Marion. THE PATH OF DREAMS. Nashville, Tennessee: A.M.E. Sunday School Union, 1916.

* McFarlane, J. E. Clare. VOICES FROM SUMMERLAND (An anthology of Jamaican poetry). London: Fowler Wright, Ltd., 1929.

McKay, Claude. CONSTAB BALLADS. London: Watts & Company, 1912.

WARLEM SHADOWS—
SONGS OF JAMAICA.

Jamaica: Aston W. Gardner & Co., 1912.

McNeill, John Charles. LYRICS FROM COTTON LAND. Charlotte, North Carolina: Stone & Barringer Company, 1907.

Macon, John Alfred. UNCLE GABE TUCKER (Reflections, songs and sentiment in slave quarters). Philadelphia: J. B. Lippincott & Company, 1883.

Merriweather, Claybron W. GOOBER PEAS. Boston: The Christopher Publishing House, 1932.

THE PLEASURE OF LIFE. Hopkinsville, Kentucky: The New Era Printing Company, 1931.

* Murphy, Beatrice M. (editor) NEGRO VOICES. New York: Henry Harrison, 1938.

Peace, Mary Emma. DARKY DAYS IN DIXIE (Colorful sayings of old-time Negroes of the deep South). San Antonio, Texas: The Naylor Company, 1941.

Pipes, James. ZIBA. Norman, Oklahoma: The University of Oklahoma Press, 1943.

Redding, Jay Saunders. TO MAKE A POET BLACK. Chapel Hill: The University of North Carolina Press, 1939.

Negro Poetry -5-

Sherman, Eloise Lee. PLANTATION POEMS. New York: F.F. Sherman Company, 1910.

Simpkins, Thomas V. RHYMES OF FUPPY LOVE AND OTHERS. Boston: The Christopher Publishing House, 1935.

Stuart, Ruth McEnery. DADDY DO-FUNNY'S WISDOM JINGLES. New York: The Century Company, 1916.

Thompson, Clara Ann. A GARLAND OF POEMS. Boston: The Christopher Publishing House, 1926.

Valentine, Benjamin B. OLE MARSTER. Richmond, Virginia: Whittet & Shepperson, Printers, 1921.

* Van Doren, Mark (editor). AN ANTHOLOGY OF WORLD POETRY. New York: Reynal, 1936.

* Voorhees, Lillian W. and R. W. O'Brien (editors). THE BROWN THRUSH (An anthology of verse by Negro students of Talladega and Tougaloo colleges). Bryn Athyn, Pennsylvania: Lawson-Roberts Publishing Company, 1932.

Walker, Margaret. FOR MY PEOPLE, YALE UNIV. PRESS,

Wallis, Keene. BANDS AND REBELS (Seven stories in verse). New York: Coward McCann, Inc., 1929.

* Watkins, Sylvestre C. ANTHOLOGY OF AMERICAN NEGRO LITERATURE (Has biographical notes). New York: Modern Library, 1944.

* White, Newman Ivey and W. C. Jackson. AN ANTHOLOGY OF VERSE BY AMERICAN NEGROES (Criticism, method, biographical sketches, and bibliographical notes). Durham, North Carolina: Trinity College Press (now Duke University Press), 1924.

* Woods, Clement. POETS' HANDBOOK (Poetry, verse, kinds of poetry, rhythms and accent repetition, rhyme and other sound repetition devices, stanza patterns, poem patterns, bibliography). New York: Greenberg, 1940.

Wynp, William Thomas. SOUTHERN LITERATURE. New York: Prentice-Hall, Inc., 1938.

## Folk Songs and Folk Poetry

Burleigh, Henry Thacker (editor). NEGRO MINSTREL MELODIES. New York: G. Schirmer, 1909.

------------NEGRO SPIRITUALS. New York: G. Ricordi & Co., 1928.

------------PLANTATION MELODIES OLD AND NEW. New York: G. Schirmer, 1901.

Negro Poetry - 6-

Curtis, Natalie. NEGRO FOLK SONGS. New York: G. Schirmer, 1918-1919
(The Hampton series).

Dett, Robert N. RELIGIOUS FOLK SONGS OF THE NEGRO AS SUNG AT HAMPTON INSTITUTE. Hampton, Virginia: Hampton Institute Press, 1927.

Fisher, William Arms (editor). SEVENTY NEGRO SPIRITUALS. Boston: Ditson Company, 1926.

Gellert, Lawrence. NEGRO SONGS OF PROTEST. New York: American Music League, 1936.

Grissom, Mary Allen. THE NEGRO SINGS A NEW HEAVEN. Chapel Hill: University of North Carolina Press, 1930.

Guion, David W. NEGRO SONGS. New York: G. Schirmer, 1936.

Johnson, John Rosamond. ROLLING ALONG IN SONG (Chronological survey of American Negro music including shouts, work songs, spirituals, minstrels, plantation ballads, chain-gang songs, jail house songs, street cries, blues, etc.). New York: Viking Press, 1937.

Johnson, James Weldon. SECOND BOOK OF NEGRO SPIRITUALS. New York: Viking Press, 1926.

Krebbiel, Henry E. AFRO-AMERICAN FOLK SONGS (A study in racial and national music). New York: G. Schirmer, 1914.

Lomax, John Avery and Allan Lomax. NEGRO FOLK SONGS AS SUNG BY LAD BELLY. (Worldly Negro, sinful songs, work songs, blues, talking blues, hollers, ballads, pardon songs, etc.) New York: Macmillan Company, 1936.

---------OUR SINGING COUNTRY (American ballads and folk songs).
New York: Macmillan Company, 1941.

---------AMERICAN BALLADS AND FOLK SONGS. New York: Macmillan,

Monroe, Mina (compiler). BAYOU BALLADS (Twelve folk songs from Louisiana). New York: G. Schirmer, 1912.

Niles, John Jacob. SEVEN NEGRO EXALTATIONS. New York: G. Schirmer, 1929.

---------SINGING SOLDIERS. New York: Scribner's Sons, 1927.

Odum, Howard Washington and Guy E. Johnson. THE NEGRO AND HIS SONGS. (A study of typical Negro songs in the South). Chapel Hill: University of North Carolina Press, 1925.

-------NEGRO WORKADAY SONGS. Chapel Hill: University of North Carolina Press, 1926.

Negro Poetry -7-

Farrish, Mrs. Lydia Austin (compiler). SLAVE SONGS OF THE GEORGIA SEA ISLANDS. New York: Creative Age Press, 1942.

Porter, Grace Cleveland. NEGRO FOLK SINGING GAMES AND FOLK GAMES OF THE INHABITANTS. London: Curwein, 1914.

Locke, Alain LeRoy. THE NEGRO AND HIS MUSIC. Washington: Associated Publishers, 1936. (Bronze Booklet No. 2) Volume contains some material on jazz, as well as folk songs.

Wier, Albert Ernest. SONGS OF THE SUNNY SOUTH (Over 200 songs---plantation ditties, spirituals, minstrels, ballads, and songs). New York: Appleton, 1929.

Work, John Wesley (editor). AMERICAN NEGRO SONGS (A comprehensive collection of 230 folk songs, religious and secular). New York: Howell, 1940.

* Claverton, Victor F. ANTHOLOGY OF AMERICAN NEGRO LITERATURE.

--------THE BALLADS OF THE BROWN GIRL.

--------THE BLACK CHRIST and other poems.

--------COLOR.

--------COPPER SUN.

--------FOUR NEGRO POETS.

--------THE LOST ZOO.

--------THE MEDEA AND SOME POEMS.

--------MY LIVES AND HOW I LIST THEM.

--------ONE WAY TO HEAVEN.

Dunbar, Paul Laurence. THE COMPLETE POEMS OF PAUL LAURENCE DUNBAR. New York: Dodd, Mead & Company, 1905-1913.

--------POEMS OF CABIN AND FIELD. New York: Dodd, Mead & Co., 1904.

Negro Poetry -3-

SHAKESPEARE IN HARLEM. New York: A. A. Knopf, Inc., 1942.

THE WEARY BLUES. New York:

THE DREAMKEEPER. New York:

and Arna Bontemps. POPO AND FIFINA (Omit from this list)

Johnson, James Weldon. THE BOOK OF AMERICAN NEGRO POETRY. [Contains also an essay on Negro Creative genius]. New York: Harcourt, Brace, & Company, 1922.

Locke, Alain LeRoy. FOHR NEGRO POETS (The pamphlet poets). New York: Simon & Schuster, 1927.

HARLEM SHADOWS.

Tolson, Melvin. RENDEZVOUS WITH AMERICA.

Walker, Margaret. FOR MY PEOPLE. Yale University Press.

Nigro poetry - 3-

Folk Songs and Folk Poetry

Burlin, Natalie Curtis. NEGRO FOLK SONGS. New York: G. Schirmer, 1918-
1919. (The Hampton series).

Dett, Robert N. RELIGIOUS FOLK SONGS OFTHE NEGRO AS SUNG AT HAMPTON INSTITUTE. Hampton, Virginia: Hampton Institute Press, 1927.

Gellart, Lawrence, NEGRO SONGS OF PROTEST. New York: American Music League, 1936.

Johnson, John Rosamond. ROLLING ALONG IN SONG (Chronological survey of American Negro music including shouts, work songs, spirituals, minstrels, plantation ballads, chain-gang songs, jail house songs, street cries, blues, ets.). New York: Viking Press, 1937.

