Book contents
- A History of the Harlem Renaissance
- A History of the Harlem Renaissance
- Copyright page
- Dedication
- Contents
- Illustrations
- Contributors
- Acknowledgments
- Introduction: Revising a Renaissance
- Part I Re-reading the New Negro
- Part II Experimenting with the New Negro
- Part III Re-mapping the New Negro
- Chapter 11 London, New York, and the Black Bolshevik Renaissance: Radical Black Internationalism during the New Negro Renaissance
- Chapter 12 Island Relations, Continental Visions, and Graphic Networks
- Chapter 13 “Symbols from Within”: Charting the Nation’s Regions in James Weldon Johnson’s God’s Trombones
- Chapter 14 Rudolph Fisher: Renaissance Man and Harlem’s Interpreter
- Part IV Performing the New Negro
- Bibliography
- Index
Chapter 13 - “Symbols from Within”: Charting the Nation’s Regions in James Weldon Johnson’s God’s Trombones
from Part III - Re-mapping the New Negro
Published online by Cambridge University Press: 20 January 2021
- A History of the Harlem Renaissance
- A History of the Harlem Renaissance
- Copyright page
- Dedication
- Contents
- Illustrations
- Contributors
- Acknowledgments
- Introduction: Revising a Renaissance
- Part I Re-reading the New Negro
- Part II Experimenting with the New Negro
- Part III Re-mapping the New Negro
- Chapter 11 London, New York, and the Black Bolshevik Renaissance: Radical Black Internationalism during the New Negro Renaissance
- Chapter 12 Island Relations, Continental Visions, and Graphic Networks
- Chapter 13 “Symbols from Within”: Charting the Nation’s Regions in James Weldon Johnson’s God’s Trombones
- Chapter 14 Rudolph Fisher: Renaissance Man and Harlem’s Interpreter
- Part IV Performing the New Negro
- Bibliography
- Index
Summary
Using God’s Trombones (1927), James Weldon Johnson’s major collection of poetry from the New Negro Renaissance, this chapter outlines the author’s view of the tension between American popular culture and vernacular African American expressive forms, presenting his theory of poetic expression and linguistic transcription through call and response and the author’s close relationship to this work. Johnson viewed popular culture ambivalently, as a necessary yet potentially reductive force. In its greatest potential, it could form a people’s poetry, and in so doing create a distinctly racial art that was also national. God’s Trombones was therefore more than a simple linguistic project, it was an endeavor to draw upon “symbols from within” African American folk and vernacular forms, and also from within the nation’s regions, to advance a national African American culture.
Keywords
- Type
- Chapter
- Information
- A History of the Harlem Renaissance , pp. 233 - 251Publisher: Cambridge University PressPrint publication year: 2021