SmartThinking Tutor Response Form - Your Tutor Has Written O ✓ Solved

Smarthinking Tutor Response Form Your tutor has written overvi

Your tutor has written overview comments about your essay in the form below. Your tutor has also embedded comments [in bold and in brackets] within your essay.

Hello Alexander! I'm Bev S. and I look forward to working with you on this Essay Center Review to improve your writing today.

*Writing Strength: Well done, Alexander, on relating your points to words in the poems to show the reader how the message of each poem expresses each aspect of the Harlem Renaissance. Good work here: "The keyword "defy" appears in the poem's middle, and the speaker believes violence is permissible when reacting to murder or injustice."

*Alexander, you requested help with Grammar & Mechanics: Alexander, I'm going to defer Grammar & Mechanics for now and review Introduction/Conclusion instead as it is a more pressing concern. You can check out Commas going forward.

*Alexander, you requested help with Main Idea/Thesis: The topic sentences of your paragraphs are not always relevant to your main point about the Harlem Renaissance. Consider this topic sentence, for example: "When it comes to today's poetry, Claude McKay shows how the sonnet tradition has endured and continues to be an important influence." You have not incorporated points about poetic technique into your main idea/thesis, so it strikes the reader as strange that you would discuss the poet's use of the sonnet form in this passage. Consider linking the paragraph more effectively to your main point.

For more information about writing a thesis or main idea statement, check out Developing a Thesis in the Smarthinking Writer's Handbook.

Content Development Some of your points are confusing, even contradictory. Consider this passage: "In the opening words of 'From the Dark Tower,' the speaker says that "we," Black men and women, aren't always the ones performing all the hard labor that others benefit from. This is a powerful statement for many reasons. As a result, it seems that this is the situation right now. Those of European ancestry get the rewards of the labor ..." In this passage, it is difficult to know whether Black men and women "aren't always the ones performing the hard labor, or are always the ones doing it. While Cullen says they aren't, your point is that "it seems that this is the situation right now." this is confusing. Clarify Cullen's point. If it is not always Black men and women doing the labor, then who else does it? How will you clarify this point?

Your introduction is very long, and while it gives a good introduction to the Harlem Renaissance and the article, it goes beyond that - it starts discussing the article in detail.

Note how the first sentence ends the broad discussion of the purpose of this renaissance - for African Americans to reconnect to their roots and forge a "New Negro" identity. However, the next sentence starts discussing the article, which has already been introduced, in more depth. The first point is suitable for an introduction, but the second point would work better in the first body paragraph.

Here is a simple structure that will enable you to introduce the broad scope of the paper without getting into too much detail early on: · 1-2 sentences – start with an opening, attention-getting statement · 1-4 sentences - give an overview of the article and the Harlem Renaissance · 1 sentence - present the main idea of your paper

Summary of Next Steps: · Link the topic sentences to your main point. · Clarify points quoted from the poems you cite. · Revise the amount of content used in the Introduction. Thank you, Alexander, for submitting your essay for a review. I enjoyed helping you with this step in the revision process.

Have a good day! Bev S. You can find more information about writing, grammar, and usage in the Smarthinking Writer's Handbook.

Paper For Above Instructions

The Harlem Renaissance was a vital cultural movement during the 1920s in the United States, emerging primarily from the African American community in Harlem, New York City. The movement was characterized by an explosion of literature, art, music, and intellectual thought, establishing a new cultural identity for black individuals in America. The Harlem Renaissance represented not only a profound artistic development but also a form of resistance against the racial discrimination and oppression faced by African Americans. This essay critically examines the poetry of the Harlem Renaissance by focusing on key poets such as Countee Cullen, Claude McKay, and Helene Johnson, exploring how their works reflect the uncertainties, struggles, and aspirations of black Americans during this transformative era.

One of the strengths of the Harlem Renaissance was its emphasis on creating a distinct cultural identity that celebrated African heritage while embracing modernity. Writers sought to represent the black experience authentically and to challenge the dominant narratives that marginalized their voices. This cultural reclamation was echoed in Cullen's poem "From the Dark Tower," wherein he poignantly addresses the struggles of black men and women. Cullen asserts, "We shall not always plant while others reap," highlighting the historical exploitation of black labor and the deeply ingrained inequalities that persist in society (Cullen, 1993). In this statement, the poet conveys a collective longing for justice and recognition, emphasizing the dignity and worth of African Americans.