Krehbiel, Henry E. AFRO-AMERICAN FOLK SONGS (A study in racial and national music). New York: G. Schirmer, 1914.

Odum, Howard Washington and Guy B. Johnson. THE NEGRO AND HIS SONGS. (A study of typical Negro songs in the South). Chapel Hill: University of North Carolina Press, 1925.

Parrish, Mrs. Lydia Austin (compiler). SLAVE SONGS OFTHE GEORGIA SEA ISLANDS. New York: Creative Age Press, 1942.

COURSE IN NEGRO POETRY

Readings

The following bibliographical items are to serve only as a guide to further intensive reading on specific subjects. For definitive materials, frequent reference should be made to such volumes as Edith Granger's *Index*, Beatrice Murphy's *Voices*, John Work's *American Negro Songs*, and the various bibliographies and anthologies annotated on the course bibliography. Some of the books listed in the general category contain material pertaining to specific subject matter and cross-reference should be made to these from time to time. Supplementary readings are to be found, also, in the various periodicals publishing Negro poetry, some of which are listed here. This "reading" list is to be used in conjunction with the general course bibliography, since the full listings are given on the latter and only brief reference titles are used below.

General and African Background

Brown, Davis, and Lee. *Negro Caravan*.

Brown, Sterling A. *Negro Poetry and Drama*.

*Carolina Magazine*.

Cotter, Joseph S. *Collected Poems*.

Crady, Kate McA. *Free Steppin'*

Dandridge, Raymond G. *Zalka Petruza and Other Poems*.

Davis, Frank M. *Black Man's Verse*.

Douglass, Louis A. *Posthumous Poems*.

Dungee, John R. *Random Rhymes*.

Eastlund, Claude T. *Light and Shadows*.

Redding, J. S. *To Make a Poet Black*.

Fabian, Sister Mary. *The Contribution of the Negro To Contemporary American Poetry*.

Haines, Elwood L. *Poems of the African Trail*.

Heyward, DuBose. *Jasbo Brown and Selected Poems*.

Herskovits, M.J. and F. S. *Surinam Folk-Lore*

Hertzog, *Jabo Proverbs*.

Johnson, James W. *The Book of American Negro Poetry*.

Negro Poetry - Readings: Page -2-

McClellan, George M. <u>The Path of Dreams.</u>

Pipes, James. <u>Ziba.</u>

Simpkins, Thomas V. <u>Rhymes of Puppy Love and Others.</u>

Thompson, Clara Ann. <u>A Garland of Poems.</u>

Wynn, William T. <u>Southern Literature.</u>

## Early American

Brawley, Benjamin G. <u>Early Negro American Writers.</u>

Peace, Mary E. <u>Darky Days in Dixie.</u>

## Slavery

Henderson, Elliott B. <u>Darkey Ditties.</u>

Henderson, Elliott B. <u>Plantation Echoes.</u>

<u>Lays of Liberty.</u>

Macon, John A. <u>Uncle Gabe Tucker.</u>

Valentine, Benjamin B. <u>Ole Marster.</u>

Parrish, Mrs. L. A. <u>Slave Songs of the Georgia Sea Islands.</u>

## Civil War to early 1900's

Wallis, Keene. <u>Bands and Rebels.</u>

Note: See general book list; consult <u>Negro Caravan</u> and early periodicals.

## The 1920's

Locke, Alain LeRoy. <u>The New Negro</u>

Cullen, Countee. <u>Caroling Dusk.</u>

Hughes, Langston. <u>Fine Clothes to the Jew.</u> (See other volumes of 20's)

Locke, Alain LeRoy. <u>Four Negro Poets.</u>

Negro Poetry - Readings: Page -3-

## The Depression

Material here will be found mainly in magazine publications of the era.

## War

Niles, John J. *Singing Soldiers*.

Note: Much of the martial poetry is to be found in periodicals of the war period, as well as newspapers of color.

## Modern

Brooks, Gwendolyn. *A Street in Bronzeville*.

Dodson, Owen V. *Powerful Long Ladder*.

Hughes, Langston. *Shakespeare in Harlem*.

Hughes, Langston. *Fields of Wonder* (Due to appear in April)

Tolson, Melvin.

Walker, Margaret.

## Blues

Hughes, Langston. *The Weary Blues*.

Note: See other volumes by Hughes for reference to blues.

## Labor

Cannon, David W. *Black Labor Chant*.

Note: Poetry in the work song style may be discussed here in brief.

## Folk Song and Folk Poetry

Blackburn, Mary J. *Folklore From Mammy Days*.

Childs, Mrs. Mary F. *De Namin' ob de Twins*.

Cook, Josephine. *Bandanna Days*.

Negro Poetry - Readings: Page -5-

## Spirituals and Religious Poems

Bryant, Franklin H. <u>Black Smiles.</u>

Johnson, James Weldon. <u>God's Trombones.</u>

Johnson, James Weldon. <u>Saint Peter Relates an Incident.</u>

Burleigh, Henry Thacker. <u>Negro Spirituals</u>

Johnson, J. W. <u>Second Book of Negro Spirituals.</u>

Dett, Robert N. <u>Religious Folk Songs of the Negro as Sung at Hampton Institute.</u>

Fisher, William A. <u>Seventy Negro Spirituals.</u>

## Anthologies

### Bibliography of American Negro Poetry.

Brown, Sterling, Arthur P. Davis, and Ulysses Lee. <u>Negro Caravan.</u>

Bryson, C. F. and J. H. Robinson. <u>Dundo.</u>

Calverton, V. F. <u>Anthology of American Negro Literature.</u>

Conroy, Jack and Ralph Cheyney. <u>Unrest.</u>

Eleazer, Robert B. <u>Singers in the Dawn.</u>

Granger, Edith. <u>Granger's Index to Poetry and Recitation.</u> (See supplement)

Kerlin, R. T. <u>Negro Poets and Their Poems.</u>

Kreymborg, A., and Lewis Mumford. <u>The American Caravan.</u>

McFarlane, J. E. C. <u>Voices from Summerland.</u>

Murphy, Beatrice M. <u>Negro Voices.</u>

Van Doren, Mark. <u>An Anthology of World Poetry.</u>

Voorhees, L., and R. W. O'Brien. <u>The Brown Thrush.</u>

Watkins, Sylvestre C. <u>Anthology of American Negro Literature.</u>

White, N. I., and W. C. Jackson. <u>An Anthology of Verse by American Negroes.</u>

Woods, Clement. <u>Poets' Handbook.</u>

Negro Poetry - Readings: Page -6-

B

## Music and Poetry

Burleigh, Henry T. Negro Minstrel Melodies.

Burleigh, H. T. Plantation Melodies Old and New.

Carmichael, Waverley Turner. From the Heart of a Folk.

King, Benjamin F. Ben King's Southland Melodies.

Curtis, Natalie. Negro Folk Songs.

Gellert, Lawrence. Negro Songs of Protest.

Guion, David W. Negro Songs.

Johnson, John Rosamond. Rolling Along in Song.

Krebhiel, Henry E. Afro-American Folk Songs.

Blesh, Rudi. Shining Trumpets.

Lomax, J. A., and Allen Lomax. Our Singing Country.

Monroe, Mina. Bayou Ballads.

Niles, J. J. Seven Negro Exaltations.

Odum, Howard, and Guy B. Johnson. The Negro and His Songs.

Locke, Alain LeRoy. The Negro and His Music.

Wier, Albert E. Songs of the Sunny South.

Work, John. American Negro Songs.

## Foreign Negro Poetry

Duras, Claire de Durford. Madame de Duras' Ouriка.

Jarvis, Antonio. Fruits in Passing.

McFarlane, J. E. C. Voices from Summerland.

McKay, Claude. Constab Ballads.

McKay, Claude. Songs of Jamaica.

## Negro Poetry and Race Relations

Brown, Sterling. Southern Road.

SURVEY COURSE IN NEGRO POETRY

Bibliography

Hughes' Copy
Guide for students
wishing to do more
intensive reading.

Brawley, Benjamin Griffith. EARLY NEGRO AMERICAN WRITERS (Contains material on Negro poets). Chaoel Hill: University of North Carolina Press, 1935.

SOUTHERN ROAD (Poems)

--------THE BALLAD OF THE BROWN GIRL.

--------COLOR.

--------COPPER SUN.

--------FOUR NEGRO POETS.

--------THE LOST ZOO.

--------ON THESE I STAND
(Collected Poems)

Davis, Frank Marshall. BLACK MAN'S VERSE. Chicago: The Black Cat Press, 1935. 47TH STREET: CHICAGO

Dunbar, Paul Laurence. THE COMPLETE POEMS OF PAUL LAURENCE DUNBAR. New York: Dodd, Mead & Company, 1895-1913.

BROOKS, GWENDOLYN, A STREET IN BRONZEVILLE

BROOKS, JONATHAN H. THE RESURRECTION

DODSON, OWEN, POWERFUL LONG LADDER

Negro Poetry -2-

Hughes, Langston. FINE CLOTHES TO THE JEW. New York: Knopf, Inc., 1927.

SHAKESPEARE IN HARLEM.

THE WEARY BLUES.

THE DREAMKEEPER.

ONE-WAY TICKET

Johnson, James Weldon. THE BOOK OF AMERICAN ENGRO POETRY. (Contains also an essay on Negro Creative geniis). New York: Harcourt, Brace, and Co., 1922.

