|Photo of Mamie Estelle Fearing Scurlock, by Addison Scurlock, c.1910|
* Bennett, "Song" and "Hatred" (pp.221-223)
* Cowdery, "The Young Voice Cries" (pp.238-240)
* Fauset, "La Vie C'est La Vie" and "Dead Fires" (pp.254-255)
* Johnson (Georgia), "Let Me Not Lose My Dream," "Old Black Men," "Black Woman," "The Heart of a Woman," "I Want to Die While You Love Me" (pp.273-275)
* Johnson (Helene), "My Race," "A Southern Road," "Sonnet to a Negro in Harlem," "Poem" (pp.276-278)
* Spencer, "Lady, Lady" (p.299)
As always, consider some of the following ideas:
* How do many of these poems employ uniquely feminine metaphors/imagery that are absent from the works of Cullen and Hughes? Are there other hallmarks that make these poems distinct from their male peers?
* In general, do these poems sound more like the "Talented Tenth" (more academic, polished) or more like the colloquial language of the street? Why might this be?
* Many of these poems are 'love poems,' which strike a very universal note. Is there any trace of propaganda or 'perspective' in these poems? Should there be? Can a love poem simply be a love poem, even in Harlem?
* Do some, or all, of these poems strike a feminist note? Do these poets seem to identify more with being women, or black, or simply poets? Where is there true allegiance from the poems themselves?
* How does Helene Johnson's "Sonnet to a Negro in Harlem" compare thematically with some of Shakespeare's Sonnets to the young man or the Dark Lady?