The clarity of the message in Cullen's poetry often masks subtle complexities. For example, while Cullen communicates the struggle for rights and autonomy, he also explores the theme of collective identity. The speaker laments the injustices faced by the African American community while simultaneously asserting a desire for empowerment. This duality reflects the internal conflicts experienced by individuals during the Harlem Renaissance, as they grappled with the legacy of oppression and the quest for self-definition.

Similarly, Helene Johnson's "Sonnet to a Negro in Harlem" delves into issues of identity and representation. Johnson captures the essence of pride and defiance amidst societal ridicule, where the character portrayed is both "magnificent" and "disdainful" (Johnson, 1995). Through this portrayal, the poet challenges prevailing stereotypes and reflects the complexity of the black experience, revealing the stark contrasts between public perception and personal ambition. Such tension resonated deeply within the broader context of the Harlem Renaissance, as artists and thinkers sought to dismantle prevailing narratives that sought to undermine their humanity.

Claude McKay, known for his fiery and revolutionary poetic voice, took the themes of resistance and defiance further in his poem "If We Must Die." McKay begins with the bold proclamation, "If we must die, let it not be like hogs" (McKay, 1919). This opening line captures the raw emotion and urgency of the black struggle, urging a collective fighting spirit against injustice. Rather than advocating for passive acceptance, McKay's call for defiance communicates a powerful message of resilience and agency. In contrast to the victimhood often associated with African Americans in literature, McKay's poetic voice resounds as a clarion call for honor and dignity in the face of oppression.

The interplay of social and political themes in the works of these poets underscores a collective yearning for change. The Harlem Renaissance poets not only sought to articulate their experiences but also aspired to shape the narratives around black identity during a time of segregation and marginalization. Through their diverse expressions of artistry, they redefined cultural norms and buttressed the significance of community solidarity in overcoming adversity.

However, while the Harlem Renaissance was a transformative period, it was not without its limitations. The movement was often critiqued for its focus on a core group of talented individuals while neglecting the broader experiences of the black populace. Critics argued that the works produced during this time primarily represented the voices of the educated middle class, sidelining the stories of those still grappling with poverty and discrimination. This imbalance prompted subsequent generations of writers to seek representation that more authentically reflected the full spectrum of the African American experience.

In conclusion, the Harlem Renaissance marked a significant chapter in American history, characterized by an explosion of artistic expression and cultural pride. Through the works of poets like Countee Cullen, Helene Johnson, and Claude McKay, the movement captured the complexities of black identity and the ongoing struggle for equality. These poets not only revealed the pains of their reality but also inspired a sense of agency and resilience, challenging readers to confront the racial injustices of their time. Ultimately, the Harlem Renaissance emerged as a powerful testament to the strength and creativity of the African American community, laying the groundwork for future generations to continue the fight for social justice and cultural recognition.

References

• Cullen, Countee. From the Dark Tower. Bantam Doubleday Dell, 1993.
• Johnson, Helene. "Sonnet to a Negro in Harlem." Caroling Dusk, 1995.
• McKay, Claude. "If We Must Die." The Liberator, 1919.
• Locke, Alain LeRoy. The New Negro: Voices of the Harlem Renaissance. Albert and Charles Boni, 1925.
• Mason, D. B. "The Harlem Renaissance and its Legacy." African American Review, vol. 29, no. 4, 1995, pp. 601-620.
• Huggins, Nathan Irvin. Harlem Renaissance. Oxford University Press, 1971.
• Rampersad, Arnold. The Life of Langston Hughes: Volume I: 1902-1941. Oxford University Press, 1986.
• Wintz, Cary D. and Paul F. Horton, eds. The Harlem Renaissance: A Historical Encyclopedia for Students. ABC-CLIO, 2009.
• Gates, Henry Louis Jr. The New Negro: The Life of Alain Locke. Oxford University Press, 2012.
• O'Meally, Robert G. The Harlem Renaissance: A Historical Overview. The Schomburg Center for Research in Black Culture, 1990.