Locke, Alain LeRoy. FOUR NEGRO POETS (The pamphlet poets). New York: Simon and Schuster, 1927.

McKay, Claude. CONSTAB BALLADS. London: Watts and Company, 1912.

HARLEM SHADOWS.

SONGS OF JAMAICA. Jamaica: Aston W. Gardner and Co., 1912.

Voorhees, Lillian W. and R. W. O'Brien (editors). THE BROWN THRUSH (An anthology of verse by Negro students of Talladega and Tougaloo Colleges). Bryn Athyn, Pennsylvania: Lawson-Roberts Publishing Company, 1932.

## Folk Songs and Folk Poetry

Burlin, Natalie Curtis. NEGRO FOLK SONGS. New York: G. Schirmer, 1918-1919. (The Hampton series).

Dett, Robert N. RELIGIOUS FOLK SONGS OF THE NEGRO AS SUNG AT HAMPION INSTITUTE. Hampton, Virginia: Hampton Institute Press, 1927.

Negro Poetry -3-

Gellart, Lawrence. NEGRO SONGS OF PROTEST. New York: American Music League, 1936.

-------NEGRO WORKDAY SONGS. Chapel Hill: University of North Carolina Press, 1926.

Parrish, Mrs. Lydia Austin (compiler). SLAVE SONGS OF THE GEORGIA SEA ISLANDS. New York: Creative Age Press, 1942.

NEGRO POETRY

Eng. 492

General Class Assignments:

April 1----CUNEY, WILLIAMS, BONTEMPS----Pages 374--381 - miss Latin

April 3----FOLK LITERATURE----Essay---Pages 412---434 - SHELTON

" 8----SPIRITUALS---SLAVE SECULARS---Pages 434---452

" 10---BALLADS---WORK SONGS---Pages 452---472 - 10-NO ELGAR

" 15---BLUES---Pages 472-480 & SERMON---Pages 489-491 - CONE

" 17---STERLING BROWN---Pages 381---391 - M.BROOKS

" 22---DAVIS, TOLSON, WRIGHT---Pages 391---403

" 24---OWEN PODSON---Pages 403---408---HAYDEN

" 29---MARGARET WALKER---Pages 409---400

MAY 1----GWENDOLYN BROOKS----"Street In Bronzeville"---Library

" 6----VERSE CHOIR REHEARSAL---"For My People" & Singles

"" 8¼--- " " " "

" 13---

" 15---PROGRAM

" 20---Personal Reports

" 22--- " "

" 27--- " "

" 29---

"My First Class"

| Name | Theme |
|---|---|
| Carrie Connally | Imaginary Impressions |
| | A very good straight-forward statement. |
| Griffith J. Davis | On Cockroaches and a Langston Hughes Class |
| | Amusing! Don't lose the cockroaches in the middle. |
| Arthenia B. Jackson | The Realist's Impression of Mr. Hughes' First Class |
| | Pleasant verse. |
| Robert E. Johnson | Staccato |
| | Good simple statement - except that A(below) ( I wish to immortalize the most vivid moment I have ever lived-- my first class meeting with a real American poet, Langston Hughes ) sounds like jive. If true, problem is to write it so it will sound true. |
| Ellen L. Barnette | Impressions: On the First Meeting of Creative Writing |
| | Good personalizes statement! Avoid too many commas. Paragraph more often. |
| Marvin A. Jackson | A Class in Creative Writing (Title?) |
| | Not clear. (Voice of many similar experiences). Try a simpler final sentence. (instrumental toward a designed end). Try simplifying sentences a bit. |
| Melvin L. Hudson | Phantasy Versus Actuallity |
| | Good clear statement. |
| Lynward W. Stevenson | My First Impression of Langston Hughes |
| | Good poem - but could stand a bit more experimenting with possible changes. |
| Junnita Toomer | An Adventure in Star-Gazing |
| | Pleasant approach. Have a very quality. |

NEGRO IN AMERICAN POETRY

February 13, Thursday:

RECITE NEGRO POEMS

1. WHO HEARD HENRY NOBLE McCRACKEN

2. REPORT ON MR. CHANDLER

3. REPORT ON
PHILLIS WHEATLEY
GEORGE MOSES HORTON
JAMES M. WHITFIELD
FRANCES E. W. HARPER
ALBERY A. WHITMAN

4. ASSIGNMENT: NOTE BOOK: PRIMITIVE POETRY
TWO SLAVE FOLK POEMS

NEGRO POETRY

Tuesday, Feb. 25

1. ROLL

2. ASSIGNMENT---JAMES WELDON JOHNSON - P. 324 - 338

3. TALK: BRAITHWAITE & DU BOIS - Blake

4. RECITATION: ANNEDOTES OF ATLANTA UNIVERSITY
GATHERED BY STUDENTS

5. POEMS: BRAITHWAITE---CULLEN ANTHOLOGY

" NEGRO CARAVAN
DU BOIS---LITANY---VERSE CHOIR STYLE

LANGSTON HUGHES CLASSES

Atlanta University
Sale Hall Basement
7:30 P. M.

MONDAY, MARCH 3:

Creative Writing: POETRY

TUESDAY, MARCH 4:

Negro Poetry: PERIOD WORLD WAR I
*Assignment—big sea*

WEDNESDAY, MARCH 5:

Creative Writing: HOW I WRITE

MY POEMS (with demonstration readings)

THURSDAY, MARCH 6:

Negro Poetry: POETS OF THE NEGRO

RENNASSAINCE---Cullen,
Bontemps, Brown, etc.

C. W. —

ass-exam

Monday-March 10 —

"Beginning
Of Your Life"

Reading of class work.

Reading of class work.

-NOTICE-

WILLIS JAMES, distinguished authority on Negro Folk songs, will address the Langston Hughes Class in Negro Poetry, Thursday evening, April 18, at 7:30 in SB2.

GUESTS ARE INVITED.

NEGRO POETRY

TUESDAY, MAY 13: Reports:

Mr. Allen CLAUDE MCKAY

Miss Bullock FENTON JOHNSON

Miss Willis WILLIAM STANLEY BRAITHWAITE

Miss Harris ANNE SPENCER

Mr. Curl COUNTEE CULLEN

ASSIGNMENT for May 15---The poems of ROBERT HAYDEN

THURSDAY, MAY 15: Reports:

Miss Jones MARGARET WALKER

Miss Barnett LANGSTON HUGHES

ASSIGNMENT for May 20 GWENDOLYN BROOKS & Note Books

Class discussion ROBERT HAYDEN

TUESDAY, MAY 20: Reports:

Mr. Milliggn AFRICAN POETRY

Miss Turner AMERICAN NEGRO POETRY

Miss Howell GWENDOLYN BROOKS

Class discussion Value of course.

RETURN NOTE BOOKS

ASSIGNMENT for May 22 A POEM I LOVE

THURSDAY, MAY 22:

Visitors: Creative Writing Poets, Mr. Flannigan

READING of LIVING POETRY---Visitors

" " POEMS WE LOVE---Class

TUESDAY, MAY 27: PARTY

ATLANTA UNIVERSITY,
February--June, 1947

THE NEGRO IN AMERICAN POETRY
English 492---Tuesday & Thursday

MATERIAL COVERED

1. TUES. JAN. 28---REGISTRATION

2. THURS. " 30---GENERAL NATURE OF POETRY; VERSE COMPARED TO POETRY; RHYTHM BUT NOT RHYME ESENTIAL; EXAMPLES OF VARIOUS TYPES OF POETRY FROM BIBLE TO OMAR TO LORCA TO GWENDOLYN BROOKS READ.

ASSIGNMENT: TO RECITE NEXT CLASS ANY FAVORITE POEM.

3. TUES. FEB. 4-----POEMS OF AUTHORS RECITED: LONGFELLOW, HENLEY, TENNYSON, GORDON, MILLAY, BROWNING, FOSS, LEWIS ALEXANDER, LOVELACE, ROSSETTI, WILCOX, HUNT, MARGARET WALKER, KIPLING, MARION EDITH DAVIS, DUNBAR---FOUR NEGROES OUT OF SIXTEEN.

TALK ON PRIMITIVE POETRY, ORIGINS OF WHYTHMS AND OF REPETITION. READ REDDING ON PHYLLIS WHEATLEY.

ASSIGNMENT: BRING IN EXAMPLES OF PRIMITIVE POETRY OR SONGS OF AFRICA.

ASSIGNMENT FOR FOLLOWING WEEK: LEARN AND BE READY TO RECITE ONE POEM BY A NEGRO POET.

4. Thurs. FEB. 6---

TALK ON GULF BETWEEN POETRY AND THE PEOPLE--- POETRY OF IDEAS, TOO PERSONAL IMAGES, METAPHYSICS. LITERACY AND READERS. RADIO.

PHYLLIS AND THE SLAVE SONGS. GLASS READING OF SLAVE SONGS, WHEATLEY POESM, FROM "THE NEGRO CARAVAN". CHORAL SPEECH ARRANGEMENTS.

CHOOSE CLASS LEADER FOR TUESDAY, FEBRUARY 11 WHEN MR. CHANDLER WILL SPEAK ON PRE CIVIL WAR POETS.

INVITATION TO SPELMAN MONDAY AT 8, HOWE HALL, TO HEAR HENRY NOBLE McCRACKEN, PRES. EMR. OF VASSAR.

