African American Poetry (1870-1927): A Digital Anthology

Caroling Dusk: An Anthology of Verse by Negro Poets (1927) (Table of Contents)

[Editor's Note: This book will come out of copyright on January 1, 1927. We intend to create a digital edition of it shortly thereafter. -AS]

Caroling Dusk: an Anthology of Verse by Negro Poets

Edited by Countee Cullen

Harper & Row Publishers, 1927

Excerpt from Countee Cullen's Foreword:

It is now five years since James Weldon Johnson edited with a brilliant essay on "The Negro's Creative Genius" The Book of American Negro Poetry, four years since the publication of Robert T. Kerlin’s Negro Poets and Their Poems, and three years since from the Trinity College Press in Durham, North Carolina, came An Anthology of Verse by American Negroes, edited by Newman Ivey White and Walter Clinton Jackson.

[. . . .]

[T]here would be scant reason for the assembling and publication of another such collection were it not for the new voices that within the past three to five years have sung so significantly as to make imperative an anthology recording some snatches of their songs. To those intelligently familiar with what is popularly termed the renaissance in art and literature by Negroes, it will not be taken as a sentimentally risky observation to contend that the recent yearly contests conducted by Negro magazines, such as Opportunity and The Crisis, as well as a growing tendency on the part of white editors to give impartial consideration to the work of Negro writers, have awakened to a happy articulation many young Negro poets who had thitherto lisped only in isolated places in solitary numbers. It is primarily to give them a concerted bearing that this collection has been published. For most of these poets the publication of individual volumes of their poems is not an immediate issue. However, many of their poems during these four or five years of accentuated interest in the artistic development of the race have become familiar to a large and ever-widening circle of readers who, we feel, will welcome a volume marshaling what would otherwise remain for some time a miscellany of deeply appreciated but scattered verse.

The place of poetry in the cultural development of a race or people has always been one of importance; indeed, poets are prone, with many good reasons for their conceit, to hold their art the most important. Thus while essentially wishing to draw the public ear to the work of the younger Negro poets, there have been included with their poems those of modern Negro poets already established and acknowledged, by virtue of their seniority and published books, as worthy practitioners of their art. There were Negro poets before Paul Laurence Dunbar, but his uniquity as the first Negro to attain to and maintain a distinguished place among American poets, a place fairly merited by the most acceptable standards of criticism, makes him the pivotal poet of this volume.

I have called this collection an anthology of verse by Negro poets rather than an anthology of Negro verse, since this latter designation would be more confusing than accurate. Negro poetry, it seems to me, in the sense that we speak of Russian, French, or Chinese poetry, must emanate from some country other than this in some language other than our own. Moreover, the attempt to corral the outbursts of the ebony muse into some definite mold to which all poetry by Negroes will conform seems altogether futile and aside from the facts. This country's Negro writers may here and there turn some singular facet toward the literary sun, but in the main, since theirs is also the heritage of the English language, their work will not present any serious aberration from the poetic tendencies of their times. The conservatives, the middlers, and the arch heretics will be found among them as among the white poets; and to say that the pulse beat of their verse shows generally such a fever, or the symptoms of such an ague, will prove on closer examination merely the moment's exaggeration of a physician anxious to establish a new literary ailment. As heretical as it may sound, there is the probability that Negro poets, dependent as they are on the English language, may have more to gain from the rich background of English and American poetry than from any nebulous atavistic yearnings toward an African inheritance. Some of the poets herein represented will eventually find inclusion in any discriminatingly ordered anthology of American verse, and there will be no reason for giving such selections the needless distinction of a separate section marked Negro verse.

While I do not feel that the work of these writers conforms to anything that can be called the Negro school of poetry, neither do I feel that their work is varied to the point of being sensational; rather is theirs a variety within a uniformity that is trying to maintain the higher traditions of English verse. I trust the selections here presented bear out this contention. The poet writes out of his experience, whether it be personal or vicarious, and as these experiences differ among other poets, so do they differ among Negro poets; for the double obligation of being both Negro and American is not so unified as we are often led to believe. A survey of the work of Negro poets will show that the individual diversifying ego transcends the synthesizing hue. From the roots of varied experiences have flowered the dialect of Dunbar, the recent sermon poems of James Weldon Johnson, and some of Helene Johnson's more colloquial verses, which, differing essentially only in a few expressions peculiar to Negro slang, are worthy counterparts of verses done by John V. A. Weaver "in American." Attempt to hedge all these in with a name, and your imagination must deny the facts. Langston Hughes, poetizing the blues in his zeal to represent the Negro masses, and Sterling Brown, combining a similar interest in such poems as "Long Gone" and "The Odyssey of Big Boy" with a capacity for turning a neat sonnet according to the rules, represent differences as unique as those between Burns and Whitman. Jessie Fauset with Cornell University and training at the Sorbonne as her intellectual equipment surely justifies the very subjects and forms of her poems: "Touché," "La Vie C'est la Vie," "Noblesse Oblige," etc.; while Lewis Alexander, with no known degree from the University of Tokyo, is equally within the province of his creative prerogatives in composing Japanese hokkus and tankas. Although Anne Spencer lives in Lynchburg, Virginia, and in her biographical note recognizes the Negro as the great American taboo, I have seen but two poems by her which are even remotely concerned with this subject; rather does she write with a cool precision that calls forth comparison with Amy Lowell and the influence of a rock-bound seacoast. And Lula Lowe Weeden, the youngest poet in the volume, living in the same Southern city, is too young to realize that she is colored in an environment calculated to impress her daily with the knowledge of this pigmentary anomaly.

