Double Consciousness, Modernism, and Womanist Themes in Gwendolyn Brooks's "The Anniad"
Author(s) -
A Yęmisi Jimoh
Publication year - 1998
Publication title -
melus multi-ethnic literature of the united states
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.177
H-Index - 8
eISSN - 1946-3170
pISSN - 0163-755X
DOI - 10.2307/467683
Subject(s) - modernism (music) , consciousness , double consciousness , art history , art , literature , philosophy , epistemology
Double consciousness in African American literature is the phenomenon whereby a text simultaneously responds to two conflicting definitions of African American identity: a prevailing and debilitating European American definition as well as a more self-determined African American definition. This literary definition of double consciousness parallels Du Bois's description of psycho-philosophical double consciousness in The Souls of Black Folk. In Gwendolyn Brooks's "The Anniad" such double consciousness is perceptible in her poem's many subtle yet searing lines which reveal a prevailing astigmatism concerning race as well as gender in the United States. Gwendolyn Brooks's Janus-like poem-with its simultaneous focus on both gender and race-depicts some of the effects that an emerging media culture has had on standards of beauty among African American women, who often present a contrast to the definitions of beauty that are pervasive in the United States. Through this poet's use of double consciousness in "The Anniad," readers perceive that Brooks is acutely aware of the urban, black Chicago that shapes her aesthetic as well as the prevailing culture in the United States that could shape her success as a poet. While my discussion does not contribute to the notion (nor do I insist on such regularity) that Brooks's content is incompatible with her form, I do find that the combined impetus of this poet's response to a segregated 1940s black Chicago as well as a segregated artistic and publishing milieu in the United States contributes to a tenuously poised, yet successfully meshed, content and form in "The Anniad." Both the content and the form strain against being silenced, in this poetic struggle against double consciousness. The form strains to contain the content which it must convey, as Brooks often subtly voices her sexual, gender, and racial topics in oblique images, allusions, and equivocal sexual word play that veil the plenitude that is barely
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