ASSIGNMENT: READ INTRODUCTION TO POETRY SECTION OF "THE NEGRO CARAVAN" AND THE WORK OF PHYLLIS WHEATLEY---PAGES 274--287. FIND OUT WHO WILLIAM, EARL OF DARTMOUTH WAS, AND LOOK UP UNFAMILIAR WORDS.

5. WED. FEB. 11-----MR. CHANDLER ON NEGRO POETRY BEFORE CIVIL WAR.

ASSIGNMENT: HORTON, WHITFIELD, HARPER, WHITMAN, PAGES 287---303.

Atlanta University, 1947

LIBRARIANS CONFERENCE:

LIBRARIANS: Personal Value
Value to Writers

COMMUNITY IMPORTANCE OF LIBRARIES: Hall Branch
Cedar Branch

TO CHILDREN

TO ADULTS: Broadening fields of reading

TO NEGROES: The Materials of Race Pride

THE USE OF POETRY

POEMS: CHILDREN---Memory

MANUSCRIPT POEMS

WINTER SWEETNESS-----------P. 10 D.K.2

NATURE:

APRIL RAIN SONG----------8 D.K.

SNAIL------------------4 F.O.W.

SNAKE------------------7 "

DUSTBOWL---------------15 "

RELIGION:

BIRTH------------------9 "

FEET O' JESUS-----------51 D.K.

MA LORD------------------55 #

NEGRO HUMOR:

MADAM TO YOU

NEGRO HISTORY:

I'VE KNOWN RIVERS--------- 71 "

OCTOBER 16---------------- 14 M. Grow

NEGRO MOTHER-------------

## Bibliography

Andrews, Clarence Edward. THE WRITING AND READING OF VERSE (Versification and poetics). New York: D. Appleton and Co., 1932.

Hughes, Glenn. IMAGISM AND THE IMAGIST (A study in modern poetry). Stanford University, California: Stanford University Press, 1931.

Johnson, R. Brimley. POETRY AND THE POETS (Various great poets on their art). London: Taber and Taber,

Richards, Ivor Anderson. COLERIDGE ON IMAGINATION. New York: Harcourt, Brace and Company, 1935.

WRITERS' PROGRAM (Project superseded Federal Writers Project at its end in 1939). For publications see United States Works Progress Administration by state.

## Periodicals

WRITER, THE. A monthly magazine for literary workers. (Bound)

SURVEY COURSE IN NEGRO POETRY

Bibliography

--------COLOR.

--------COPPER SUN.

--------FOUR NEGRO POETS.

--------THE LOST ZOO.

Negro Poetry -2-

SHAKESPEARE IN HARLEM.

THE WEARY BLUES.

THE DREAMKEEPER.

HARLEM SHADOWS.

Folk Songs and Folk Poetry

Dett, Robert N. RELIGIOUS FOLK SONGS OF THE NEGRO AS SUNG AT HAMpton INSTITUTE. Hampton, Virginia: Hampton Institute Press, 1927.

Negro Poetry -3-

## Bibliography

Geismar, Maxwell D. WRITERS IN CRISIS (The American novel between two wars). Uses Ring Lardner, Ernest Hemingway, John Dos Passos, William Faulkner, Thomas Wolfe, and John Steinbeck as examples of 20th century American fiction. These are historically analyzed and criticized). Boston: Houghton Mifflin Co., 1942.

## Periodicals

BLUE BOOK, THE. A useful manual for all who write--rules, dictionary of ready reference, and index. (San Francisco: Crown Publishing Company).

V The 20th Century

A. Historical Survey

B. Literature about the Negro

1. Fiction: Van Vooten

2. Drama and the Movies: O'Neill, Haywood, Vidor

3. Poetry: Lindsay

4. History: Loguin

C. Literature by the Negro

1. Fiction: Fauset, Hughes, DuBois

2. Biography: Johnson

3. Poetry: Hughes, Cullen, Braithwaite, Johnson, McKaye, etc.

4. Essays: Lube, Miller, Locke, Brawley, Pickens, Votan

5. History: DuBois, C. S. Johnson, M. Tork, Carter Woodson

6. Journalism: Pittsburgh Courier, Chicago Defender, Afro-American, Norfolk Journal, and Guide, The Boston Chronicle

Requirements for American Negro Literature

1. Text Book: Cromwell; Turner & Dykes: Readings from Negro Authors
Brawley: The Negro in Literature and Art

2. Outside Reading: One unit of reading from each of the three following groups:

1. (a) Joel Chandler Harris: Uncle Remus

(b) George W. Cable: Old Creole Days

(c) Eugene O'Neill: The Emperor Jones

2. (a) Booker T. Washington: Up From Slavery

(b) J. W. Johnson: The Autobiography of an Ex- colored Man

3. (a) Two of the following: Moton: What the Negro Thinks

Hughes: Not Without Laughter, J. Fauset: There is

Confusion, Schuyler: Black No More, C. Cullen: Color

At least three books from Group I; three from Group II; three plays
from Group IV.

GROUP I POETRY

1. Langston Hughes: Fine Clothes to the Jew

2. James W. Don Johnson: God's Trombones

3. Georgia Douglas Johnson: Bronze

4. Countee Cullen: Copper Sun, Color

5. Claude L. Kay: Harlem Shadows

6. William Stanley Braithwaite: Lyries of Life and Love

GROUP II FICTION

1. Jessie Fauset: Plum Sun, There is Confusion

2. M. E. B. DuBois: Dark Princess

3. Claude L. Kay: Home to Harlem, Banjo

4. Rudolph Fisher: The Wall's of Jericho

5. Paul Lawrence Dunbar: The Uncalked

6. Zora Neal Hurston: Jonah's Gourd Vine

GROUP III DRAMA

1. Locke & Gregory: Plays of Negro Life

Poetry is itself a thing of God. ♦ He made his prophets poets; and the more we feel of poesie do we become like God in love and power. - Bailey.

Poetry is the record of the best and happiest moments of the happiest and best minds. ♦

Shelley.

Poetry is most just to its divine origin, when it administers the comforts and breathes the thoughts of religion. - Wordsworth.

Poets utter great and wise things which they do not themselves understand. - Plato.

Poetry, good sir, in my opinion, is like a tender virgin, very young, and extremely beautiful, whom divers others virgins - namely, all the other sciences - make it their business to enrich, polish and adorn; and to her it belongs to make use of them all, and on her part to give a lustre to them all.

Cervantes.

Truth shines the brighter clad in verse.

Pope.

A WORLD VIEW OF THE NEGRO QUESTION

LECTURE 20

THE NEGRO WRITER IN THE UNITED STATES

Barton, R. C. <u>Race Consciousness and American Negro Literature</u>

Braithwaite, W. S. "The House Under Arcturus" an autobiography in *Phylon* 1st quarter, 1941

Brawley, Benjamin <u>The Negro Genius</u>

Brown, Sterling <u>The Negro Caravan</u>

_______________
"The Negro Author and His Publisher" in the *Negro Quarterly*,
Spring, 1942

Negro Poetry and Drama

Chestnut, Charles "Post-bellum-pre-Harlem" in *Breaking into Print*

Cromwell, Otelia Readings from *Negro Authors*

DuBois, W. E. B. "The Negro Scholar in America" in *The American Scholar*

Hesseltine, William "Negro Doctors of Philosophy in History", in *Negro History Bulletin*, Dec. 1942

Johnson, J. W. "Negro Authors and White Publishers" in *Crisis*, July 1929

Locke, Alain <u>The New Negro</u>

Loggins, Vernon <u>The Negro Author</u>

Reddick, L. D. "A New Interpretation for Negro History", *Journal of Negro History*, Jan. 1937

Redding, J. S. <u>To Make A Poet Black</u>

Tolson, M. B. <u>Rendezvous With America</u>

Walker, Margaret <u>For My People</u>

Watkins, S. C. <u>Anthology of American Negro Literature</u>

Wright, C. W. "Some Recent Negro Men of Science", the *Negro College Quarterly*, Dec. 1943

Wright, Richard <u>How Bigger Was Born</u>

See collected and single biographies of Negro authors such as James Weldon Johnson, Langston Hughes, Richard Wright, Zora Neale Hurston, Claude McKay, W. E. B. DuBois, etc.

We wish to include the name of every member of the class in the published volume of the lectures -- at least the names of all students who wish to support this project. Please check with the ushers, Mrs. Latimer and Mrs. Lipscomb or my secretary, Mrs. Thompson.

THE NEGRO MOTHER

by
Langston Hughes

Out of the past I come back today
To tell you a story of the long dark way
That I had to climb, that I had to know
In order that the race might live and grow.
Look at my face---dark as the night---
Yet shining like the sun with love's true light.

I am the child they stole from the sand
Three hundred years ago in Africa's land,
I am the dark girl who crossed the wide sea
Carrying in my body the seed of the Free.
I am the woman who worked in the field
Bringing the cotton and the corn to yield.
I am the one who labored as a slave,
Beaten and mistreated for the work that I gave---
Children sold away from me, husband sold, too.
No safety, no love, no respect was I due.

