By Tatiana A. Tagirova-Daley
Claude McKay’s releasing Narrative: Russian and Anglophone Caribbean Literary Connections examines McKay’s look for an unique type of literary expression that begun in Jamaica and persisted in his next travels overseas. Newly chanced on examine bearing on his presence in different Russian periodicals, magazines, and literary diaries brings new mild to the writer’s contribution to the Soviet knowing of African American and Caribbean concerns and his attainable impression on Yevgeny Zamyatin, the author he met in the course of his 1922 - 1923 stopover at to Russia. the first concentration of this publication is Claude McKay and his confident reception of Alexander Pushkin, Feodor Dostoyevsky, and Leo Tolstoy, the nineteenth-century Russian writers who stimulated his literary profession and enabled him to discover an answer to his challenge of a twin Caribbean id. The secondary concentration of this ebook is the research of McKay’s affinity along with his Russian literary predecessors and with C.L.R. James and Ralph de Boissière, his Trinidadian contemporaries, who additionally said the significance of Russian writers of their creative improvement. The publication discusses McKay as a precursor of Russian and Anglophone Caribbean hyperlinks and provides a comparative research of cross-racial, cross-national, and cross-cultural alliances among those designated but comparable different types of literature. Claude McKay’s releasing Narrative is extremely suggested for undergraduate and graduate classes in Caribbean and comparative literature at North American, eu, Caribbean, and African universities.
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Extra info for Claude McKay's Liberating Narrative: Russian and Anglophone Caribbean Literary Connections
Sinclair Lewis makes an interesting comparison between McKay and Tolstoy in a letter to Mr. As he is a Negro, he has here an ease, a chance to forget social problems and consider the vast material he has already accumulated, which he would never have in America. ”56 In addition to the writing material that McKay collected while living in France, Marseilles provided him with a chance to see racism and social injustices similar to the ones that he encountered in the United States and England. Even prior to his going to France, he understood the reality of French liberalism.
87. 29. 64. 275–276. 4 (thereafter cited as LW). 20. 56. 81. 23 Claude McKay, Complete Poems (Urbana and Chicago: U of Illinois P, 2004), p. 132, thereafter cited as CP. 24 George Kent, “The Soulful Way of Claude McKay” in Black World XX (1970), p. 38. 31. 227. 228. 67. 67–68. 68. 111. 167–168. 155. 9. 22. 174. 173. 24–25. 150. 173. 174. 174. 167. 168. 168. I found this portrait in the James Weldon Johnson Collection of Negro Literature and Art, part of the Yale Collection of American Literature in the 34 FORMATION OF NATIONAL CONSCIOUSNESS Beinecke Rare Book and Manuscript Library, while doing my research there in the summer of 2004.
12 The simplicity and originality of the Moscow show encouraged McKay to reevaluate the artistic talents of his race and to understand that both Russians and Negroes presented an artistic challenge to Western forms and standards of theatrical expression. ”13 Attracted to what he believed at that time to be the progressive attitude of the Bolsheviks towards national minorities, he was anxious to visit post‐ revolutionary Russia and to see the establishment of a new social order. His decision to attend the Third International rather than the Second was not coincidental.