Claude McKay and Langston Barnes became like two cartel boys pertaining to the Harlem Renaissance. They will burst in the “Harlem Shadows” and subway jazz community into the popular, crossing the racial split to find support and fame not only in America but around the globe. Their poems, however , just like African-American music, were co-opted by white-colored culture and exploited pertaining to aims totally divorced from the ethnicity that justified the poems lifestyle in the first place. And, as McKay’s own life shows, when the poetry took a much deeper, less visceral, more theological turn, the poet was rejected by that same white (Protestant) establishment, which usually seemed to only want a “jungle fever” type of poetry. This demand of the surrounding white-colored culture is what led the Harlem poets to have a “double consciousness” concerning their poems. To make that to the top rated, they continue to needed the support of the very culture they wanted to criticize.
Just as Countee Cullen wished for a “black Jesus” with whom he could identify, so too do McKay long for a religion that was not “white. ” McKay had been increased Protestant and these same Protestants now served as his patrons – but he rejected their particular “white” religious beliefs, like many other poets in Harlem, whom sought to find a new identification. This accounted for the “doubleness” that Cullen experienced in the poetry: on the other hand, the poets saw anything true and good in God, but on the other hand that they could not understand the “white” God of the Protestants. McKay would later in his life convert to Roman Catholicism, a faith in which race played fewer of a position than in the WASPy religion of America. But by simply that point, McKay was out of fashion and his faith based experience was of no use to prospects WASPs who were primarily thinking about “fashion” – as Langston Hughes put: “Negro is at vogue” (Sayre, 2012, s. 1176).
Both the primary designs represented at this point was the “jazz” mentality, that new outpouring and phrase of “free loving” dark-colored music, which usually all desired to experience. It was “freedom” of everything, represented with a musical, poetic movement – freedom from your past, flexibility from the old rules, liberty of the bloodstream. Hughes shows in his composition “Jazz Strap in a French Cabaret” just how jazz had been embraced throughout: “Play that thing! Jazz music Band” which plays for all regardless of list, creed, or color. Soon the poem is employing different languages, English, People from france, German, to demonstrate the universality of jazz’s acceptance at the cultural epicenter of the world – Paris. This was the novel and “vogue” sensation the black experience was savoring, which Hughes described if he said “Negro was in vogue. ” Renegrido was a fad, something new, anything hip, a thing alive, something different, swinging, wild, that could attract people away of themselves for a instant. It was also, as Electronic. Michael Smith (2000) has demonstrated, a movement supported intended for the very purpose that it conveyed a revolution against moral buy: it elevated the sensual and decreased the spiritual. The other theme, represented in McKay’s “If We have to Die” was the theme of Marrano pride, defiant, strong, self-employed, fierce, and “all out. ” McKay’s poem is known as a call to arms, pertaining to the black culture to stand up to the WASPy white: “If we need to die – oh, let us nobly dieLike men we’ll face the murderous, cowardly pack. inches There is a impression that blacks