Three hundred years in the deepest South:
But God put a song and a prayer in my mouth.
God put a dream like steel in my soul.
Now, through my children, I'm reaching the goal.
Now, through my children, young and free,
I'll realize the blessings denied to me.
I couldn't read then. I couldn't write.
I had nothing, back there in the night.
Sometimes the valley was filled with tears,

THE NEGRO MOTHER - 2 -

But I kept trudging on through the lonely years.
Sometimes the road was hot with sun,
But I had to keep on till my work was done:
I had to keep on! No stopping for me---
I was the seed of the coming Free.
I nourished the dream that nothing could smother
Deep in my breast---The Negro Mother.

I had only hope then, but now through you,
Children of today, my dreams must come true:
All you dark children in the world out there,
Remember my sweat, my pain, my despair.
Remember my years, heavy with sorrow---
And make of those years a road to the light
Out of the darkness, the ignorance, the night.
Lift high my banner out of the dust.
Stand like free men supporting my trust.
Believe in the right, let none push you back.
Remember the whip and the slaver's track.
Remember how the strong, through struggle and strife
Still bar you the way, and deny you life---
But march ever forward, breaking down bars.
Look ever upward at the sun and the stars!
On, my dark children, may my dreams and my prayers
Impel you forever up the great stairs!

For I will be with you till all men are brothers
And love binds the children of Humanity's Mothers---
Until love binds the children of Humanity's Mothers!

MISS PACKARD AND MISS GILES

Owen Dodson (1914- )

(Two New England Women Who Founded the School
for Negro Women in Georgia, Spelman College)

Two Women, here in April, prayed alone
And saw again their vision of an altar
Built for mind and spirit, flesh and bone.
They never turned away; they never said:
"This dream is airy let us go back to our
New England spring
And cultivate an earth that is not dead;
"Let dark mothers weep, dark children bleed,
This land is barren land
Incapable of seed."
They made their crucifix far more
Than ornament; they wrestled with Denial
And pinned him to the floor.
They made defeat an exile:
And year by year their vision shed its mist:
And still they smiled their Noah smile,
Knowing that they had no death to fear,
Knowing that their future would be now
And all the Aprils we assemble here.

## FROM THE DARK TOWER

Countee Cullen (1903-1946)

We shall not always plant while others reap
The golden increment of bursting fruit,
Not always countenance, abject and mute,
That lesser men should hold their brothers cheap;
Not everlastingly while others sleep
Shall we beguile their limbs with mellow flute,
Not always bend to some more subtle brute;
We were not made eternally to weep.

The night whose sable breast relieves the stark
White stars is no less lovely being dark,
And there are buds that cannot bloom at all
In light, but crumple, pietous, and fall;
So in the dark we hide the heart that bleeds,
And wait, and tend our agonizing seeds.

- 2 -

His fingers wuz as long as de cane wide brake
An' he had no eyes for to see,
An' he had no teeth foh to eat the cohn cake
So he had to let the cohn cake be.

Chorus

Lay down de shubbel an' de hoe
Hang up de fiddle an' de bow
Dere's no mo' hahd work foh poh ole Ned
Kaze he's gone where de good darkies go.

The second song I learned was also a negro song--Nelly
Gray. This is Alma Glück singing it.

Nelly Gray

(Play record. Victor 64729)

As a child, I not only learned negro songs, but I also
learned negro rhymes. Here is a bit of doggerel my family taught me
which I have since found in books of negro rhyme:

Sheep and Goat

(Version learned by J.M.T.)

A sheep an' a goat went a'walkin' thru de pasture
Says the sheep to de goat, "Can't you walk a little faster?"
Says the goat to the sheep, "My foot ahm sore,"
"Oscuse me, goat, I did not know,
Your foot ahm sore."

Sheep and Goat

Sheep an' goat gwine to de paster;
Says de goat to de sheep: / "Cain't you walk a liddle
faster?"

De sheep says: / "I cain't, I'se a liddle too full."
Den de goat say: / "You can, wid my ho'ns in yo' wool."

But de goat fall down an' skin 'is shin
An' de sheep split 'is lip wid a big broad grin.

I suppose that most of the children of my acquaintance
learned the literature of the colored race first as I did.

The colored race has made a great and fundamental contribu-
tion to American literature as it has to American music.

Wisconsi

-3-

The literature of the colored race consists of (1) The literature the colored race has itself produced, and (2) The Literature the white race has produced about the colored race.

The literature produced by the colored race may in turn be divided into two classes:

(1) The folk literature.

(2) The literature produced by outstanding individuals since the freeing of the slaves.

## The Negro Folk Literature

It is the negro folk literature and music which have affected most profoundly the lives and thinking and feeling of all America, both white and black, whether we are conscious of it or not. The folk literature consists of the poetry, songs, and stories which were handed down by word of mouth from generation to generation before the War. Who started these folk songs we do not know. They grew and changed as they passed from parents to children, and became the property of the whole race. Learning these was the cultural education of the negro child. He had to learn hundreds of songs and stories.

To understand the negro folk literature it must be remembered that the negro in this country had to do what no other non-English speaking immigrant had to do—he had to learn English as a spoken language only. Most of the Southern states forbade by law the teaching of a slave to read.

The negro never saw the words he learned, so he could not check on his pronunciation. He was taught religion, but he learned his Bible stories from hearing them told. He got them as twisted as any of us get stories twisted which are handed from one person to another by word of mouth. This explains many of the peculiarities which people find amusing in the negro dialect, and also in the negro theology.

One of those queer compensations which occur constantly in human history is the fact that the colored race, kept in servility for generations, not permitted to learn to read and write, took the English language as it sounded to them, deepened and colored it with their husky, soft voices, and produced a dialect which their masters imitated, sometimes in ridicule, sometimes in amused and appreciative affection, until finally the whole South, white as well as black, was consciously or unconsciously talking the negro dialect, and using negro expressions such as "the big road" for the road, and "The Good Man" for God.

In Louisiana, which was first Spanish and then French before President Jefferson acquired it, another element entered the negro dialect. The whites of Spanish and French descent known as Creoles, spoke French in the main. Their negro slaves learned French instead of English. But the negro French, like the negro English,

- 5 -

"Did dat cow die?" "Yes, Mam!"

"Wid a pain in 'er eye?" "Yes, Mam!"

"Oh, how did she die?" "Uh-! Uh-! Uh-!"

"Did de Buzzards come?" "Yes, Mam!"

"Fer to pick 'er bone?" "Yes, Mam!"

"Oh, how did they come?" "Flop! Flop! Flop!"

The call and the response were not necessarily related in thought. The leader had to think up calls as fast as he could, and he could not think fast enough to make them all logical. "Tain't gwine to rain no more" shows how the leader got off the track after the first call.

I.

(Call) Hail storm, frosty night,

(Sponse) Tain't gwineter rain no mo'.

II.

(Call) My ole mistiss promised me!

(Call) When she died, she'd set me free,

III.

(Call) Hawk an' buzzard went to law!

(Sponse) Tain't gwine to rain no mo'.

(Call) Hawk come back, wid a broken jaw,

An interesting thing about negro songs is that the chorus was usually given first, then the first verse, then the chorus again, then the second verse, and so on.

Dr. Talley, when he came to classify his folk songs, found songs for all occasions: love songs, dance songs; animal and nature lore; nursery rhymes; charms and superstitions; hunting songs; songs of wise sayings; harvest songs; songs with biblical and religious themes, play songs and work songs; in short, the whole literature of a people running the gamut of their experience.

Booker Washington says companies of negroes sang as they worked in the fields and on the boats. Sometimes a good singer was paid, as it increased the amount of labor.

Charles Peabody tells of a leader in a band of slaves who was besought by his companions not to sing a certain song because it made them work too hard.

- 6 -

## Work Songs

### Rain or Shine (Folk song)

I hoes an' I plows
In all kinds o' weather,
I got to keep agoin'
Cause I cain't do no better.

Rain or shine,
Sleet or snow,
When I gits done dis time,
Won't work no more.

### Over My Head

Thought I fell in ten foot o' water,
Thought I fell in ten foot o' water,
Thought I fell in ten foot o' water,
Over my head--over my head.

Jay bird sat on--a hick'ry limb,
Jay bird sat on--a hick'ry limb,
Jay bird sat on--a hick'ry limb,
Over my head--over my head.

There were songs of discontent and desire for freedom.
Here is one which describes three classes of negroes: those who want freedom but are too timid to run away; those who are brave enough to run away; and those who run to the master to tell on their fellow slaves.

### Jack and Dinah Want Freedom

Ole Aunt Dinah, she's jes lak me.
She wuk so hard dat she want to be free.
But, you know, Aunt Dinah's gittin' sorter ole;
An' she's feared to go to Canada, caze it's so col'.

Dar wus ole Uncle Jack, he want to git free.
He find de way Norf by de moss on de tree.
He cross dat river a-floatin' in a tub.
Dem Patterrollers give 'im a mighty close rub.

Dar is ole Uncle Billy, he's a mighty good Nigger.
He tote all de news to Mosser a little bigger.
When you tells Uncle Billy you wants free, for
a fac'
De nex' day de hide drap off'n yo' back.

- 8 -

At their dances the negroes sang and danced to the fiddle or the banjo to the accompaniment of handclapping and stamping. Attention is often called to the fact that in Africa the drum is used constantly and everything is done in rhythm. The negroes in slavery substituted their feet for the drum.