There are lights and shades of difference even in their methods of decrying race injustices, where these peculiar experiences of Negro life cannot be overlooked. Claude McKay is most exercised, rebellious, and vituperative to a degree that clouds his lyricism in many instances, but silhouettes most forcibly his high dudgeon; while neither Arna Bontemps, at all times cool, calm, and intensely religious, nor Georgia Douglas Johnson, in many instances bearing up bravely under comparison with Sara Teasdale, takes advantage of the numerous opportunities offered them for rhymed polemics.

If dialect is missed in this collection, it is enough to state that the day of dialect as far as Negro poets are concerned is in the decline. Added to the fact that these poets are out of contact with this fast-dying medium, certain sociological considerations and the natural limitations of dialect for poetic expression militate against its use even as a tour de force. In a day when artificiality is so vigorously condemned, the Negro poet would be foolish indeed to turn to dialect. The majority of present-day poems in dialect are the efforts of white poets. . . .

Table of Contents

Paul Laurence Dunbar 
Ere Sleep Comes Down to Soothe the Weary Eyes
Death Song
After the Quarrel
Ships that Pass in the Night
We Wear the Mask
The Debt

Joseph S. Cotter, Sr. 
The Tragedy of Pete
The Way-side Well

James Weldon Johnson
From the Germans of Uhland
The Glory of the Day Was in her Face
The Creation
The White Witch
My City

William Edward Burghard Du Bois
A Litany of Atlanta

William Stanley Braithwaite
Rye Bread
October XXIX 1795
Del Casear

James Edward McCall 
The New Negro

Angelina Weld Grimké
Hushed by the Hands of Sleep
The Eyes of My Regret
Grass Fingers 
The Ways o' Men
When the Green Lies Over the Earth
A Mona Lisa
Your Hands
I Weep 
For the Candle Light
The Puppet Player
A Winter Twilight

Anne Spencer
I Have a Friend
Life-long, Poor Browning
Lines to a Nasturtium
At the Carnival

Mary Effie Lee Newsome
Morning Light
Sassafras Tea 
Sky Pictures 
The Quilt
The Baker's Boy
Wild Roses

John Frederick Matheus

Fenton Johnson
When I Die 
Puck Goes to Court
The Marathon Runner

Jessie Fauset
Words! Words!
Noblesse Oblige
La Vie C'est la Vie
The Return

Alice Dunbar Nelson
Snow in October
I Sit and Sew

Georgia Douglas Johnson
The Suppliant 
Little Son
Old Black Men
I Want to Die While You Love Me
My Little Dreams
What Need Have I for Memory?
When I Am Dead
The Dreams of the Dreamer
The Heart of a Woman

Claude McKay
Exhortation: Summer 1919
The Wild Goat
Russian Cathedral
My House

Jean Toomer
Evening Song
Georgia Dusk
Song of the Son
Cotton Song
November Cotton Flower

Joseph S. Cotter, Jr.
Rain Music
An April Day
The Deserter
And What Shall You Say? 
The Band of Gideon

Blanche Taylor Dickinson
The Walls of Jericho
That Hill
To an Icicle
Four Walls

Frank Horne
On Seeing Two Brown Boys in a Catholic Church
To a Persistent Phantom
Letters Found Near a Suicide

Lewis Alexander
Negro Woman
The Dark Brother
Tanka I-VIII
Japanese Hokku
Day and Night

Sterling A Brown
Odyssey of Big Boy
Maumee Ruth
Long Gone
To a Certain Lady, in Her Garden

Clarissa Scott Delany
The Mask

Langston Hughes
I, Too
Song for a Dark Girl
Homesick Blues
Fantasy in Purple
Dream Variation
The Negro Speaks of Rivers
Suicide's Note
A Mother to Son
A House in Taos

Gwendolyn B. Bennett
To a Dark Girl
Your Songs
Lines Written at the Grave of Alexander Dumas

Arna Bontemps
The Return
A Black Man Talks of Reaping
To a Young Girl Leaving the Hill Country
Nocturne at Bethesda
Length of Moon
A Tree Design
The Day-breakers
Close Your Eyes!
God Give to men
Golgotha is a Mountain

Countee Cullen
Lines to Our Elders
I Have a Rendezvous with Life
Yet Do I Marvel 
To Lovers of Earth: Fair Warning
From the Dark Tower
To John Keats, Poet at Springtime
Four Epitaphs

Donald Jeffrey Hayes
Auf Wiederschen
After All

Jonathan Henderson Brooks
The Resurrection
The Last Quarter Moon of the Dying Year

Gladys May Casely Hayford
Rainy Season Love Song
The Serving Girl
Baby Cobina

Lucy Ariel Williams

George Leonard Allen
To Melody

Richard Bruce (Bruce Nugent)

Waring Cuney 
The Death Bed
A Triviality
I Think I See Him There
No Images
The Radical
True Love

Edward S. Silvera
South Street
Jungle Taste

Helene Johnson
What Do I Care for Morning
Sonnet to a Negro in Harlem
Summer Matures
The Road

Wesley Curtwright
The Close of Day

Lula Low Weeden
Me Alone
Have You Seen It
Robin Red Breast
The Stream
The Little Dandelion

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