To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure email@example.com
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This chapter considers Ellison’s contradictory relationship to the black writers of the Harlem Renaissance of the 1920s and 30s. While Ellison met and conversed with Alain Locke about black writing as an undergraduate at Tuskegee, and benefitted directly from mentoring by African American creative forebears like Langston Hughes and Richard Wright after his move to New York in the late 1930s, he also expressly distanced himself from these figures later. In chapters like 1963-64’s canonical “The World and the Jug,” for example, Ellison emphasizes the influence of various white modernists like T.S. Eliot, Ernest Hemingway, and André Malraux as he downplays his debt to Hughes and Wright, both of whom bookended the politicized aesthetic of the Renaissance. As a counterpoint, I consider Ellison stylistic points of resemblance with these earlier black modernists to suggest a more substantial genealogical connection than Ellison himself admitted at times in his own rhetorical self-fashioning.
Email your librarian or administrator to recommend adding this to your organisation's collection.