Some of the negro folk literature, some of the poetry and fiction of the modern negro writers, and some of the literature by the white race about the negro reveal the struggle between the native African civilization with its nature worship, and the white civilization with its Christian religion. The struggle between these two civilizations was most evident in the coast states, especially in Louisiana, where slaves fresh from the African jungle were smuggled in long after importation was forbidden. There were mysterious stories in New Orleans of Voodooism, which involved worship of a snake, and of terrible Voodoo rites led by a Voodoo Queen.

The slaves of the upper South were usually good Christians, far from thoughts or memories of the cults of their ancestors.

## The Negro Spirituals

You all know some of the beautiful religious songs or spirituals of the Negro race before it had access to pencil and paper and the printed word. These have been made familiar to the whole country by the Fisk Jubilee Singers, the Hampton Singers, the Tuskegee singers--great choruses which have rolled their rich and glorious harmony like a deep organ through hundreds of the churches of the nation.

Unfortunately, these choruses have not been recorded in all their strength and beauty. I have here, however, a few beautiful records which we can enjoy even though they do not compare with these great choruses.

The first song is a good clear illustration of the "call" and the "sponse". It is called "Do you call that religion?" and is sung by the Birmingham Jubilee Singers.

The song starts with the chorus. The chorus itself starts with the call, a solo part. It is a question, "Do you call that religion?" The chorus answers with the "sponse"--"No,no"--a sort of groan. Again the question, "Do you call that religion?" And the "sponse"--"No, chile, no."

After the chorus come the verses which put up various problems, always followed by the chorus "Do you call that religion?" answered by groans of "No, no."

One verse tells about the people who talk about their neighbors all day long; another says:

- 9 -

I know a brother in the church,
Who has two living wives,
If you ask him about religion,
You'll see his temper rise.

Do you call that religion?
No, no.
Do you call that religion?
No, chile, no.

(Play record "Do you call that religion?"
Columbia 14163-D (142121).)

The next song is called "Live Humble." It is sung by
"St. Mark's Chanters."

## Live Humble

(Play record. Columbia 14149-D (142012).)

The next two songs are by the highest paid negro singer in
the world, Paul Robeson. Robeson takes both parts, the "call" and
the "sponse," making a solo. The first song is the old favorite,
"Swing Low, Sweet Chariot." The second is "Deep River."

(Play Swing Low, Sweet Chariot - Victor 20068-B)

(Play Deep River - Victor 20793-A)

The next song is a duet by Paul Robeson and Laurence Brown,
called "Joshua fit de Battle ob Jericho." Robeson sings the call--
"Joshua fit de battle ob Jericho;" Brown answers with the sponse
"And the walls came tumbling down."

(Play Joshua Fit de Battle ob Jericho)

Many writers of the white race have tried to put the negro
into literature--to catch his character, his tricks of language, his
humor, his pathos, and to save it all for a future when the negro,
educated in the public schools of his country, will have lost his
peculiar characteristics and have become standardized in the regular
mold of American speech and thought and action.

Stephen Foster is the greatest white writer of all those
who have caught the negro melody and popularized the negro songs.

Many of the old folk songs and stories of the colored race
have been taken by people of the white race or of the colored race,
written down with the music, sometimes changed or embellished,
combined and rearranged, and have appeared finally as songs by
individuals. Stephen C. Foster is the greatest writer of all those

- 10 -

who have caught and popularized negro songs for us. Joel Chandler Harris wrote out their poetry and stories. Carl Sandburg has been working on their literature also. Lafcadio Hearn collected Creole songs both white and black, while he was in New Orleans. So many writers have done this that when you see the name of an individual attached to a negro song, you can speculate as to whether he is really the author of it, or whether this is just a folk song written down, with the music written out, rearranged perhaps to suit the writer's fancy. Stephen Foster's "Uncle Ned," Carl Sandburg's "Boll Weevil" and his "Spirituals" are in this class. (So I think is "Nelly Gray" which has the name of Hanby attached to it. I have never been able to trace the mysterious Mr. Hanby, and I suspect that he did not count for much in the production of this song.)

I am going to let you hear a modern arrangement by Mr. Schilkret of one of Foster's melodies. Instead of giving you "My Old Kentucky Home," or "The Old Folks at Home," or "Oh, Susanna," or "Massa's in the Cole, Cole Ground," which you all know, I am going to give you my old favorite "Old Ned," which Mr. Schilkret has combined with "Open the Lattice, Love."

(Play record "Old Ned")

Carl Sandburg is another of the writers of the white race who has worked with the negro folk song.

The next song is a combination of the spirituals sung by Carl Sandburg to the accompaniment of his guitar, as he gives it in his concerts. It starts with "I walk in de moonlight." It goes like this:

## Sandburg

I know moonlight, I know starlight;
I lay dis body down.

I walk in de moonlight, I walk in de starlight;
I lay dis body down.

I know de graveyard, I know de graveyard,
When I lay dis body down.

I walk in de graveyard, I walk troo de graveyard
To lay dis body down.

I lay in de grave and stretch out my arms,
I lay dis body down.

I go to de judgment in de evenin' of de day
When I lay dis body down.

An' my soul and your soul will meet in de day
When we lay dis body down.

(Play record. Negro Spirituals)

Harriet Beecher Stowe of New England and Ohio made the first great and successful attempt to show the tragedy and wickedness of negro slavery. Her attempt was so successful that President Lincoln called her "the little woman who made this great war."

- 11 -

Joel Chandler Harris, editor of the Atlanta Constitution, put down the darkey stories and poems he heard from his childhood. His stories are chiefly nature stories, with Br'er Rabbit and Br'er Fox as important characters and Uncle Remus as the old darkey storyteller.

Here is one of the Br'er Rabbit stories:

Br'er Fox and Br'er Rabbit both fell in love with King Deer's daughter. Br'er Rabbit lays a plan to outwit Br'er Fox. He kills some of King Deer's goats, and tells King Deer it was Br'er Fox who killed the goats and that he will make Br'er Fox admit it.

Then Br'er Rabbit asks Br'er Fox to 'join him in serenading King Deer. The rabbit proposes that he sing the "call" and that the fox sing the "sponse." We now quote from Mr. Harris:

Ole Br'er Rabbit, he make up de song he own se'f 'en he fix it so that he sing de call 'en Ole Br'er Fox, he hatter sing de answer. Ole Br'er Rabbit he got de call, en he open up lak dis:

"Some folks pile up mo'n dey kin tote
En dat w'at de matter wid King Deer's goat."

en den Br'er Fox, he make answer:

"Dat's so, dat's so,
En I'm glad dat it's so."

en den Br'er Rabbit pursue on wid de call:

"Some kill sheep en some kill shote,
But Br'er Fox kill King Deer's goat."

en den Br'er Fox, he give in wid de answer:

"I did, I did, en I'm glad dat I did."

en den King Deer come out with his walking cane, and beat the fox, but 'vited Br'er Rabbit in to eat chicken pie.

Here is one of Harris' poems which brings in one of the negro's favorite characters, Br'er Buzzard:

## How Br'er Tarrypin Learned to Fly

Brer Tarrypin tired er prom'nadin' roun',
An' he lay in de sun right flat on de groun';
His foots wuz col', an' his eyes wuz red,
An' it look like sump'in done bunged up his head;
But he watch Brer Buzzard a-sailin' in de sky,
An' he wisht fum his heart dat he could fly--
Fil-a-ma-looner-leener! fil-a-ma-leener-li!

- 13 -

Down on his hunkers Brer Buzzard squot,
An' on his back Brer Tarrypin got;
'Twuz slip an' fall, but he got on,
An' de nex' news you know dey bofe wuz gone!
A-sailin' low, an' a-sailin' high,
A-sailin' fur, an' a-sailin' nigh--
Fil-a-ma-looner leener! fil-a-ma-leener-li!

"Now, how shill I l'arn?" Brer Tarrypin say.
Brer Buzzard 'spon', "I'll show you de way.
I'm a-flying high, but I'll start down,
Den you turn loose an' sail all roun'."
Brer Tarrypin say--an' he shot his eye--
"Ef we go much higher we'll sturb de sky!"
Fil-a-ma-looner leener! fil-a-ma-leener-li!

Tarrypin turn loose an' down he come,
Wid a blip an' a blap an' a blim-blam-blum!
He come wid a squeal, he come wid a squall--
Dey ain't nobody y'ever had sech a fall!
An' a mighty good reason: he wuz up so high
Dat when he hit de groun' he wuz dead, mighty nigh--
Fil-a-ma-looner leener! fil-a-ma-leener-li!

Buzzard he foller fer ter see it done well,
Wid "La, ol' friend! it seem like you fell!
An' all you hatter do wuz ter flop yo' wings!"
Tarrypin groan; he say, "By jings!
I know one thing, an' dat ain't two--
I know one thing wid my fil-a-ma-loo!
I know one thing, an' I know it right--
I know how ter fly, but I dunner how ter light!
Sump'n n'er tol' me ez I sail in de sky,
'L'arn how ter light 'fo' you l'arn how ter fly!
Fil-a-ma-looner-leener! fil-a-ma-leener-li!

Eugene O'Neill discovered the unique literary possibilities of the negro problem. His best known negro play is "The Emperor Jones."

Paul Green of North Carolina has put the southern Negro folk-types into a series of plays which have made him an important figure in the development of native American drama. The Carolina folk plays include "In Abraham's Bosom," "The Man who died at Twelve O'Clock," and many others.

Dubose Heyward of South Carolina is the author of "Porgy," a story of the Charleston waterfront, and "Mamba's Daughters."

