Interpreting Two Network Diagrams--Thematic Tags, Publication history
Below I'll present two different network diagrams I've derived from Scalar's built-in visualization feature. One looks at the clusters created by thematic tags, the other looks at the relationship between poems published in different venues.
A. Thematic Tags.
Take a look at the following network diagram showing the relations between a limited set of thematic tags, generated by Scalar using the built-in visualization application. The image below is a static image, but if you click on VISUALIZATIONS > TAG on the menu in the corner of this site, you'll get a "clickable" diagram that is also live and manipulable. The body of poems included here is comprised of all of the poems from Harlem Shadows as well as about fifteen of the early poems not included in Harlem Shadows.
What does this diagram show? First, we should note that the red dots show tags, while the orange dots show poems. As of November 2016, only eight thematic areas have been tagged: Race, Class, City, Nature, Home, Sexuality Homoeroticism, Labor. (More Tag information from the earlier, Wordpress version of this site is currently in the Metadata for individual poems, and is discoverable using the search function on this Scalar site.)
What Can We Learn? Critics of Digital Humanities methods sometimes make a valid criticism that DH is enamored of fancy and elaborate-looking visualizations, but often don't take the time to explain what these visualizations show us that we didn't already know. Here I wanted to explore a few preliminary thoughts about what this particular visualization might tell us about Claude McKay's early poems.
1. Thematic Clusters. First and most obviously, certain themes are "clustered" together. Nature and Home have many overlaps, and thus appear clustered. Sexuality and homoeroticism also form a cluster. And finally, the tags focused on Class, Labor, and city life also form a natural cluster, though the clustering is significantly less tight than the others.
2. Centrality of Nature. An obvious discovery is that "Nature" is one of the most common tags in McKay's early poetry. This was a surprise to the students in the Digital Humanities class (given that we think of McKay as a black poet with militant/leftist politics, we might expect those themes to be more dominant). Of course, many of the poems marked "Nature" also overlap with race, class/labor, or sexual/queer themes. The surprise in finding so much discussion of Nature—and specifically McKay's interest in writing about birds—might remind us that we actually need to read a poet's poems before rushing to narrowly define them (i.e., as a black, political poet). (I would encourage visitors to look at Joanna Grim's essay exploring the "bird" theme in Harlem Shadows)
3. Home. Many of McKay's poems in this period thematize his memory of life in Jamaica. Thus, a few of the poems (for instance, "The Tropics in New York") reflect McKay's nostalgia for his pastoral upbringing from the vantage point of someone now living in a much larger, modern urban setting.
4. Poems with three or more tags. I'm interested in the poems that presently have three or more tags: "The Barrier," "The Castaways," and "On the Road." These are poems that scholars may not have paid very attention to in the past, but diagrams like the one above might lead us to think of them as newly important as they bridge some of McKay's most important themes from this period.
I would encourage users of this site to play with the live visualization tool and send me (Amardeep Singh) any screen captures that seem interesting or telling.
B. Publication Venues
This diagram is a bit more messy. It contains nodes for publication venues (which are organized on this Scalar site using "Paths"). These appear in light blue in the diagram below. Users can access a "live" version of the diagram using VISUALIZATIONS > CONNECTIONS in the menu in the corner above.
What do we see here? Essentially there is a larger cluster around Spring in New Hampshire and Other Poems and Harlem Shadows, and a smaller cluster, around the Workers Dreadnought path and the Early Uncollected Poetry path I've constructed on this site. Interestingly, the sexuality and homoeroticism tags are mostly entirely disconnected from the labor class oriented poetry published in magazines like Workers Dreadnought. But there are some poems right in the middle between the two clusters that seem especially interesting to consider -- poems like "Joy in the Woods," "The Battle," "Summer Morn in New Hampshire," "Birds of Prey," and "Labor's Day" that appear with strong connections both to the "Nature" tag and to "Class" and "Labor" tags. Though few of these poems have been looked at closely by critics, they are in some ways the key to understanding the two major aspects of Claude McKay's poetry in this period.
