Book contents
- African American Literature in Transition, 1850–1865
- African American Literature In Transition
- African American Literature in Transition, 1850–1865
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Chronology, 1850–1865
- Introduction
- Part I Black Personhood and Citizenship in Transition
- Part II Generic Transitions and Textual Circulation
- Chapter 5 Overhearing the African American Novel, 1850–1865
- Chapter 6 Black Romanticism and the Lyric as the Medium of the Conspiracy
- Chapter 7 Black Newspapers, Novels, and the Racial Geographies of Transnationalism
- Chapter 8 Creoles of Color, Poetry, and the Periodic Press in Union-Occupied New Orleans
- Chapter 9 The Haitian and American Revolutions and Black Historical Writing at Mid-Century
- Part III Black Geographies in Transition
- Bibliography
- Index
Chapter 6 - Black Romanticism and the Lyric as the Medium of the Conspiracy
from Part II - Generic Transitions and Textual Circulation
Published online by Cambridge University Press: 07 April 2021
- African American Literature in Transition, 1850–1865
- African American Literature In Transition
- African American Literature in Transition, 1850–1865
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Chronology, 1850–1865
- Introduction
- Part I Black Personhood and Citizenship in Transition
- Part II Generic Transitions and Textual Circulation
- Chapter 5 Overhearing the African American Novel, 1850–1865
- Chapter 6 Black Romanticism and the Lyric as the Medium of the Conspiracy
- Chapter 7 Black Newspapers, Novels, and the Racial Geographies of Transnationalism
- Chapter 8 Creoles of Color, Poetry, and the Periodic Press in Union-Occupied New Orleans
- Chapter 9 The Haitian and American Revolutions and Black Historical Writing at Mid-Century
- Part III Black Geographies in Transition
- Bibliography
- Index
Summary
Matt Sandler argues that not only did African American poets write “in Romantic revolutionary moods” at mid-century, but they used the lyric, in particular, to bridge divisions within and between the abolition movement and enslaved and free people. For writers like Joshua McCarter Simpson, James Monroe Whitfield, Frances Harper, and George Moses Horton, the lyric’s amenity to both contemplation and public performance was generically useful for the deliberations on and challenges to liberal individualism they posed. These African American poets complicated the lyric’s mechanics and capacities in ways that turned its interior deliberations to revolutionary aims and “claims about the place of Black life in American history.” Overall, Sandler underscores, lyric poetry, perhaps more than any other genre, “moved across the oral/print binary” and likewise moved across the color line as well as among abolitionist, free status, fugitive, and enslaved communities and groups to facilitate coalitions. Provocatively, this made the lyric what Sandler calls “the medium of the conspiracy.”
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- African American Literature in Transition, 1850–1865 , pp. 149 - 170Publisher: Cambridge University PressPrint publication year: 2021