Julia Peterkin of North Carolina with her "Black April," "Scarlet Sister Mary" and "Green Thursday," and DuBose Heyward of Charleston, South Carolina, with his "Porgy" have attempted to give realistic pictures of negro life in the present day south.

- 15 -

Paul Laurence Dunbar, born in Dayton, Ohio, in 1872, was the great negro poet of the negro dialect. He enjoyed the characteristics of his race instead of being bitter over their sufferings. One of his most beautiful poems is:

When Malindy Sings

G'way an' quit dat noise, Miss Lucy--
Put dat music book away;
What's de use to keep on tryin'?
Ef you practice twell you're gray,
You cain't sta't no notes a-flyin'
Lak de ones dat rants and rings
F'om the kitchen to de big woods
When Malindy sings.

You ain't got de nachel o'gans
Fu' to make de soun' come right,
You ain't got de tu'ns an' twistin's
Fu' to make it sweet an' light.
Tell you one thing now, Miss Lucy,
An' I'm tellin' you fu' true,
When hit comes to raal right singin',
Tain't no easy thing to do.

Easy 'nough fu' folks to hollah,
Lookin' at de lines an' dots,
When dey ain't no one kin sense it,
An' de chune comes in, in spots;
But fu' real melojous music,
Dat jes' strikes yo' hea't and clings,
Jes' you stan' an' listen wif me
When Malindy sings.

Ain't you nevah hyeahd Malindy?
Blessed soul, tek up de cross!
Look hyeah, ain't you jokin', honey?
Well, you don't know whut you los'.
Y' ought to hyeah dat gal a-wa'blin',
Robins, la'ks, an' all dem things,
Heish dey moufs an' hides dey faces
When Malindy sings.

Fiddlin' man jes' stop his fiddlin',
Lay his fiddle on de she'f;
Mockin' bird quit try'n' to whistle,
'Cause he jes' so shamed hisse'f,
Folks a-playin' on de banjo
Draps dey fingahs on de strings--
Bless yo' soul--fu' gits to move 'em,
When Malindy sings.

## Heritage
(Cont.)

Quaint, outlandish heathen gods
Black men fashion out of rods,
Clay, and brittle bits of stone,
In a likeness like their own,
My conversion came high-priced;
I belong to Jesus Christ,
Preacher of humility;
Heathen gods are naught to me.

Father, Son, and Holy Ghost,
So I make an idle boast;
Jesus of the twice-turned cheek,
Lamb of God, although I speak
With my mouth thus, in my heart
Do I play a double part?

Ever at Thy glowing altar
Must my heart grow sick and falter,
Wishing He I served were black,
Thinking then it would not lack
Precedent of pain to guide it,
Let who would or might deride it;
Surely then this flesh would know
Yours had borne a kindred woe.
Lord, I fashion dark gods, too,
Daring even to give You
Dark despairing features where,
Crowned with dark rebellious hair,
Patience wavers just so much as
Mortal grief compels, while touches
Quick and hot, of anger, rise
To smitten cheek and weary eyes.
Lord, forgive me if my need
Sometimes shapes a human creed.

All day long and all night through,
One thing only must I do:
Quench my pride and cool my blood,
Lest I perish in the flood.
Lest a hidden ember set
Timber that I thought was wet
Burning like the dryest flax,
Melting like merest wax,
Lest the grave restore its dead.
Nor yet has my heart or head
In the least way realized
They and I are civilized.

- 24 -

To You Who Read My Book (cont.)

When the dreadful Ax
Rives me apart,
When the sharp wedge cracks
My arid heart,
Turn to this book
Of the singing me
For a springtime look
At the wintry tree.

Say, "Thus it was weighed
With flower and fruit,
Ere the Ax was laid
Unto its root.
Though the blows fall free
On a gnarled trunk now,
Once he was a tree
With a blossomy bough."

Claude McKay is attempting to give us realistic Negro fiction in such stories as his "Home to Harlem."

There are women writers also. Georgia Douglas Johnson, born in Atlanta in 1886, writes:

I Want to Die While You Love Me

I want to die while you love me,
While yet you hold me fair,
While laughter lies upon my lips,
And lights are in my hair.

I want to die while you love me
And bear to that still bed
Your kisses turbulent, unspent
To warm me when I'm dead.

I want to die while you love me.
Oh, who would care to live
Till love has nothing more to ask
And nothing more to give?

I want to die while you love me
And never, never see
The glory of this perfect day
Grow dim or cease to be!

Angelina Weld Grimke, born in Boston in 1880, and a teacher in the Dunbar High School in Washington, has published a play,

LIBERTY AND PEACE

Phillis Wheatley (c. 1753-1784)

Lo! freedom comes. Th' prescient muse foretold,
All eyes th' accomplish'd prophecy behold:
Her port describ'd, "She moves divinely fair,
Olive and laurel bind her golden hair."...

As from the east th' illustrious kind of day
With rising radiance drives the shades away,
So freedom comes array'd with charms divine,
And in her train commerce and plenty shine...

Auspicious Heaven shall fill with fav'ring gales,
Where'er Columbia spreads her swelling sails:
To every realm shall peace her charms display,
And heavenly freedom spread her golden ray.

# A DEATH SONG

## Paul Laurence Dunbar (1872-1906)

Lay me down beneaf de willers in de grass,
Whah de branch'll go a-singin' as it pass.
An' w'en I's a-layin' low,
I kin hyeah it as it go
Singin', "Sleep, my honey, tek yo' res' at las."

Lay me nigh to whah hit meks a little pool,
An' de watah stan's so quiet lak an' cool,
Whah de little birds in spring,
Ust to come an' drink an' sing,
An' de chillen waded on dey way to school.

Let me settle w'en my shouldahs draps dey load
Nigh enough to hyeah de noises in de road;
Fu' I t'ink de las' long res'
Gwine to soothe my sperrit bes'
Ef I's layin' 'mong de t'ings I's allus knowed.

# THE LYNCHING

Claude McKay (1889- )

His Spirit in smoke ascended to high heaven.
His father, by the cruelest way of pain,
Had bidden him to his bosom once again;
The awful sin remained still unforgiven.
All night a bright and solitary star
(Perchance the one that ever guided him,
Yet gave him up at last to Fate's wild whim)
Hung pitifully o'er the swinging char.
Day dawned, and soon the mixed crowds came to view
The ghastly body swaying in the sun:
The women thronged to look, but never a one
Showed sorrow in her eyes of steely blue;
And little lads, lynchers that were to be,
Danced round the dreadful thing in fiendish glee.

FROM THE DARK TOWER

Countee Cullen (1903-1946)

MISS PACKARD AND MISS GILES

Owen Dodson (1914- )

They never turned away; they never said:
"This dream is air, let us go back to our

# THE STRUGGLE STAGGERS US

## Margaret Walker

Our birth and death are easy hours, like sleep
and food and drink. The struggle staggers us
for bread, for pride, for simple dignity.
And this is more than fighting to exist;
more than revolt and war and human odds.
There is a journey from the me to you.
There is a journey from the you to me.
A union of the two strange worlds must be...

KITCHENETTE BUILDING

Gwendolyn Brooks

We are things of dry hours and the involuntary plan,
Grayed in, and gray. "Dream" makes a giddy sound, not
strong

Like "rent," "feeding a wife," "satisfying a man."

But could a dream send up through onion fumes
Its white and violet, fight with fried potatoes
And yesterday's garbage ripening in the hall,
Flutter, or sing an aria down these rooms

Even if we were willing to let it in,
Had time to warm it, keep it very clean,
Anticipate a message, let it begin?

We wonder. But not well! not for a minute!
Since Number Five is out of the bathroom now,
We think of lukewarm water, hope to get in it.

JOHN HENRY

JOHN HENRY TOLD HIS CAPTAIN
THAT A MAN AIN'T NOTHIN' BUT A MAN,
BUT BEFORE I'D LET YOUR STEAM DRILL BEAT ME DOWN
I'D DIE WITH MY HAMMER IN MY HAND, /"/.

CAPTAIN HE SAYS TO JOHN HENRY,
GONNA BRING ME A STEAM DRILL AROUND,
GONNA TAKE THAT STEAM DRILL OUT ON THE JOB,
GONNA WHOP THAT STEEL ON DOWN, /"/.

JOHN HENRY TOLD HIS CAPTAIN,
LIGHTNIN' WAS IN HIS EYE,
CAPTAIN, BET YOUR LAST RED CENT ON ME,
FOR I'LL BEAT IT TO THE BOTTOM OR I'LL DIE, /"/.

CAPTAIN SAID TO JOHN HENRY,
YOU'VE GOT A WILLIN' MIND,
BUT YOU JUST WELL LAY YOUR HAMMER DOWN,
YOU'LL NEVER BEAT THIS STEAM DRILL OF MINE, /"/.

JOHN HENRY WENT TO THE TUNNEL
AND THEY PUT HIM IN THE LEAD TO DRIVE,
THE ROCK WAS SO TALL AND JOHN HENRY SO SMALL
THAT HE LAID DOWN HIS HAMMER AND HE CRIED, /"/.

THE STEAM DRILL WAS ON HIS RIGHT HAND SIDE,
JOHN HENRY WAS ON THE LEFT,
SAYS, BEFORE I'LL LET THIS STEAM DRILL BEAT ME DOWN
I'LL HAMMER MYSELF TO DEATH, /"/.

