Monday, December 4th, 2017...8:16 pmpierrec

Final Paper Intro (Yikes!)

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” I’ve always found some kind of intimacy with the Irish poets because one realized that they were also colonials with the same kind of problem that existed in the Caribbean. They were the ni***rs of Britain. Now, with all of that, to have those astounding achievements of genius, whether Joyce, or Yeats, or Beckett, illustrated that one could come out of a depressed, deprived, oppressed situation, and be defiant and creative at the same time.” – Tracy Mishkin, The Harlem and Irish Renaissances: Language, Identity, and Representation

In Tracy Michkin’s, The Harlem and Irish Renaissance: Language, Identity and Representation, she bridges the Harlem Renaissance with the Celtic Revival through the radiant authors and poets who used art to liberate the exiled voices of a community and nation. Michkin conveys a brother- and sisterhood between the Irish and the Blacks, describing both identities to be colonials and inferior in relation to the wider nation, using ni***r as a pronoun. When pondering on the genius and astounding achievements of these authors and poets who successfully showed their defiance in their art within the early 20th century, there are more names to be included; such as Hughes, Toomer, and Synge.

This anthology will explore the various art forms that authors and poets of the Harlem Renaissance and the Celtic Revival used to convey something beyond the art form itself. When looking at Joyce’s “The Dead,” the reader becomes enthralled, entering not only the dinner party, but Gabriel’s specific perspective of it. Along with Gabriel seeing his wife as a two-dimensional painting, music sung by the host of the party fills in all the awkward spaces in conversations. Scholar Margot Norris believes that Joyce understands perfectly “that art is produced by and reproduces political ideology and social relations.” I believe this to be true as it provides a stronger thread between the two movements since the literature itself is a written history of the motives of an author or poet at the time. When dissecting the art forms within these two movements, we come into contact with the various political ideology and social relations¬† that in turn invokes a cohesiveness and family-hood between such parting communities. (Subject to Change!)



  • I don’t know if you have specific ideas about genre for this anthology (I know you mention a few different writers writing in different genres) but your interest in The Dead makes me think it might be really interesting to localize your ideas in short stories specifically thinking about what perspectives are being offered based on which characters are centralized. Toomer, as you mention, would definitely be great here, but I think that could be a potentially interesting point of exploration moving forward for your project.

  •   Professor Seiler
    December 8th, 2017 at 5:23 pm

    Chelsea-Mia: we’ve talked since you wrote this post, so just acknowledging your work here and encouraging (again) your new and specific directions for this project.

  • Chelsea-Mia, the epigraph is super attention grabbing. I think you can discuss the construction of identities (the ones colonizers placed on colonized people, or the ones they create for themselves) and how the process is similar in both movements. Your ideas seem to be pointing toward a discussion about solidarity between the Irish and Black folks under British rule. I wish you the best of luck on your project!

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