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Title: Brave to Be Involved: Shifting Positions in the Poetry of Gwendolyn Brooks.
Author: Saber, Yomna Mohamed
ISNI:       0000 0001 0805 6509
Awarding Body: University of Nottingham
Current Institution: University of Nottingham
Date of Award: 2007
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The thesis examines the shifting positions of Gwendolyn Brooks's poetry over a long career offive decades. It attempts to read Brooks's work in relation to other African American male and female writers, and also to see it in the light ofAfrican American literary theory. Chapter one presents the context from which Brooks's voice emerged, by exploring the Chicago Black Renaissance. The chapter looks particularly at Richard Wright's work ofthe 1940s including: Native Son (1940), 12 Million Black Voices (1941), Black Boy (1944), and American Hunger (1977). These works had a huge impact Olt Brooks and they further help to reflect the literary atmosphere of that decade. The lIocund chapter examines Brooks's debut volume A Street in Bronzeville (1945) through ltv,,!')' Louis Gates's 'Trope ofthe Talking Book.' The chapter includes Margaret W'lkcr's ForMy People (1942) as another female African American poet writing at the '.ydtl)' ofthe Chicago Renaissance. Chapter three examines Brooks's Annie Allen (1049), This second stage ofBrooks reveals a modernist voice and a clear will to In1••rote Into the larger American literary mainstream. The chapter also examines Ralph amiDn'. Inyisible Man (1952) and .collected essays in Shadow and Act (1964) as a point at 04Jmpnrlson. The fourth chapter examines the transitional stage in Brooks's career and .. gruwlns political consciousness in The Bean Eaters (1960), together with Lorraine U.....b'rr)'. ARaisin in the Sun (1959) since bOth works were inspired by the emergence otU. (:lvll Rights Movement. Chapter five examines the rise ofthe Black Arts MDYltlUtnt to which Brooks responded wholeheartedly. It discusses Amici Baraka's ~Collected Poetry (1961-1967), and his essays in Home (1969) and Raise Ii ~(1969) as a· framework for Brooks's concerns in In the Mecca (1968), :1__ . , which heralded her third and final poetic stage and her decision to address black audiences only. The sixth chapter examines the later works ofBrooks which were rooted In the same nationalist doctrines ofthe Black Arts Movement. It also inCludes discussion of Sonia Sanchez's Homecoming (1969) and We a BaddDDD People (1970) comparing her feminist approach to Brooks's rejection of Black feminist theories as a splitting force among African Americans.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available