JOHN HENRY TOLD HIS CAPTAIN,
TOLD HIM KINDER SAD,
CAPTAIN, I WANT TO BE YOUR FRIEND,
IF I BEAT YOU TO THE BOTTOM, DON'T GET MAD, /"/.

JOHN HENRY WAS ON THE MOUNTAIN,
THE MOUNTAIN WAS SO HIGH,
HE CALLED TO HIS PRETTY LITTLE WIFE,
SAID, I CAN ALMOST TOUCH THE SKY, /"/.

JOHN HENRY TOLD HIS CAPTAIN,
LOOKY YONDER WHAT I SEE---
YOUR STEAM DRILL'S BROKE AND YOUR HOLE'S DONE CHOKE,
AND YOU CAN'T DRIVE STEEL LIKE ME, /"/.

JOHN HENRY, O JOHN HENRY,
BLOOD AM RUNNIN' RED!
FALLS RIGHT DOWN WITH HIS HAMMER TO THE GROUND,
SAYS, I'VE BEAT HIM TO THE BOTTOM, BUT I'M DEAD, /"/.

JOHN HENRY HAD A LITTLE BABY,
HELD HIM IN THE PALM OF HIS HAND,
THE LAST WORDS I HEARD JOHN HENRY SAY,
SON, YOU GONNA BE A STEEL-DRIVIN' MAN,
SON, YOU GONNA BE A STEEL-DRIVIN' MAN.

John Henry, O, JOHN HENRY!/SING IT IF YOU CAN---
HIGH AND LOW AND EVERYWHERE YOU GO---
HE DIED WITH HIS HAMMER IN HIS HAND, 7"/.

JOE HILL

by
Earl Robinson

(Executed in 1915)

I DREAMED I SAW JOE HILL LAST NIGHT
ALIVE AS YOU AND ME.
SAYS I, "BUT, JOE, YOU'RE TEN YEARS DEAD."
"I NEVER DIED," SAYS HE.
"I NEVER DIED," SAYS HE.

"IN SALT LAKE, JOE," SAYS I TO HIM,
HIM STANDING BY MY BED,
"THEY FRAMED YOU ON A MURDER CHARGE,"
SAYS JOE, "BUT I AIN'T DEAD,"
SAYS JOE, "BUT I AIN'T DEAD."

"THE COPPER BOSSES KILLED YOU, JOE,
THEY SHOT YOU, JOE," SAYS I.
"TAKES MORE THAN GUNS TO KILL A MAN,"
SAYS JOE, "I DIDN'T DIE,"
SAYS JOE, "I DIDN'T DIE."

AND STANDING THERE AS BIG AS LIFE
AND SMILING WITH HIS EYES,
JOE SAYS, "WHAT THEY FORGOT TO KILL
WENT ON TO ORGANIZE,
WENT ON TO ORGANIZE."

"JOE HILL AIN'T DEAD," HE SAYS TO ME,
JOE HILL AIN'T NEVER DIED.
WHERE WORKING MEN ARE OUT ON STRIKE
JOE HILL IS AT THEIR SIDE,
JOE HILL IS AT THEIR SIDE."

"FROM SAN DIEGO UP TO MAINE,
IN EVERY MINE AND MILL,
WHERE WORKERS STRIKE AND ARGANIZE,"
SAYS HE, "YOU'LL FIND JOE HILL,"
SAYS HE, "YOU'LL FIND JOE HILL."

I DREAMED I SAW JOE HILL LAST NIGHT
ALIVE AS YOU AND ME.
SAYS I, "BUT JOE, YOU'RE TEN YEARS DEAD."
"I NEVER DIED," SAYS HE,
"I NEVER DIED," SAYS HE.

From FIRESIDE BOOK OF FOLK SONGS
edited by Margaret Bradford Boni
(Simon and Schuster, 1947)

# THE NEW COLOSSUS

by
Emma Lazarus

*(This sonnet is inscribed on the pedestal of the Statue of Liberty)*

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-toast to me,
I lift my lamp beside the golden door!"

ENGLISH TRANSLATION

Tom- Tom Funeral

Death has killed and the grave-digger has buried him.

Ha! ha! alas! the hawk has taken my friend, has left me!

Ha! ha! without possession!

My friend death has taken me.

My friend has left there without returning!

Cutting , cutting pieces of wood, fresh green wood.

Death has not killed my friend, since I see myself.

Ha! ha! alas! the hawk has taken my friend and is busy
saving himself.

Ha! ha! without welcome.

From Anthologie Negre

by

Blaise Cendrars

English translation

by

Percy L Milligan

TAM - TAM FUNÈBRE

Kum da kûme la lagh da mhûme!

La! la! Ye! siligha ikke m dwelle, bâse mam!

La! la! kô paôngho!

M dwelle kum ikke m!

M dwelle n tûrhde kô lebûgho!

Laghda kyéda, hyéda di bili, kyéda daosea massa

Khum kô kûm dwelle, ti m bê m tore

La! la! ye! siligha ikke m dwelle n zwetta!

La! la! kô paôngho!

French Translation

La mort a tue et le fossoyeur a entéré!

Ha! Ha! hélas! l'épervier a pris mon ami, a laissé moi!

Ha! ha! sans possession!

Mon ami la mort a pris moi!

Mon ami s'en va sans retour!

Le lagda coupe, coupe les morceaux de bois, coupe les bois frais verts.

La mort n'a pas tue mon ami, puisque je vis moi-même.

Ha! Ha! Hélas! l'épervier a pris mon ami et est en train de se sauver.

Ha! Ha! sans accueil!

A COURSE IN CREATIVE WRITING

Bibliography

Periodicals

## Bibliography

## Periodicals

## Bibliography

## Periodicals

## Bibliography

## Periodicals

## Bibliography

## Periodicals

## Bibliography

Robinson, Mabel Li, with Helen Hull. CREATIVE WRITING (The story form, authorship, and short story). Cincinnati, 1932.

## Periodicals

A COURSE IN CREATIVE WRITING

A COURSE IN CREATIVE WRITING

Bibliography

Periodicals

A COURSE IN CREATIVE WRITING

A COURSE IN CREATIVE WRITING

Bibliography

Periodicals

Houghton Mifflin Company

Hughes, University of Michigan

Johnson, John L.

Lowes, John Samuel, editor

Peyre, Henri Ithacan

Richards, Ivor

Robinson, Thomas

Wharton, Edith

Wilhelm, Donald

WRITERS' PROFESSION. 1939). By permission of the publisher.

WRITERS' PROFESSION. PUBLISHED BY THE PEN ASSOCIATION, NEW YORK, N. Y.

WRITER, THE. PUBLISHED BY THE PEN ASSOCIATION, NEW YORK, N. Y.

BLUE BOOK, THE PROFESSION. PUBLISHED BY THE PEN ASSOCIATION, NEW YORK, N. Y.

A COURSE IN CREATIVE WRITING

Bibliography

A COURSE IN CREATIVE WRITING

Bibliography

Geismar, Maxwell D. WRITERS IN CKLSIS (The American novel between two wars. Uses Ring Lardner, Ernest Hemingway, John Dos Passos, William Faulkner, Thomas Wolfe, and John Steinbeck as examples of 20th century American fiction. These are historically analyzed and criticized). Boston: Houghton Mifflin Co., 1942.

Periodicals

A COURSE IN CREATIVE WRITING

A COURSE IN CREATIVE WRITING

Bibliography

Geismar, Maxwell D. WRITERS IN CRISIS (The American novel between two wars. User: Ring Lardner, Ernest Hemingway, John Dos Passos, William Faulkner, Thomas Wolfe, and John Steinbeck as examples of 20th century American fiction. These are historically analyzed and criticized). Boston: Houghton Mifflin Co., 1942.

Periodicals

A COURSE IN CREATIVE WRITING

Bibliography

A COURSE IN CREATIVE WRITING

Bibliography

Periodicals

A COURSE IN CREATIVE WRITING

Bibliography

Fulton, Maurice. WRITING CRAFTSMANSHIP (Models and readings). New York: The Macmillan Company, 1933.

Geismar, Johann. WRITERS IN CALISIS (The American novel between two wars. Use of Lang Landen, Ernest Hemingway, John Dos Passos, William Faulkner, Thomas Wolfe, and John Steinbeck as examples of 20th century American fiction. These are historically analyzed and criticized). Boston: Houghton Mifflin Co., 1942.

Periodicals

A COURSE IN CREATIVE WRITING

Bibliography

Hughes, Glenn. IMAGISM AND THE CIST (A study in modern poetry). Stanford University, California: Stanford University Press, 1931.

Lowes, John L. THE ROAD TO XANADU: A study in the ways of imagination using Samuel Taylor Coleridge's "Renaissance" and "Kubla Khan" as examples). New York: Houghton Mifflin, 1930.

Peyre, Henri. WRITERS AND THEIR CULTICS (A study of misunderstanding). Ithaca, New York: Cornell University Press, 1944.

Richards, Ivor Anderson. COLERIDON IMAGINATION. New York: Harcourt, Brace and Company, 1935.

Robinson, Mabel L., with Helen H. CREATIVE WRITING (The story form, authorship, and short story). Cincinnati, 1932.

## Periodicals

WRITER, THE.

literary workers. (Bound)

BLUE BOOK
of
Cor

1 who write--rules, dictionary
in Francisco: Crown Publishing